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Adam Geczy

b. 1969
New South Wales

Adam Geczy is a Sydney-based artist, writer and academic. Geczy studied at Sydney College of the Arts where he was awarded a Bachelor of Arts in 1990 and in 1992 he received a First Class Honours degree from the department of Art History and Theory at Sydney University.  In 1997 Geczy was awarded a PhD from the Department of Art History and Theory at the University of Sydney.

As a writer and theorist Geczy has written extensively on visual art and has contributed essays, reviews and critical writing to a number of key publications, catalogues and conference papers. Much of his writing on new media and video art in particular has been considered important contributions to an understanding of its context, production and reception.

A number of Geczy’s projects have been made in collaboration with other artists and composers. Film noir, politique blanche [2003] - made in collaboration with Mike Parr - was exhibited in four versions at Performance Space, Sydney, The Experimental Art Foundation, Adelaide, the Institute of Contemporary Art, Perth and Queensland College of Art Gallery, Brisbane.  In 2004 Geczy and Parr produced The Mass Psychology of Fascism, Zip-a-dee-doo-dah, Zip-a-dee-ay which was exhibited at the Art Gallery of NSW and Monash Faculty Gallery. Also in 2004 Geczy’s collaboration with Peter Sculthorpe -  A Remote, Lonely Place (Port Arthur Elegy) - was exhibited at the Carnegie Hobart City Gallery as part of the Hobart Summer Festival. A number of collaborative video works made with Sculthorpe – Long Ago [2006], Thoughts of Home [2008] and AreaContraPunctus IV [2006-08] - the last made in collaboration with Thomas Gerwin – were included in the exhibition Video Logic, at the Museum of Contemporary Art, Sydney, in 2008. 

Andrew Frost
Birth place
Sydney, New South Wales, Australia
Period of activity 
from 1991
Other solo exhibitions 

Solo Exhibitions
2012 ‘Beautiful Cities’, Artpsace Contemporary Art Centre, Sydney
2011 ‘Diaspora Gathered II’, Firstdraft depot space and Chalk Horse Gallery, Sydne
2011 ‘Lefejezve’ [Decapitated’], Esterhazy Palace, Györ Art Museum, Hungary
2011 ‘Duet-Duet’, Gallery Boxi, Akureyri Art Museum, Akureyri, Iceland
2010 ‘Remember to Forget the Congo’, Croxhapox, Ghent, Belgium (see also below performances) 
2009 ‘1989’, Harmoniá Müvészeti Közpout, Györ, Hungary
2009 ‘Diaspora Gathered’, Nexus Multicultural Arts Centre, Adelaide
2009 ‘Concerts’, Perth Institute of Contemporary Art, Perth
2008 ‘Buried Alive (Again)”, Croxhapox, Ghent, Belgium
2008 ‘Concerts’, Lake Macquarie City Art Gallery, Newcastle
2008 ‘Video Sculptures’, NOASS centre for art and culture, National Library and corner of Barona and Elizabeth streets (outdoor exhibition), Riga, Latvia
2007 ‘The Night Before the Son’, Oficinas do Convento, Convento de San Francisco, Montemor-o-Novo, Portugal
2007 ‘Ex Cathedra’, Criterion Gallery, Hobart
2007 ‘Buried Alive’, Contemporary Art Centre of South Australia, Adelaide
2006 ‘The House of the man whose two children hanged themselves’, Queensland Centre for Photography, Brisbane
2006 ‘The Man Who Died’, Gallery Tyko, Nurmes, Finland
2006 ‘Domestic Violence’, Rawspace, Brisbane
2006 ‘Paris Requiem’ (with Peter Sculthorpe), Cité Internationale des Arts, Paris
2006 ‘Abuse of Power’, Experimental Intermedia, Ghent, Belgium
2006 ‘Koli Cantata’, Nurmes Museum, Nurmes, Finland
2006 ‘Obituary to a Forest’ Mori Gallery, Sydney
2005 ‘The Secret of the Trick’, Criterion Gallery, Hobart
2005 ‘The Language of Suicide Part I’, Art & Heritage Collections, Barr Smith Library, the University of Adelaide
2005 ‘The Language of Suicide Part II’ Nexus Multicultural Arts Centre, Adelaide
2005 ‘I HATE AUSTRALIA’, Canberra Contemporary Art Space, Canberra
2004  ‘Grotesk II’, Gallery Tyko, Nurmes, Finland
2004 ‘Landscape Heartbeat’, Kolin Ryynänen, Finland
2003 ‘Origami: World Without Elements’, Asian-Australian Arts Centre, Gallery 4A, Sydney
2003 ‘Carcinoma’, Threefootsquare, College of Fine Arts, UNSW
2003 ‘Get Back’, Mori Gallery, Sydney
2002 ‘Insomnia’ (together with an exhibition of the works of Hannah Höch), Lewers’ Bequest, Penrith Regional Gallery, Sydney
2002 ‘Human Disease’, Museum of Human Disease, University of New South Wales
2001 ‘Grotesk’, (see also below, ‘Collaborative Exhibitions’), Festspielhaus, Dresden-Hellerau
2001 ‘Der Knabentanz’/’Little Boy Dancing’, Künstlerhaus Bethanien, Berlin
2001 ‘Märchen aus dem letzten Jahrhundert/Fairy Tales from the Last Century’, Trafo Centre for Contemporary Arts, Budapest
2001 ‘An die Freude/Ode to Joy’, Goethe-Institut Inter Nationes, Sydney
2000 ‘The Fragility of Beauty’, Mori Gallery, Sydney
1999 ‘Invocation and Exorcism (from the series, ‘The Terror of Art’)’, 200 Gertrude St., Melbourne
1998 ‘The Origin of Satan: Lucifer, First Son of God’, Gallery 4A, Sydney
1997 ‘Collectables’, Smith and Stoneley, Brisbane
1997 ‘The Terror of Art’, Mori Gallery, Sydney
1996 ‘Lessons in Self-Adulation’, The Basement Project, Melbourne
1995 ‘Pomposity’, The Basement Project, Melbourne
1994 ‘Colour-Blind, Tone-Deaf’, The Basement Project, Melbourne
1994 ‘Five Kinds of Death’, The Basement project, Melbourne
1991 ‘The Wedding’, First Draft West, Sydney
1991 ‘Gestell:  A Collection of Fine Drawings’, W.I.N.D.O.W., Sydney

Other group exhibitions 

Selected Group Exhibitions
2011 ‘Reconstructing the Animal’, Ten Days on the Island Festival, Plimsoll Gallery, Hobart
2009 ‘Langue Froide/Cold Tongue’, Connie Dietzschold Gallery, Sydney
2009  ‘Koli Residence 10 years’, Joensuu Cultural Centre, Joensuu, Finland
2009 ‘Print Matters: Salon for Independent Book Art and Artist’s Books’, Chauvel Cinema, Sydney
2009 ‘Remembering Paris’, Macquarie University Art Gallery, Sydney
2009 ‘Of Art and Music’, Perth International Arts Festival, John Curtin Gallery, Perth
2008 ‘Farb-Laut’, Galerie Nord, Tiergarten Mitte, Berlin
2008 ‘Video Logic’, Museum of Contemporary Art, Sydney
2007 ‘Summer Show’, Criterion Gallery, Hobart
2007 ‘Fifty-Fifty’, KunstTempel, Kassel
2007 Video Works, Experimental Intermedia, Ghent, Belgium
2006 ‘UnAustralia’, Exhibition of Creative Online Works, part of Annual Conference of the Cultural Studies Association of Australia, University of Canberra
2006  ‘Who cares?’, Agder Regional Art Centre, Norway
2006 ‘Earth Cry’, Lake Macquarie City Art Gallery
2006 ‘Klanglabor:zeit’, Galerie Nord, Berlin
2006 ‘Ensemble(s)’, Cité Internationale des Arts, Paris
2006 ‘Single Currency’, Victorian College of Arts Gallery, Melbourne
2006 ‘Group Action 2’, Criterion Gallery, Hobart
2005 ‘Klak!05’, Exhibition for sound art, Kulturbahnhof, Kassel
2005 ‘Colour(less)’, Lake Macquarie City Art Gallery
2005 ‘Anthology of Art’ (Atelier Jochen Gerz), ZKM, Karlsruhe
2005 ‘Anthology of Art’ (Atelier Jochen Gerz), Bundeskunsthalle, Bonn
2005 ‘The Placard Project’, Mori Gallery, Sydney
2005 ‘Koli Cantata’, Ahjo Art Centre, Joensuu, Finland
2004 ‘The Anthology of Art’ (Atelier Jochen Gerz), Martin-Gropius-Bau, Berlin
2004 ‘Blood, Severance, Magic’, Mars Lounge, Sydney
2004 ‘Klak!04’, Exhibition for sound art, Kulturbahnhof, Kassel
2004 ‘Groteskin Taiteen Museo/The Museum of Grotesque Art’, Ahjo Art Centre, Joensuu, Finland
2004 ‘Barking Up the Wrong Tree’, Carnegie City Gallery, Hobart;
Spacement, Melbourne
2004 ‘Transborder Languages’, The First Dashanzi International Art Festival, Beijing, China
2004 Adelaide Biennial/Adelaide Festival, Art Gallery of South Australia, Adelaide
2003 ‘Barking Up the Wrong Tree’, Mori Gallery, Sydney
2003 ‘Weddinger Kultursommer’, Berlin
2002 ‘The A4 Refugee Project’, Metro Arts, Brisbane
2002 ‘Weddinger Kultursommer’ (with Th. Gerwin), Berlin
2002 Finalist, Gold Coast Ulrich Schubert Photographic Award, Gold Coast Arts Centre
2001 Redlands Art Prize, Mosman Art Gallery, Sydney
1999 [no exn title] Australian Galleries/Smith and Stoneley, Brisbane
1998 ‘EAT!’, Museum of Contemporary Art, Sydney
1998 ‘Shake, Swizzle and Twist’, University of Southern Queensland, Toowoomba
1998 ‘Lick’ Smith and Stoneley, Brisbane
1997 BODY, The Art Gallery of New South Wales
1997 Redlands Art Prize
1996 ‘Basement’, Teststrip, Auckland, New Zealand
1994 ‘Coexistence’, Artspace, Sydney
1994 ‘Generic People’, The Basement, Melbourne
1993 ‘Adams’, Kunst, Sydney
1992 ‘OP Art’, Ars Multiplicata, Sydney
1991  ‘Body Without Organs’, First Draft West, Sydney
1991 ‘Suspended Sentence’, Jan Taylor Gallery,Sydney

Awards, collections 
Prizes, Awards, Fellowships 2010-11 Skills and Arts Development Grant, Australia Council (22 300) 2009 CHOICE Award for best academic title (USA Librarians); best art book (Art: Histories, Theories and Exceptions, Oxford and New York: Berg) 2007-8 Visual Arts Board of the Australia Council Grant for New Work (20 000) 2005-6 Visual Arts Board of the Australia Council Grant for New Work (20 000) 2003 New Media Board of the Australia Council Grant for New Work (30 000) 2000-1 Visual Arts Board of the Australia Council Grant: Artist’s Studio Fellowship at the Künstlerhaus Bethanien, Berlin (see also below ‘residencies’) (30 000) 2000-1 Research Fellow, Institute for the Advancement of Research, Australian Catholic University 1998 Goethe-Institut Fellowship for Key Positions in the Arts 1997 Harri Jones Memorial Award for Poetry, The University of Newcastle 1993-6 Australian Postgraduate Research Award 1988-89 The Basil and Muriel Hooper Scholarship, the Art Gallery of New South Wales Collections Australian Video Art Archive Blacktown City Library (Large component to standing exhibit) Museum of Human Disease, University of New South Wales Queensland State Library Various private collections

2012 Peter Johnson, Review. (Beautiful Cities) Artspace, Artypants, http://artypants
Andrew Frost, ‘Critic’s Pics’, Metro, Sydney Morning Herald, 23 March
Street Level with Adam Geczy, interview, The Brag, March
2011 Clare Bond, ‘Nature Mortured’, exn cat., An Unnatural History of Nature, Hazelhurst Regional Art Gallery
Gabriella Földvári, ‘Drakula a palotobán’, Györ Hetilap, 15 July
‘Vámpír a koporsóban’, Kisalföld, 13 July
Steve Meacham, ‘Scared stiff? Doc in a box lies back and thinks of Transylvania; Sydney Morning Herald, 31 March, p. 7
Caroline Freeman, ‘Reconstructing the Animal’, exn cat., Reconstructing the Animal, Hobart: Plimosoll Gallery and Ten
Days on the Island Festival, ISBN: 978 11 86295 611 7
2010 Adam Geczy, ‘Remember to Forget the Congo’, Art Monthly, July;
‘Adam Geczy Performs in Ghent, Belgium’, RealTime, 96, April-May;
Jacqueline Millner, ‘Buried Alive’, Conceptual Beauty: Perspectives on Australian Contemporary Art, Sydney: Artspace Contemporary Arts Centre,130-134
2009 Edward Scheer (various passages and citations), The Infinity Machine, Mike Parr’s Peformance Art 1971-2005, Melbourne: Schwartz City;
Claire Krouzecky, ‘Concerts, Adam Geczy’, Six Thousand,;
William Yeoman, ‘Art in the Heart’, The West Australian, 27 July;
Leonard Janiszewski and Gina Hammond, ‘Paris: A city of memory – a city imagined’, exn cat., Remembering Paris, Macquarie University  Art Gallery, ISBN 978 1 74138 329 4;
Ric Spencer, ‘Making Beautiful Music’, The West Australian, 27 February;
Christopher Malcolm, ‘Of Art and Music’, exn cat., John Curtin Gallery, ISBN: 1-74067-597-5; Stephen Bevis, ‘Haunting Voices of Ghosts in the Machine’, The West Australian, 11 February;
Kate Gilbertson, ‘Of Art and Music’, X-Press Magazine, Perth, February;
Danni Zuvela, ‘Past into Present Times the Future’, RealTime 88;
2008 Jill Stowell, ‘Pop Goes the Culture’, Herald Weekender (Newcastle), 11 October;
Tracey Clement, ‘This Show Pays Homage to Art-in-Motion Stalwarts’, Sydney Morning Herald, October 24;
John  Conomos, ‘Concerts’, exn cat., Lake Macquarie City Art Gallery;
Fayen d’Evie, ‘Let’s All Go to Iraq’, Un Magazine, v.2 #1;
Russell Storer, ‘Video Logic’; Ann Finnegan,’Inside the Cinema Apparatus and “Machines-for-Living”: The Synaesthesic Modernism of Geczy, Gerwin and Sculthorpe’; Jacqueline Millner, ‘Australian Video Art Since the 1980s’; Adam Geczy, ‘Music+Video=’I See Music’; Video Logic, exn cat., Museum of Contemporary Art, Sydney;
Mike Parr Performances 1971-2008, [§ 182], Melbourne, Schwartz Media;
Alan Cruickshank, ‘Elvis has left the building but has Adelaide left the tent?’, Broadsheet, v.37, #1;
‘Eizensteins Jugendstila’, Diena, 28 March; Projekcijas uz Dzirnavu ielas nama,,
Ingrida Ivane, Makslas projects ‘Video skulpturas’,;
Vita Banga, ‘Video Skulpturas ka Projekcijas Rigas Pilsetvide’,; Notiks makslas projects ‘Video Skuplturas’,;
Stephanie Radok, ‘On Adelaide Festival’s 2008 Visual Arts Program’, RealTime, Feb-March 2008
2007 Bec Tudor, ‘Ex Cathedra’, Art and Australia, v45, 2
Joerg Andersch, ‘Ex Cathedra’, The Mercury Magazine, 11 August
‘Artnotes’, Art Monthly Australia, May;
Stephanie Radok, ‘Buried Alive’, Adelaide Review, 293;
Louise Nunn, Paternity Suits Him’, Adelaide Advertiser, 18 April;
Jacqueline Millner, ‘Buried Alive’, exn cat., Contemporary Art Centre of South Australia;
Sean Lowry, ‘Phil Brophy: Dissonant Juxtaposition and Poetic Engagement’, Broadsheet, v.36, #1.
2006 Dony Muspe, ‘Raw Footage’, Time Off, Brisbane, Sept-Oct;
Jill Stowell, ‘Environmental Impact, Newcastle Herald, 10 June;
Meryl Ryan, ‘Earth Cry’, exn cat., Lake Macquarie City Art Gallery;
Michael Ascroft, ‘Adam Geczy. Stop.’, Be Young and Shut Up, online journal;
Jane O’Neill, ‘Adam Geczy: Collaborations’, Eyeline 59;
Christine Morrow and Danae Mossman, ‘Single Currency’, exn cat., Victorian College of Art Gallery, Melbourne, March;
Pertti Meriläinen, ‘Kolin innoittamia’, Ylä-Karjala (Finland), 10 January;
2005 Russell Smith, ‘Adam Geczy: ‘I Hate Australia’, Broadsheet, v. 34, #3;
Qantas inflight magazine, August, 134;
Meryl Ryan, ‘Colour(less)’, exn cat., Lake Macquarie City Art Gallery;
Jane Rankin-Reid, ‘Images are Pure Magic’, Mercury, 24 July;
John Neylon, ‘Down to the Finnish Line’, The Adelaide Review, 271;
Michael Ascroft, ‘Hating Nationalism’, Green Left Weekly, I June;
Janne Ryan, ‘The Rise of Video Art’, The Weekend Australian Financial Review, 21-22 May
Helen Musa, ‘Flagging a Rebellion’, Canberra Times, 6 May;
Christopher Chapman, ‘Videoperformance’, Art Monthly Australia, May;
Adam Geczy, ‘I Hate Australia’, Broadsheet, v. 34, #2;
Adam Geczy, ‘I Hate Australia’, exn cat., Canberra Contemporary Art Space (ISBN 1 875526 96 X); Penny Webb, ‘Subtle link between galleries’, The Age, 21 Jan, 8
2004 Juliana Engeberg, (no title), exn cat. essay to The Mass Psychology of Fascism, Zip-a-dee-doo-dah, Zip_a-dee-ay, Monash Faculty Gallery, Melbourne;
Adam Geczy ‘Gateway to the Sublime’, State of the Arts, October;
Miia Honkanen, ‘Grotesk 2 leikkii muodonmuutoksella’, Ylä-Karjala (Finland), 7 September;
Iain Mott, ‘Dashanzi International Art Festival’ Filter 54 (July-Oct);
David Broker, ‘The Adelaide Biennial of Australian Art, Eyeleine 54;
Edward Scheer, ‘Live Art and the Techno-Live’, John Gillies: Video Work 1982-2001, exn cat., Performance Space, Sydney;
Gerhard Kaufmann, ‘Durch Klanglandschaften zu einer "Musica Sensorialis"’, Neue Zeitschrift für Musik, March/April;
Daniel Edwards, ‘History’s Great Escape’, RealTime 60;
Michael Fitzgerald, ‘Not Dying, Changing’, Time (Australia), March 22;
Peter Hill, ‘Front Line of Ideas’ Sydney Morning Herald, ‘Spectrum’ Weekend Edition, 13-14 March;
Russell Starke, ‘Ravings: Standards Slip at Oz Ballet’,,;
James Strickland, ‘The 2004 Adelaide Biennial of Australian Art’, dB Magazine, 10 March;
Samela Harris, ‘Powerful Works to Ponder’, The Advertiser (Adelaide), 1 March;
Julie Robinson, Peter Sculthorpe, Adam Geczy (various entries), Adelaide Biennial of Australian Art, exn cat., Art Gallery of South Australia (ISBN 0 7308 3069 1);
Dominique Angeloro, ‘Critic’s Pics’, Sydney Morning Herald ‘Metro’, 20 February, 27;
Edward Scheer, ‘The Reich Stuff’, exn cat., Contemporary Projects, Art Gallery of NSW
2003 Dominique Angeloro, ‘Critic’s Pics’, Sydney Morning Herald ‘Metro’, 7 November, 27;
Simon Wright, ‘Film Noir, Politique Blanche’ Local Art 8, November; Propel Arts: Youth Arts W.A., Issue 1, ‘Film noir, politique blanche;
Robert Lort, ‘Mike Parr & Adam Geczy: All Swaddled Up’, Retort Magazine (, October;
Simon Blond, ‘Confronting Views of Australia’, The Western Australian, 12-13 July;
Peter Hill, ‘Images in your face’, Sydney Morning Herald, ‘Spectrum’ Weekend Edition, 23-24 August;
Ken Bolton, review,;
Stephanie Radok, ‘The Politics of Pain’, The Adelaide Review, July;
James Strickland, ‘Film noir, politique blanche’, dB Magazine, 25 June;
David Teh, ‘Art and Politics Estranged’, Broadsheet, 32, no.1;
Russell Storer, ‘Bleed, Bled, Said’; Adam Geczy and Mike Parr interviewed by Russell Storer, both in Bleed Bled Said, Sydney: Power Publications 2003 (ISBN 1 86487 553 4), 1-47
2002 Benjamin Genocchio, ‘Dada’s got a surreal hot mama’, The Australian, 11 October;
Anne Loxley, ‘Arresting images from the garden of good and evil’, Sydney Morning Herald, 9 October;
‘Berlin exhibit’s an eye-opener’, Penrith Press, 1 October;
Alex Gawronski, "Insomnia", exn cat., Penrith Regional Gallery;
Adam Geczy, ‘Self-portrait’, Art and Australia, 40, no.1;
Liz Bradshaw, ‘Place and aura’, RealTime 49;
Louise Martin-Chew, ‘Reports of the photo’s death…’, The Australian, 18 March, p.7;
Konstanze Thümmel, ‘You can’t set up a camera here!’, exn cat., Artspace (ISBN 1 876017 93 7)
2001 David Brooks, ‘Napoleon’s Roads’, Heat 2 (new series);
‘Virtuelle Konstruktionen’, Sächsische Zeitung, Thursday, 16 August 2001;
Corinna Daniels, ‘Tanz als Mittel der Erkenntnis’’, Die Welt, Friday, 23 March;
Peter Lang, ‘Der Knabentanz’, Der Knabentanz, exhibition catatalogue, Künstlerhaus Bethanien Berlin (ISBN 3-932754-19-0);
Gerrit Gohlke, ‘Austriebung und Maskenspiel. Über Adam Geczys historische Kombinationskunst’, exhibition catalogue, Künstlerhaus Bethanien;
Eszter Babarczy, ‘Tündéri árnyak’, Népzabadsàg Feb 24, p.22;
István Antal, ‘Fantomélet-lenyomatok’, Müértö, March;
Eszter Balázs, ‘Create a problem and learn to think’, Budapest Sun, February 22-28, p.8
2000 Benjamin Genocchio, ‘Olive Cotton and Adam Geczy’, Australian and New Zealand Journal of Art, 2,
Courtney Kidd, ‘Blood Simple’, Sydney Morning Herald, 2 May
1999 Charlotte Hallows, ‘Invocation and Exorcism’ (From the Series, ‘The Terror of Art’), Like, 9
1998 Nicolette Stasko, ‘Invocation and Exorcism: Adam Geczy’, Photofile 54, 54-9
1998 Bruce James, ‘Dark Room’, Photofile 54, 4
1997/8 Jane Gallagher, ‘Poking Fun’, The Review, Independent Monthly, Dec ‘97/Jan ‘98;
1997 Humphrey McQueen, 'A Body of Evidence', ABC 24 Hours, December 1997, 73;
Elspeth Probyn, 'Gut Feelings', Real Time, October/November 1997;
Bruce James, Sydney Morning Herald, Friday 26 September;
Benjamin Genocchio, 'From masculine narcissism to shared memory', Business Review  Weekly, September 15, 1997;
Anthony Bond, 'Embodying the Real', BODY, exn cat., Sydney and Melbourne 1997, 77-8; 178
1996 Benjamin Genocchio, 'Lessons in Self-Adulation', Eyeline, 33;
1995 Robert Nelson, 'Pomposity', The Age, Melbourne, Wed., 5 April
1994 Benjamin Curnow, 'Coexistence', Art Monthly, May, 69; Sean Davies, 'Coexistence', Agenda, 37.
1993 Sean Davies, 'Adams', Agenda, 32; Margaret West, 'Love(ly) Things', Object  Autumn, 1993; Bob Thompson, 'Love(ly) Things', Object  Autumn, 1993
1992 Colin Hood, 'OP Art', Photofile  37; Thomas Gibson, 'The Wedding', Eyeline  18.
1991 Peter Hennessey and Patricia Piccinini, 'Gestell', Agenda  20/21.

Conference Papers by others dealing with artwork
2007 Dr Fiona Richards (Open University, U.K.), ‘Remembering Australian lives in Peter Sculthorpe's Irkanda IV', British Australian Studies conference, 7-10 September


Publications: Books and Monographs
2012 (in press) Fashion and Orientalism. Dress, textiles and culture from the 17th to the 21st Century, Oxford and New York: Berg/Bloomsbury.
2011 Adam Geczy and Vicki Karaminas eds., Fashion and Art, London and New York: Berg/ Bloomsbury.
2008 Art: Histories, Theories, Exceptions, Oxford and New York: Berg Publishers, ISBN 9781845207014
2007 The Thingness of Light: The Work of William Seeto, Sydney: Artspace Contemporary Art Centre, ISBN 9781920781354
2005 Michael Carter and Adam Geczy, Reframing Art, Sydney: UNSW Press and Oxford and New York: Berg Publishers ISBN 0 86840 431 4
2004 Blair French, Adam Geczy and Nicholas Tsoutas eds., The 2004 Sydney Biennale: Criticism,  Engagement + Thought, Artspace publications, Sydney, ISBN 1 920781 10 2
2003 Adam Geczy and Mike Parr, Bleed Bled Said Sydney: Power Publications, ISBN 1 86487 553 4
2001 Adam Geczy and Benjamin Genocchio eds., What is Installation? An Anthology of Writings on Australian Installation Art, Sydney: Power Publications, ISBN 1 86487 430 9
2001 Der Knabentanz (Little Boy Dancing). Adam Geczy. exhibition catatalogue, Künstlerhaus Bethanien Berlin, ISBN 3-932754-19-0

Publications – Book Chapters, Catalogues, Review Journals etc.
2012 Adam Geczy and Vicki Karaminas ‘Introduction in Adam Geczy and Vicki Karaminas eds., Fasion and Art, Oxford and New York: Berg Publishers. ISBN 978 1 84788 783 2/978 84788 784 9
2012 ‘Modernism’ in Adam Geczy and Vicki Karaminas eds., Fashion and Art, Oxford and New York: Berg Publishers ISBN 978 1 84788 783 2/978 84788 784 9
2012 ‘Kleist–Coppélia–Kuball: the doll, the double and the shadow’, Column 8, Artspace Contemporary Art Centre, Sydney
2011 ‘Contested Pleasures’, book review, Oxford Art Journal, 34, no 2
2010 ‘Beginning the Present in the Past’, Column 6, Artspace Contemporary Art Centre, Sydney
2008 ‘Music+Video=I See Music’, Video Logic, exn cat., Museum of Contemporary Art, Sydney
2007 ‘For this defect, and for no other guilt, we here are lost’, exn. cat., Jamil Yamani, The Glittering City, Campbelltown City Art Gallery ISBN 978-1-875199-53-22007
‘I Hate Australia’, Southerly 1/2007
2006 ‘The Theatre of Innocence: Sadie Chandler’s Nirvana Office’, Artspace Projects, Sydney, Artspace Visual Arts Centre Ltd, ISBN: 1 920781 30 7
2006 ‘Collecting, Coating, Covering: Lauren Berkowitz’, Tide, exn cat., Sydney, Artspace Visual Arts Centre Ltd, ISBN: 1 920781 21 8
2006 ‘The Partial Architecture of Ruins’, Germaine Koh, exn cat., Sydney, Artspace Visual Arts Centre Ltd, ISBN: 1 920781 24 2
2006 ‘Dilapidated Realism’, in +Plus Factors, ed. Juliana Engeberg, Australian Centre of Contemporary Art, Melbourne, ISBN 0-947220-97-6
2006 ‘Air Born’, exn cat. for John Vella, Devenport Regional Gallery, Tasmania, ISBN 0-9775913-0-1
2006 ‘Fatwhitestraightbaldguy’, Tony Schwensen, Video performance works, 1999-2005, in Who’s Afraid of the Avant-Garde?, Blair French general curator, Sydney, Performance Space, CD catalogue, ISBN 0-9589611-2-3
2006 Here, There, Nowhere, Dead: Performance Art and the Cybernetic Involution', Mike Parr: Blood Box, Artspace Critical issues series, no 10, Artspace, Sydney 2006, ISBN 1 876017 63 5
2005 ‘I Hate Australia’, exn cat., Adam Geczy ‘I HATE AUSTRALIA’, Canberra Contemporary Art Space (ISBN 1 875526 96 X)
2005 ‘Powerlessness’ in Silvia Velez, Not in my name 2004, exn cat., (ISBN 0-646-44514-6), 12-17
2004 ‘Conversation with Absent Others’, exn cat., Alex Kershaw at GrantPirrie Gallery, Sydney
2004 ‘Reason, emotion etc.’, Blair French, Adam Geczy and Nicholas Tsoutas eds., The 2004 Sydney Biennale: Criticism,  Engagement + Thought, Artspace publications, Sydney, ISBN 1 920781 10 2
2004 ‘Juste milieu’, exn cat., Michael Zavros at Schubert Gallery Qld
2003 ‘Imploded Implosion’, Mesh 16, Experimenta Media Arts, Melbourne
2003 ‘The Partial Architecture of Ruins: Germaine Koh, Homemaking, Artspace Catalogue, Sydney
2003 ‘Back Home’, Blaze, Adelaide: Contemporary Art Centre of South Australia (ISBN 0 9750239 0 X), 143
2001 Introduction in Adam Geczy and Benjamin Genocchio eds., What is Installation Art?, Power Publications, The University of Sydney, 1-7; chapter, ‘Rodney Spooner: Back Home’, 157-9 (see above)
2000 ‘No Feeling’, catalogue essay in Requiem, Neue Galerie Graz and John Curtin Gallery, Curtin University of Technology, Perth (ISBN 1 86342 858 5), 23-9
2000 ‘A Science of Suppositions’ catalogue essay in Rosângela Rennó, ed. Melissa Chiu, University of Western Sydney and the Australian Centre of Photography, ISBN 186341 860 1, 34-9
2000 ‘Always Incomplete. On the virtuous weakness of drawing’, The Australian and New Zealand Journal of Art, v.1. no.2, 199-212
2000 ‘Janet Laurence’, major review essay, The Australian and New Zealand Journal of Art, v.1. no.1, 198-206;
2000 ‘The Diane Arbus Suite’ (four poems), Southerly, No 32
1998 ‘A Savage Frailty’, Heat 10;
1998 ‘Back Home’, Catalogue essay on Rodney Spooner for the Contemporary Art Centre of South Australia
1998 Heat 8, review essay of Fetish Lives by Gail Jones
1998 Heat 7, review essay of Black  Sea by David Brooks
1997 Poetry: ‘The Butcher Bird’, ‘Cows’, ‘The Dead Cat in the Garden’, The Nightjar, The Newcastle Poetry Anthology, John Hawke ed., Newcastle 1997 (ISBN 0 9587426 0 X)
1996 ‘Irresolute Objects’, Catalogue essay on Janet Shanks, for the Auckland Institute of Technology Artist-in-Residence series
1996 Catalogue essays for Dennis Del Favero for exhibitions in Israel and Finland
1996 Catalogue essay for Dennis Del Favero, ‘Remote Connections’, Graz, Austria
1995 Catalogue essay on Felicia Kan for group exhibition at Guggenheim N.Y.
1992 Chapter ‘State Architecture Bewildered’, in Forceps of Language, ed. Bob Thompson, U.T.S., Sydney 1992
1991 Catalogue essay, ‘Suspended Sentence’, Jan Taylor Gallery, Sydney
1990 Catalogue essay, ‘Instant’, First Draft West, Sydney
1990 Chapter 'Resounding Foils', Jewellery Now, Bob Thompson ed., Sydney, 1990

Reviews by others of publications
2008 R. A. Goodrich, book review of Reframing Art, Metro Magazine 156, 188-91
2007 Blair French, ‘Re-Framing Art: the Conditions of Theory’, Artspace Projects 2006, Sydney: Artspace Visual Arts Centre Ltd, ISBN 978 1 920781 33 0, 49-51.
2006 Joan Gibbons, review of Reframing Art for Times Higher Education Supplement, London
2006 Andrea Stretton, review of Reframing Art, Sunday Life Magazine, Sun-Herald, 5 March
2006 Blu Tirohl, review of Reframing Art, Convergence 1.1
2005 Samantha Spurr, book review of What is Installation?, Performance Paradigm. Journal for Performance and Contemporary Culture, v.1
2002 Mary Eagle, Australian Book Review, 240/23, November,
2002 Gary Willis, book review of What is Installation?, Arena Magazine, June
2002 Merryn Gates, review of What is Installation?, Art Monthly Australia, July, no 151
2002 Natalya Lusty review of What is Installation?, Australian Humanities Review, June
2002 John McDonald, ‘Off the Wall’, Sydney Morning Herald, ‘Spectrum’ Weekend Edition, 16-7 February, 2002, 8-9

Publications: Reviews and Features
2012 Art Monthly, April, review feature, ‘’Syntax of Fetish and Fashion: Love Lace, Powerhouse Museum
Broadsheet, v. 41, #1, feature, ‘Is There Such a Thing as Global Curating?’
2011 Broadsheet v. 40, #3, feature, ‘Transorientalism and the pavilion attitude to attitude to race and identity’
Art Monthly, review, September, ‘’Cultural Juztaposition: Tell Me, tell me: Australian and Korean Art 1976-2011
Eyeline 75, feature, ‘I Think Therefore I Mash’
Eyeline 73, feature, ‘Staying Mumme’
Art Monthly, August, major lead article (with Vicki Karaminas), ‘Crossovers: Art and Fashion’
Broadsheet v.40, #2 (with Adam Hill), feature, ‘Aboriginal Art Diagnostic’
Art Monthly, June, review feature, ‘Photography and Place: Australian Landscape Photography 1970s until now’
Broadsheet, v. 40, #1, feature, ‘Art Apartheid in the South Pacific’
2010 Broadsheet, v. 39, #4, feature, ‘The Australia Effect’
Art Monthly, October, book review, Ed Scheer The Infinity Machine  and Mike Parr, Performances, 1971-2008
Eyeline 72, feature, ‘Doin’ Stuff: Marley Dawson’s Machine-Sites’
Broadsheet, v.39, #3, ‘Conversations to Infinity – A Roundtable on Art Schools and Art Education: Su Baker, Brad Buckley, John Conomos, Adam Geczy (Chair) Nikos Papastergiadis’
Art  Australia, v. 48, #1, review, ‘The 17th Biennale of Sydney’
Art Monthly, July, feature, ‘Remember to Forget the Congo’
Broadsheet v.39, #2, feature, ‘Biennale Baroque’
Eyeline 71, feature, ‘Ian North and the Anti-Picturesque’
Art Monthly, March, review, ‘Making it New’
Broadsheet v.39, #1, feature, ‘The Sordid Fraud of Outsider Art’
2009 Eyeline 70, feature, ‘Better than a hole in the head: the work of Christopher Hanrahan’
Eyeline 70, review, Debra Phillips
Broadsheet, v. 38, #4, roundtable discussion, ‘The Asia Pacific Triennial: A Dialogue’
Artlink 29, no3, review, Ian North, ‘Sail Away
Broadsheet, v.37, #3, feature, ‘Art is not Research’
KB Magazine 16, feature, ‘The Artist Resident: Holidaymaker and Cultural Performer’
Art Monthly, August, review, ‘Korean Dreams’
Art and Australia v.46, #4, book review, Mutant Media by John Conomos
Eyeline 67, review, Twilight Girls’ ‘World Wide Web’
Art Monthly, March, review feature, ‘Monet and the Impressionists’
2008 Broadsheet, v.37, #1, feature, ‘Spectres of Video: The Ends of Video Art’
Stock (, feature, ‘The Art of Being an Artist Writing About Art’;
Art Monthly, July, feature, ‘Humbert or Humbug?’
Broadsheet, v.36, #2, feature, Sanitised Situationism’
Art Monthly, April, interview, ‘The QCP: ongoing analysis and a constant receptivity, an interview with Maurice Ortega’
2007 Eyeline 65, book review, Performance Art in China, by Thomas Berghuis
Broadsheet v. 36, #4, feature, ‘The Prestige: The Blake Prize for Religious Art’
Art Monthly, October, ‘Adventures in Image Permissions’
Broadsheet v. 36, #4, feature, ‘Overdressed for the Prom’
RealTime 80, feature, ‘The New Academicism’
Art Monthly, July, review, ‘The King of Quirk’ (Stephen Birch)
Broadsheet, v. 36 #1, review feature, ‘Revelation of the Brand’;
2006 Art Monthly, Dec-Feb, book review, Juan Davila
Broadsheet, v. 35, #4, review feature, ‘The Ecstasy of St. Juan’
Broadsheet, v. 35, #2, feature, ‘Art and the Loss of Vision’
Art Monthly, April, feature, ‘The Artist, The Thief, The Flag and Sedition’
Eyeline 59, review, Justene Williams, ‘Blue Foto, Red Foto, Green Foto’;
Eyeline 59, eview, Janet Laurence: Retrospective
Art Asia Pacific, 47, profile, ‘Phillip George: Night Vision and the Post-Oriental’;
Art Asia Pacific, 47, review, Kutlug Ataman
Art Asia Pacific, 47, news, Christie’s Auction Results for Aboriginal Art
Broadsheet, v. 35, #1, feature, ‘Blind Ned Leading the Blind’
Broadsheet, v. 35, #1, interview with Sarah Miller
Art Monthly, December-February, ‘Nothing sites outside of the gaze of contemporary art’, interview with Nicholas Tsoutas
2005 Broadsheet, v. 34, #4, feature, ‘Metaresistance’
Art & Australia, 43, no.2, ‘Best shows of 2005’;
Art & Australia, 43, no 2, review, ‘Who’s Afraid of the Avant-Garde 3’
Broadsheet, v. 34, #3, feature, ‘When art is no object’
Art Asia Pacific, 46, profile, ‘At the Limit: William Seeto’
Art Monthly, August, feature, ‘Neo-Medievalism’
Art Asia Pacific, 44, review, Destiny Deacon
Eyeline, 57, feature, ‘Tony Schwensen: Fatwhitestraightbaldguy’
Broadsheet v.43 #1, feature, ‘Hard-core, Soft-core
Eyeline 56, review, two exhibitions of Aboriginal art: ‘Crossing Country’ and ‘Binocular’
Art Monthly, March, review feature, ‘Natural Disasters at Sao Paulo’
2004 Art Monthly, October, review feature, ‘Video Magic at the Performance Space, Sydney’;
State of the Arts, October, feature, ‘Gateway to the Sublime’
Broadsheet v.33, #3, commentary, ‘No Big Picture’ (2004 Biennale of Sydney)’
Eyeline 54, feature, ‘Who’s That Girl? The Work of Fiona Clark’ and review, ‘Witness’
Art Monthly, May, feature, ‘Art, craft and ecology meet at the Styx Forest’
Eyeline 53, review, Brad Buckley
2003 Art and Australia, 41, no.2, review, Zhong Chen
Art Asia Pacific 38, reviews, ‘Liquid Sea’ and Yang Jiechang
Art Monthly, September, feature, ‘Recent political art exhibitions in Australia’
Eyeline 51, review, Dennis Del Favero, ‘Sotto voce’
Art Monthly, July, feature, ‘Art Training’
Art and Australia, 40, no.4, review, ‘Picasso: the Last Decades’
Broadsheet, 32, no.1, review, Yang Jiechang
Artlink 23, no.1, interview, ‘Mike Parr: Close the Concentration Camps
Eyeline 50, review, Alex Gawronski
RealTime 53, feature, ‘Mike Parr: Internet Performance’,
2002 Art Monthly, November, feature, ‘What’s the point of painting these days?’
Art Asia Pacific 36, essay, ‘The Jewel is Any Event. The Installations of Lindy Lee’;
Art & Australia, v.40 #1, ‘Self-Portrait’;
Eyeline 48, article, ‘New Media: New Megalomania?’;
RealTime 50, feature, ‘Art is a rigorous practice’;
Art Asia Pacific 34, review article ‘Buddha’
Art Asia Pacific 34, review, Dacchi Dang;
Art Monthly, July, review feature, ‘Crypto-realism’
Postwest 20, feature, ‘Symbolism, Not Symbols: The Art of Eugenia Raskopoulos’
RealTime 47, feature, ‘ZKM, Sydney and the Art and New Media Detente’
2001 Art and Australia, v.39, #2, essay: ‘Simone Mangos—Anti-monuments and quiet memorials’;
Art and Australia, review, Australian Art by Andrew Sayers
Art Monthly, December, feature, ‘What’s New in New Media, And what do we see in video?’
RealTime 45, review, ‘Space Odyssesys: light visions’
Art Monthly, August, ‘The Same Old Song?’
Postwest 18, review, ‘World Without End’
2000 Postwest 17, book review, Jean Baudrillard by Rex Butler;
Cordite 6 & 7, lead feature, ‘Between Virtue and Innocence. On Prose Poetry, Tableau and Imagistic Fiction’,
Postwest 16, feature, ‘Some Sensations We’ve lost’
Object, 2:00, feature, ‘Handheld Gardens’ (on Toni Warburton)
1999 Object 1:99, review, The Eleventh Biennale of Sydney;
Postwest 14, ‘Djamu Gallery: Some Thoughts on Exhibiting Aboriginal Art’
Art Monthly, August, ‘Cindy Sherman’s Melancholy’
Real Time August-September, feature, ‘Art and Politics: A Tautology’
Postwest 15, Book review of Photofiles, An Australian Photography Reader,
Art Monthly, December-Feb 2000, feature, ‘Right Answers, Wrong Questions’
1998 Art Monthly, November, review feature, The Eleventh Biennale of Sydney
Eyeline 35, feature, ‘Pristene Silence, the work of Christine Morrow’
Art Monthly, August, ‘Not so Fine Art’
1997 Eyeline 34, feature, Janet Shanks;
Eyeline 34, review, Jane Gallagher
Art Monthly, September, review feature, ‘Drift’
Eyeline 33, review feature, ‘Spirit & Place’
1996  Eyeline 30 review, Robert Pulie
Artlink  16 #1, feature, ‘Art After Auschwitz after Bosnia, The Work of Dennis Del Favero’
Eyeline  29 review, Sebastian Di Mauro and Fay Aldred;
Agenda  41, review, Felicia Kan
1994 Agenda  35 review, ‘Perspecta 1993’
1993 West 6/7 feature, ‘Infinite Riches in a Little Room’
1992 Agenda 26/7 review, Hany Armanious
Eyeline 19 review, Stephen Little ‘Brace’
Agenda  24 feature,  'The Craft of Painting'
1991 Agenda 20/21  feature, ' Politics and Craft. Another Fable'
Agenda 19 review, Stephen Little, 'Maxim'
Eyeline  16  review, Helga Groves, 'Cutting From Soft Stone'
Eyeline  16  review, 'Everyone's A Critic'
Eyeline  15  feature, on Nike Savvas, 'Quantifying New Colours'
Agenda  18  review, Rex Butler's  'Banal Art'
Crafts  3 review, 'Transit Zone';
South Australan Crafts  essay, reply to papers given at artist's week by Grace Cochrane and Sylvia Kleinert;
Eyeline  14  essay, 'Thinking, Writing, Speaking, Representing: The Gulf War’; review,  Elizabeth Pulie and Rosemary Laing
Eyeline 13 review, David Godbold
1990 Agenda  14  feature, 'The Armature of Art'
Tension 23  review, Ruby Davies
Photofile 31 review, Ara Koopelian
Agenda 11  feature, 'Against Formalism, The Politics of Nominalism'
Eyeline 11  review, Matt Feeney;
Eyeline 11  review, Nicole Mather, E.G. Pickard, Nike Savvas

Other events 

2012 (Forthcoming) ‘One Thousand Churches’, Croxhapox, Ghent, Belgium (see also above solo exhibitions)
2011 ‘Breed of the Dead II’, Municipal Museum, Györ, Hungary
2011 ‘Breed of the Dead’, Chalkhorse Gallery, Sydney
2010 ACP4 (with Thomas Gerwin), concert at Kulturhaus Mitte, Berlin
2010 PechaKucha event at SuperDeluxe@Artspace for the 17th Biennale of Sydney
2010 ‘Remember to Forget the Congo’, Croxhapox, Ghent, Belgium
(see also above solo exhibitions)
2008 ‘Toasting the World Food Crisis with a Bottle of Dom Perignon’, Croxhapox, Ghent, Belgium
2008 Farb_lautbewegt (with Iris Sputh (dance) and Thomas Gerwin (sound)), Weddingsalon, Berlin; Teehaus im Englischen Garten, Berlin
2008 ACP4 and Chamber Ensemble (14 musicians); music Thomas Gerwin, video Adam Geczy, Minimal Music Festival, Kassel, Germany
2006 ‘Party Lines’, 4th Dadao Live Art Festival, Beijing, China

Selected Collaborative Exhibitions
2013 (Forthcoming) ‘Bomb’ (with Adam Hill), Aboriginal Art Museum, Utrecht (AAMU), Holland
2012 ‘With Eyelids Cut Off’ (with Liam Garstang), Wagga Wagga Art Gallery NSW, and Riddoch Gallery, Mt Gambier South Australia
2011 ‘An Unnatural History of Nature (with Jan Guy), Hazelhurst Gallery, Sutherland, Sydney
2010 ‘Ceramic Surgery’ (with Jan Guy), Criterion Gallery, Hobart
2009 Australia - the Trailer (with Adam Hill), 24HR Art, Darwin
2006 ‘Intermix’ (with Thomas Gerwin), Areal28, Berlin
2005 ‘From a Remote, Lonely Place (Port Arthur Elegy)’ (with Peter Sculthorpe), Criterion Gallery, Hobart
2004 ‘A Remote, Lonely Place (Port Arthur Elegy)’ (with Peter Sculthorpe), Carnegie Hobart City Gallery; Hobart Summer Festival
2004 ‘The Mass Psychology of Fascism, Zip-a-dee-doo-dah, Zip-a-dee-ay (Geczy/Parr: with Mike Parr), Monash Faculty Gallery, Melbourne
2004 ‘The Mass Psychology of Fascism, Zip-a-dee-doo-dah, Zip-a-dee-ay (Geczy/Parr: with Mike Parr), Art Gallery of NSW, Sydney
2003 ‘Film noir, politique blanche ("this, my son, is your father")’ (Geczy/Parr: with Mike Parr), Queensland College of Art Gallery, Griffith Artworks, Brisbane
2003 ‘Film noir, politique blanche (version 3)’ (Geczy/Parr: with Mike Parr), Perth Institute of Contemporary Art, Perth
2003 ‘Film noir, politique blanche (version 2)’ (Geczy/Parr: with Mike Parr), Experimental Art Foundation, Adelaide
2003 ‘Film noir, politique blanche (version 1)’ (Geczy/Parr: with Mike Parr), Performance Space, Sydney
2002 ‘Dead Flow’ (with Thomas Gerwin), Artspace, Sydney
2001 ‘Entfaltung [Enfolding/Unfolding]’ (with Rainer Dunkel and Thomas Gerwin), Festspielhaus Dresden-Hellerau
1993 ‘Love(ly)  Things 2’ (with Greg Healey), Experimental Art Foundation, Adelaide
1992 ‘Love(ly)  Things’ (with Greg Healey), First Draft West, Sydney

2011 Artist Symposium (lead artist) Városi Müvészeti Múzeum, (Municipal Museum of Art), Györ, Hungary
2011 Old School House Residency, Hrisey, Iceland
2011 (Visiting Professor) Sint-Lukas Akademie, Ghent, Belgium
2009 (Visiting Professor) Architecture Faculty, István Széchenyi University, Györ, Hungary
2008 MAPRA (Maison Arts Plastiques des Rhône-Alps) Residence, Lyon, France
2008 NOASS, Centre for Art and Culture, Riga, Latvia
2007-8 Foundation Obras Art, Evoramonte, Alentejo, Portugal
2007 Tou Scene, Stavanger, Norway
2006 (principal artist’s residency) Power Institute of the University of Sydney Artist’s Residency at the Cité Internationale des Arts, Paris
2006 Experimental Intermedia, Ghent, Belgium
2005 Artist-in-Residence, Orivesi College of Art, Finland
2005 Artist-in-Residence, John Paul College, Coffs Harbour, NSW
2005 Gunnery Studio Residency, NSW Ministry for the Arts, Artspace, Sydney,
2004 Kolin Ryynänen (Koli Cultural Centre), Finland
2000-1 Visual Arts Board of the Australia Council Grant: Artist’s Studio Fellowship at the Künstlerhaus Bethanien, Berlin
2000-1 Artist-in-Residence, Australienzentrum, the University of Potsdam, Germany

beautiful_cities_Adam_Geczy.jpg – from Beautiful Cities 
Buried_Alive_Adam_Geczy.jpg – from Buried Alive