Mark Dion

Mark
Dion

Mark Dion
Paris Streetscape, 2017
Fer, bois, animaux empaillés et divers matériaux
190 x 150 x 250 cm
Unique artwork
Exhibition view "Dioramas", palais de Tokyo, Paris

Mark Dion
Paris Streetscape, 2017

Mark Dion
The Wondrous Museum of Nature, 17.12-17.09.17
Kunstmuseum St.Gallen, Switzerland
Exhibition views
Unique artwork

Mark Dion
The Wondrous Museum of Nature, 17.12-17.09.17

Mark Dion
ExtraNaturel / Un projet de Mark Dion at Beaux-Arts de Paris 2016
Unique artwork
© Mark Lyon / Galerie in situ - Fabienne Leclerc, Paris

Mark Dion
ExtraNaturel / Un projet de Mark Dion at Beaux-Arts de Paris 2016

Mark Dion
Souvenir from Mysterious Seas, 2015
Vitrine de verre et laiton, objets en papier mâché, peinture fluorescente
20 x 77 x 40 cm
Unique artwork
© Rebecca Fanuele

Mark Dion
Souvenir from Mysterious Seas, 2015

Mark Dion
Exhibition view - The Trouble with Jellyfish - Le Laboratoire, Cambridge (USA), 2015
Unique artwork
© Le Laboratoire, Cambridge

Mark Dion
Exhibition view - The Trouble with Jellyfish - Le Laboratoire, Cambridge (USA), 2015

Mark Dion
Exhibition view - FUTURE HISTORIES, Mark Dion and Arseny Zhilyaev, Fondation VAC, Casa dei Tre Oci / Giudecca - Zitelle, Venise
till 23 August 2015
Unique artwork
© Galerie in situ - Fabienne Leclerc, Paris

Mark Dion
Exhibition view - FUTURE HISTORIES, Mark Dion and Arseny Zhilyaev, Fondation VAC, Casa dei Tre Oci / Giudecca - Zitelle, Venise

Mark Dion
The Unruly Collection, 2015
Wooden cabinet, luminescent paint and 43 papier mâché sculptures
220 x 250 x 30 cm
Unique artwork
© Sebastiano Pellion

Mark Dion
The Aquatic Realm, 2014
India ink on paper
40,1 x 30 cm ( 41,5 x 31,5 cm framed )
Unique artwork
Signé et daté

Mark Dion
The Demon Net, 2014
red and blue pencil on paper
203 x 30,5 cm not framed (36,5 x 43 cm with frame)
Unique artwork
Signé et daté
Private Collection, Hong Kong

Mark Dion
Harbingers of the Fifth Season, 2014
Red and blue pencil on paper
22,8 x 30,6 cm (36 x 42,5 cm with frame)
Unique artwork
Signé et daté
© Raphael Fanelli

Mark Dion
The problem with Jellyfish - Jellyfish salon Le laboratoire - Paris, 2014
Red and blue pencil on paper
22 x 30 cm ( 36,5 x 43,5 cm framed )
Unique artwork
Signé et daté

Mark Dion
200 Years / 200 Objects : A project for the Royal Edinburgh Hospital, 2013
Red and blue pencil on paper
36 x 43,5 cm, with frame
Unique artwork
Signé et daté

Mark Dion
The Misanthropes, 2013
Red and blue pencil on paper
30,3 x 22,6 cm unframed (42,5 x 35 cm with frame)
Unique artwork
Signé et daté
Public Collection, France

Mark Dion
The Black box (détails), 2013
Metal and glass cabinet, painted objects, black light
180 x 200 x 70 cm
Unique artwork
© Marc Domage
Galerie In Situ - fabienne leclerc, Paris

Enquiries about work INV Nbr. MD1309002

Mark Dion
Underworld Hall, 2013
Various objects, fluorescent paint, black light
Unique artwork
Galerie In Situ - fabienne leclerc, Paris

Enquiries about work INV Nbr. MDI1402003

Mark Dion
The Medecine Cabinet of Mystery, 2013
Wooden shelf with door, various objects, key, ribbon and reproduction on cardboard
70 x 47 x 20 cm
Unique artwork
Galerie In Situ / Fabienne Leclerc, Paris

Mark Dion
The Macabre Treasury - Exhibition views, Museum Het Domein, Sittard, the Netherlands, 2013
(curated by Roel Arkesteijn)
Unique artwork
Signé et daté

Mark Dion
The Macabre Treasury - Exhibition views, Museum Het Domein, Sittard, the Netherlands, 2013

Mark Dion
Packages, 2013
Wood and glass vitrine, mixed packages
190 x 200 x 60 cm
Unique artwork
Private Collection, South Africa

Enquiries about work INV Nbr. MDI1213001

Mark Dion
Packages, 2013

Mark Dion
Exhibition view - Nouveau Musée National de Monaco, 2011
Oceanomania - Souvenirs of Mysterious Seas
Unique artwork
Public Collection, NMNMonaco

Mark Dion
Exhibition view - Nouveau Musée National de Monaco, 2011

Mark Dion
The Dark Museum , 2011
Wooden structure, carpet and mixed media (Komodo)
300 x 440 x 420 cm
Unique artwork

Mark Dion
Untitled cabinet, 2011
DETAIL
Papier mâché objects, glass vitrine, velvet
Unique artwork
l'artiste & Galerie In Situ - fabienne leclerc, Paris

Enquiries about work INV Nbr. MDI1403001

Mark Dion
Dragon, 2011
Komodo, plastic, iron structure and mixed media
136 x 266 x 100 cm
Unique artwork

Mark Dion
Dragon, 2011

Mark Dion
The Shooting Gallery, 2010
Wood furniture, soft toys, objects in clay and papier maché (birds and rabbits), fabrics, carabine and drawings
240 x 158 x 37 cm
Unique artwork

Mark Dion
The Shooting Gallery, 2010

Mark Dion
Arabesques Rarities, 2010
Glass case, brass and three compartments of wood on the base, mirror, clay and paper mache
146 x 236 x 105 cm
Unique artwork
l'artiste & In Situ - fabienne leclerc, Paris

Mark Dion
Arabesques Rarities, 2010

Mark Dion
The tropical Collectors (Bates, Spruce and Wallace), 2009
Different storage materials, containers, bags, sticks, jars and sand
Variable dimensions
Unique artwork

Mark Dion
Ship in a bottle (Cabrillo way Marina LA), 2009
Crayon rouge et bleu sur papier
15,3 x 15,3 cm non framed (27,7 x 26,5 cm wih frame)
Unique artwork

Mark Dion
Ship in a bottle (Cabrillo way Marina LA), 2009

Mark Dion
Iceberg and Palm Trees, 2007
Teddy Bear, tar, plastic plant, turnbuckles, aluminum box, case
330 x 100 x 150 cm
Unique artwork
Public Collection, The Netherlands
l'artiste & In Situ - fabienne leclerc, Paris

Enquiries about work INV Nbr. DIO..01681

Mark Dion
Naturgeschichte des Museums from Pfaffikon, 2007
Wooden box, collage, various objects
30 x 34 x 6 cm
Unique artwork
Exibition view, Punta del Este 2015, Uruguay

Enquiries about work INV Nbr. DIO..00195

Mark Dion
Fieldwork IV, 2007
mixed media installation
213 x 182 x 853 cm
Unique artwork

Mark Dion
Fieldwork IV, 2007

Mark Dion
La fontaine, 2007
Various materials (containers, pallets, stuffed animals, painting ...)
150 x 200 x 80 cm
Unique artwork
Public Collection, Italy
l'artiste & In Situ - fabienne leclerc, Paris

Enquiries about work INV Nbr. DIO..01073

Mark Dion
Department of Tropical Research, dimension variable, 2005
Various objects
298 x 340 x 250 cm
Unique artwork
Public Collection, France
l'artiste & In Situ - fabienne leclerc, Paris

Enquiries about work INV Nbr. DIO..00419

Mark Dion
Library for the birds - Massachusetts, 2001-2007
Wood, metal structure, books and birds
400 x 240 x 240 cm
Unique artwork
© Marc Domage
L 'artiste & Galerie in situ - Fabienne Leclerc, Paris

1/33

Mark Dion is an American artist who metamorphoses into an explorer, biochemist, detective and archeologist.

In his gallery installations around Europe and America since the 1980s, Dion has constructed the laboratories, experiments and museum caches of the great historical naturalists, following in their footsteps in his own adventurous, eco-inspired journeys to the tropics.

His research and magical collections are presented in installational still lifes which combine taxidermic animals with lab equipment with artefacts, like walk-through Wunderkammers, life-sized cabinets of curiosity.

Born in Massachusetts in 1961, Dion currently lives in New York City. He received a BFA and an honorary doctorate from the University of Hartford School of Art, Connecticut in 1986 and 2003, respectively. He also studied at the School of Visual Arts in New York from 1982-84, and participated in the Whitney Museum of American Art’s Independent Study Program from 1984-85. He has received numerous awards, including the ninth annual Larry Aldrich Foundation Award (2001) and the Smithsonian American Art Museum's Lucida Art Award (2008).

Throughout the past two decades, his work has been the subject of major exhibitions worldwide. Notable solo exhibitions include The Macabre Treasury at Museum Het Domein in Sittard, The Netherlands, (2013), Oceanomania: Souvenirs of Mysterious Seas at Musée Océanographique de Monaco and Nouveau Musée National de Monaco / Villa Paloma in Monaco (2011), The Marvelous Museum: A Mark Dion Project at Oakland Museum of California (2010-11), Systema Metropolis at Natural History Museum, London (2007), The South Florida Wildlife Rescue Unit at Miami Art Museum (2006), Rescue Archaeology, a project for the Museum of Modern Art (2004), and his renowned Tate Thames Dig at the Tate Gallery in London (1999).

In 2012, his work was included in dOCUMENTA 13, curated by Carolyn Christov-Bakargiev in Kassel, Germany, and has also been exhibited at MoMA PS1 in New York, Guggenheim Bilbao in Spain, Minneapolis Institute of Art in Minnesota, Arp Museum Bahnhof Rolandseck in Remagen, Germany, and Kunsthaus Graz in Austria.

Mark Dion, Drawings, Journals, Photographs, Souvenirs and Trophies 1990, 2003
Catalogue édité par The Aldrich Museum of Contemporary Art, 2003

INTERVIEW WITH MARK DION, par Bree Edwards

MOBY-DICK begins with Ishmael boarding the Peguod in New Bedford, Massachusetts, the birthplace of Mark Dion, an adventurer of a later age. As Ishmael?s diary unfolds, the reader learns of other concurrent journals: Ahab?s log, the picture book of tattoos that Queequeg?s skin comprises, and the verbal accounts of Moby-Dick sightings yelled across the bows of passing ships. Accompanying Mark Dion on his trips around the globe have been his sketchbooks, scrapbooks and journals. Like the elusive whale in Herman Melville?s epic, these books have rarely been seen. I had the opportunity to examine them at The Aldrich Museum of Contemporary Art on a rainy Thursday this past October. Sifting through the forty or so volumes that he has loaned to The Aldrich for this exhibition, I encountered a complex mixture of drawings, media clippings, quotes, and writing. Several weeks later I met with the artist in New York for this interview.

Bree Edwards: Working the way you do, creating site-specific installations, requires a great deal of travel. In the absence of a studio, your sketchbooks have effectively become portable studios out of which you work and to which you return on a daily basis. How do you observe the world when you are on the move?

Mark Dion: Travel is a major element of my life; half to two-thirds of any year is spent on the road. Being a nomad has shaped my perspective on nature, on the United States, and on our particular historical moment. The cliché has proven true for me ? that it is only possible to have insight into and make keen observations about your society from outside of it. It gives you an opportunity to examine your culture with a different kind of acumen.
I travel in two distinct ways: the most frequent is work-related for exhibitions, projects, or to lecture. The other kind of travel is that which I do for myself, which gives me pleasure and allows me to reconnect with the things I care the most about. Only during these trips to remote tropical forests, or arctic zones, do I keep travel journals. Since the places I travel to can be overwhelming, the journals allow me to make observations that can be unpacked later. They allow me to plant a conceptual seed, or phrase, that can be harvested later.

B.E. : Many of your of your drawings in these sketchbook are made using a specific type of pencil: a two-tipped pencil in which a red and a blue lead share the same shaft. What is it about this antiquated draftsman?s tool that resonates with your drawing process?

M.D. : It goes back to when I really started drawing, which was when I was working in Paris on Extinction, Dinosaurs and Disney: The Desks of Mickey Cuvier (1991). The exhibition was concerned with the comparative anatomist Georges Cuvier and the hysteria that was created in France over Euro-Disneyland, which was seen as a culturally catastrophic event, perhaps an irreversible attack of consumerist American culture On European values. 1 took an arbitrary figure from history, Georges Cuvier, who was enormously influential in the history of the biological sciences, and treated him in the way
Disney would deal with a character from history or fiction. Similar to how they raid a story like The Hunchback of Notre Dame or The Legend of Sleepy Hollow and re-write it according to their own system of values. It was an installation of four works and each involved collecting incredibly diverse and rare things, difficult things to find. When trying to find an ammonite fossil or an hourglass, for example, not being able to speak the language, I used drawing as a way to let the people I was working with know what I was looking for: «I need a chair that looks something like this, and I need this thing which is called an hourglass in English.» The drawings communicated a sense of what the final installation was to look like in a language that is very accessible. That is why the drawings are always so extremely generalized. I am looking for particular elements for the installations, but there is a range to that specificity that is flexible.
Then there is the economy of having two pencils in one while you traveling ? you can travel with only half the number of pencils. The red and blue also gives you a way to distinguish foreground and middle ground. Also, these particular pencils have a very soft lead so you cannot render detail with them. They are not flexible drawing tools, and that really suits what I need to do with them. I do not want the drawings to be finicky ? I do not want them to be very masterful in the sense that there be a level of virtuosity that could, in some ways, take over how they generate meaning and how they function practically. The drawings are tools, something between a list and a sketch. They help me compose an installation or sculpture, as well as assist me in translating how a work will actually look to the people (curators, fabricators, assistants, writers) who need to understand the work before completion. For me the essence of what I do as an artist exists between the sketchbook and the finished red and blue drawings. That is where all the formal and conceptual aspects are resolved. After I have completed the drawings any competent person can assemble the work.

B.E. : Your scrapbooks are much more intimate than the notebooks. They?re not as much of a tool to communicate with the outside world.

M.D. : The scrapbooks come from needing a reference book for drawings. I have a large collection of nineteenth-century prints and Dover books, which help in terms of drawing references, but those sources do not have all the things I need to draw. I will never be able to find the various dimensions of Tupperware by looking in a Dover book, but a cutout ad from Wal-Mart will help me do that. Or if I am drawing an Ichthyosaur, a prehistoric beast that looks a bit like a dolphin. I can refer to seven or eight pictures of dolphins washed up on the beach.
I also use them to help me create a sensibility. The scrapbooks function very pragmatically for me : they are not tools for me to communicate with other people; they are tools to help me get to the stage where I can communicate.

B.E. : In one scrapbook there is a clipped photo of dumpsite full of multi-colored plastic bottles. This image reappears in the New England Digs catalogue with you standing a stop a very similar pile of plastic bottles, as if you had restaged the clipping. If I were to select a page or two from your scrapbooks for us to talk about, I would select this one. Looking at this page, it seems as if there is an underlying narrative in which, say, «man interferes with nature.»
How conscious is the construction of each page?

M.D. : Before I take my magazines out for recycling I go through them and cut out all the images I am interested in. I put these clippings in a general envelope and then more, or less curate that envelope into these pages. Sometimes I might save up material for six months before I get the chance to put it together. There is a crazy taxonomy to it. The scrapbooks also chart developments in my personal perspective and field of discourse. Their composition relies on what I?m obsessing about at a particular moment.
The scrapbooks are very grim; they reflect what I am attracted to. The morbidness of them and the pessimism that is reflected in them is an aspect of my thinking about the things that I make my work about. If you were to arrange the scrapbooks in chronological order they would show this. Sometimes I find them a little bit scary. If my child made scrapbooks like this he would earn himself a trip to the psychologist?s office. Perhaps scrapbooks are inherently disturbing; I find Joseph Cornell?s scrapbooks very unsettling.

B.E. : Once you mentioned that in high school you worked on the yearbook, which is a type of scrapbook. So, were you scrapbooking before you started keeping an artist?s notebook?

M.D. : I made scrapbooks when I was very young by cutting up my mother?s National Enquirer, Weekly World News and TV Guide, which were basically the only publications in the house. I would also buy Famous Monsters of Filmland and make humorous, fantastical scrapbooks. Godzilla was my boyhood idol.

B.K. : This sensibility also comes across in your installations.

M.D. : Keeping a scrapbook was an activity that no one really taught me, but it was something I always seemed to do. More than, say, traditional skills like drawing or sculpting.

B.E. : Your notebooks are evidence of the process by which you have taught yourself. It is almost as though you have created your own rulebooks.

M.D. : Yes, I think that?s true. They even literally started at school : on the first day of class at the University of Hartford, my professor, Chris Horton, said, «It is important that artists keep a sketchbook.» And, being a dutiful student, from that day on I can honestly say I have kept one. It has been the single most useful thing I learned from art school. These books have become critical to the way I work out ideas. They help me keep alive many of the core ideas that I began working with, ideas that I keep spinning back to even though I take detours. I am always going back to the main root of my interests, which is the problem of the representation of nature and what that could mean today, seen through what that has meant in the past.

B.E. : Your work unfolds over time and one piece often responds to a prior piece. Have there been ideas that you have rescued from the notebooks that at one time seemed unsuccessful?

M.D. That happens constantly. Through the notebooks I establish vocabulary, but there is also a process of forgetting, and through the notebook I am able to go back and refresh that vocabulary and change those definitions and see how the ideas have progressed. You cannot think the same thoughts for fifteen years, you move on. The notebooks help chart how much or little the ideas have moved on, or what directions they have gone in.

B.E. : How does it feel for these books to be made public?

M.D. : I did not plan on ever showing them. I am very shy about many aspects of them; they are personal in many ways. I?m a horrendous speller, for instance. There are a lot of pieces articulated in the notebooks that do not get made and there are good reasons for why they do not get made ? they?re not very interesting or successful.
At the same time, today I was at the Metropolitan Museum of Art in the Drawing and Print Collection and half of the drawings we were looking at came out of sketchbooks. These are drawings that were never intended for exhibition and yet they generate knowledge in a very compelling way. Sometimes it is much more interesting to see unfinished works or unsuccessful works : they give you a window into an artist?s methodology in a way that a polish piece does not necessarily do.

B.E. : You have also kept small books fined with lists of birds you have seen. Why did you keep such records?

M.D. : When you first become a bird watcher it?s like when you first become a runner; there is a period of excessive enthusiasm. I think the lists reflect this period in some way; however, I am very interested in creating records of time. It is fascinating to me that someone would be making lists of birds that within one generation it won?t be possible to make again. You can still see a wood thrush in New York City. Will we be able to say that in twenty-five, fifty, or one hundred years? Perhaps bird watching is the perfect obsession in a crisis period for bio-diversity, for the end of nature.

B.E. : Many artists have used a sketchbook to describe their surroundings. You do not seem to draw from nature in this way.

M.D. : Only in the series of watercolor postcards I make while traveling. I will take common insects and plants, maybe even minerals, and do fie1d sketches and then send them off as postcards. If they arrive, they arrive, and if they don?t? that is also an element of it. They develop a patina and take quite a beating in transit. If you are sending a postcard from Borneo it is likely it will be rained on, or the corners will be bent, or it may never arrive, or any of a series of things can happen to it. It might get dropped in the New York City post office and get a footprint on it; it can get stuck in a machine; it can get a postage labe1 added to it. These are similar to the bird lists in that I am quite literally describing what is around me in a very common way.

B.E. : You often use groups or piles of books in your installations. Are you bibliographies in the form of sculptures?

M.D. : It is a bibliography, but the books are always more than just objects. Essentially the books are iconic elements for a body of ideas. With a certain kind of economy you can introduce a notion like Romanticism into a work by including a handful of books, or you can use them to indicate the process of argument and counter-argument. In many pieces, the books that are selected represent a spectrum on an issue.

B.E. : Have you ever made a list of all the books you have used? .

M.D. : Yes I made a list for Simon Morris?s project Bibliomania. There are certain books that I use very often. Books like Aldo Leopold?s A Sand County Almanac (1949), Silent Spring (1962) by Rachel Carson, Paul and Anne Erlich?s book on extinction, Letters of John James Audubon, 1826 ? 1840 (1930). I am a bibliophile : I have calculated that, easily, I buy a book a day. And that is just counting the books that I keep, not those that I use in the installations. I love books for the way they are supposed to function, but I love books as objects as well. I think that there are a handful of books that are like my vocabulary and they are always going to be in these pieces. It is hard to imagine making works that wouldn?t include them because they are the baseline from which I work.

B.E. : The computer and the video camera have, for many artists, replaced the pencil and the sketchbook. Is it essential to you that your books and your working process remain low-tech?

M.D. : It is important in terms of the way I can make use of these books. They are tools to help me develop ideas and techniques. One of the things that drive me crazy about digital technology is that so many things can go wrong. The immediate retrievability of a book, that I can have access to it anywhere, is also important to me. A few weeks ago, on the street corner, I unexpectedly ran into the architects I am working on a project with. In less than thirty seconds, right there, I opened my sketchbook and updated them on our project. It is also true that I can work on the books anywhere; I do not need access to anything more than a pencil sharpener and an eraser. I think you cannot improve on something that is that simple.

Bree Edwards is a student at the Center for Curatorial Studies at Bard College and lives in New York.

Solo exhibitions

2018

Victoria & Albert Museum, Londres, UK

Whitechapel Gallery, Londres, UK

2017

The Wondrous Museum of Nature, Kunstmuseum St.Gallen, Switzerland
Mark Dion: Misadventures of a 21st-Century Naturalist, Institute of Contemporary Art Boston, Boston MA

2016
Mark Dion: Fieldwork IV, Cairn Centre D’Art, Digne-les-Bains, France
Wayward Wilderness, Marta Herford, Herford, Germany
Against the Current, Ormston House, Limerick, Ireland
Library for the Birds of New York and Other Marvels, Tanya Bonakdar Gallery, New York, USA
Reconnaissance, Wounters/ Waldburger, Brussels
Recent Mischief, Ruffin Gallery, Richmond, VA, USA
The Universal Collection, The Frances Lehman Loeb Art Center, NY, USA
Extra Natural, Curated by Sarina Basta, Palais des Beaux-Arts, Paris, France

2015

Mark Dion, Museum Marta Herford, Germany
The Trouble with Jellyfish (Mark Dion with Lisa-Ann Gershwin), Le Laboratoire, Cambridge, USA
Future Histories, curator Magnus af Petersens, Casa dei tre Oci, Venice, Italy
The Lost Museum: A Project of the Jenks Society, Department of Social Humanities, Brown University, Providence, USA
The Academy of things, The Academy of Fine Arts Design, Germany
The Octagon Room on long-term view at Massachusetts Museum, USA

2014
Cosmographia : selected works on paper, 1991-2014, Galerie In Situ - fabienne leclerc, Paris
The Academy of things, HfBK Dresden, Germany

2013
The Octagon Room, installation au Massachusetts Museum of Contemporary Art
The Macabre Treasury, (cur : Roel Arkesteijn) Museum Het Domein, Sittard, the Netherlands
Mark Dion, Tanya Bonakdar gallery, New York
The Pursuit of Sir William Hamilton, Museo Pignatelli, Napoli, Italie

2012
Mark Dion Twenty One Years of Think in Three Dimensions, Galerie Christain Nagel, Berlin
Troubleshooting, USF Contemporary Art Museum, Tampa (FL), USA
Fresh Skulpture (in collaborations with Dana Sherwood), Georg Kargl, Vienne, Autriche (24/01-10/03/12)

2011
Oceanomania, Souvenirs from A Mysterious Sea, from the Expedition to the Aquarium, Musée océanographique de Monaco, Monaco
The Marvelous Museum, Oakland Museum of California, Oakland, USA
The South Florida Wildlife Rescue Unit, Miami Art Museum, FL, USA

2010

Travels of William Bartram, Tanya Bonakdar Gallery, New York, USA

A World For The Spoiling, In situ fabienne leclerc gallery, Paris, France

Presidio Habitats, SITE Foundation & The Presidio, San Francisco, USA

The Amateur Ornithologist Clubhouse, EMSCHER KUNST, European Capital of Culture, Ruhr, Germany2009
Zwischenzonen, la coleccion jumex, MUMOK, Mexico, Mexico
Permanent installation for the Springhornhof Institute of Neolithic Archeology, Kunstverein Stiftung Springhornhof Neuenkirchen, Germany
Le départment archeologique des recherches archeologiques subaquatiques et sour-marines du Musée d'Arles et de la Provence antiques, Musée departmental Arles antiques, Arles, France
Permanent public garden installation at The Toolie St. Hanging Garden, London, UK
Concerning Hunting, Herbert Gerisch-Stiftung, Neuemunster, Germany; Kunsthalle Krems, Krems
Mark Dion, Kunsthalle Krems, Krems-Stein, Austria
Marc Dion: Collected Editions 1984 - 2009, Trisolini Gallery, Baker University Center, Ohio, USA

2008
Inspired by the Wagner: Mark Dion speaks on his Work, The Wagner free Institute of Science, Philadelphia, PA, USA
Artists on Artists Lecture Series: Mark Dion on Robert Smithson, Dia Art Foundation, New York, USA
Mark Dion: travels of William Batram-reconsidered, Atlantic Center for the Arts, New Smyrna Beach, Florida, USA
Concerning Hunting, Galleria Civica di Modena, Italia
Concerning Hunting, Kunstraum Dorndirn, Austria
Mark Dion: Maquettes, Goodwater Gallery, Toronto
Concerning Hunting, Aarhus Kunstbygning, Denmark
Bartrams travels reconsidered, Bartram?s Garden, Philadelphia, USA
Art Unlimited, ArtBasel, Switzerland
Maquettes, Goodwater gallery, Toronto, Canada
The Octagon Room, Tanya Bonakdar gallery, NYC, USA

2007

Kunstraum Dornbirn, Dornbirn, Austria

Library for the birds of Paris and other fables, Université de Paris 1, Galerie Michel Journiac, Paris, France

Systema Metropolis, The Natural History Museum, Londres, UK

Tooley Street Hanging Garden (commission in collaboration with Gross Max), London, UK

Buchsdom Tower (commission), Schlossgravnik, Austria

Le bureau des fondateurs, Musée de la chasse et de la nature (permanent exhibition), Paris, France

The Natural History of the Museum, Seedamm Kulturzentrum, Pfaeffikon, Switzerland

The Natural History of the Museum, Dunkers Kulturhus, Helsingborg, Sweden

The Natural History of the Museum, Carré d'Art, Musée d?art contemporain de Nîmes, France

Neukom Vivarium, Olympic Sculpture Park, Seattle, USA

Maquettes, Goodwater Gallery, Toronto, Canada

Memorial to Thomas Bewick, St Michael's Church, Newcastle upon Tyne Public Art Project, Newcastle, UK

Salon Jacqueline Sommer, Musée de la Chasse et de la Nature, Paris, France

2006

The South Florida Wildlife Rescue Unit, Miami Art Museum, Miami, USA

Dundee Bear Broch, Camperdown Wildlife Center, Dundee, UK

Manchester Museum, UK

Microcosmographia, The Harris museum and art gallery, Preston, USA

Microcosmographia, Oriel Mostyn, Llundudno, WalesBureau of the Center for the Study of Surrealism and its Legacy, The Manchester Museum, UK

Neotropic (with Bob Braine), Galerie inSITU, Paris, France

2005
Projects 82: Mark Dion rescue Archeology, MOMA, New York, USA
The brazilian Expedition of Thomas Ender Reconsidered, Akademie Der Bildenden Kunst, Wien, Austria
Art Unlimited 2005, In SITU Gallery from Paris, Basel, Switzerland
Bureau of the Center for Study of Surrealism and its Legacy, Manchester Museum, UK
Mark DION, Château d'Oiron, Oiron, France
Microcosmographia, South London Gallery, UK, Firstsite ; Colchester, UK
The Curiosity Shop, Tanya Bonakdar Gallery, New York, UK
Memento Mori (My Glass is Run), Aldrich Contemporary Art Museum, Ridgefield, CT
Dundee Bear Broch, Camperdown Wildlife Center in cooperation with Dundee Contemporary Arts, Dundee, Scotland

2004
Projects 82, Rescue Archaeology, A Project for The Museum of Modern Art, Museum of Modern Art, New York, USA
Office for the Center for the Study of Surrealism and its Legacies, Manchester Museum, UK
Universal Collection, Historisches Museum, Frankfurt am Main, Germany
American Politics, Galerie Christian Nagel, Berlin, Germany
Drawings and printed works, Goodwater Gallery, Toronto, Canada
Urban Field Station, American Philosophical Society, Philadelphia, USA
Tropical Travels, Thomas Ender (1817-1818) and Mark Dion (2003), Academy of Fine Arts, Vienna, Austria

2003
Ichthyosaure, Musée de Digne, Digne-Les-Bains, (catalog), France
Encyclomania, Kunstverein Hanover, Hannover, Germany
Encyclomania, Bonner Kunstverein, Bonn, Germany
Mark Dion : Full House, Retrospective, Musée Aldrich, Ridgefield, USA
Mark Dion : Collaborations, Josloff Gallery, Hartford Aldrich Museum, Ridgefield, USA
Full House, 9th Annual Larry Aldrich Foundation Award, The Aldrich Museum of Contemporary Art, Ridgefield, USA
RN: The Past, Present and Future of the Nurse Uniform, Yhe Fabric Workshaop and Museum, Philadelphia, USA

2002
Microcosmographia, University of Tokyo Museum, Tokyo, Japan
Encyclomania, Villa Merkel, Esslingen, Germany
Vivarium, Galerie Tania Bonakdar, New York City, USA
New England Digs, List Art Center, Provi dence, USA
The Hamburg Canal Field Station, Galerie Fur Landshaftkunst, Hamburg, Germany
Urban Wildlife Observation Unit, The Public Art Fund, Madison Square Park, New York, USA
Ursusn Maritimus, Goodwater, Toronto, Canada

2001
New England Digs, Fuller Museum of Art, Brockton, USA
Cabinet of Curiosity for the Weisman Art Museum, Weisman, Mineapolis, USA
Galerie Georg Kargl, Wien, Austria
Theatrum Mundi : Armarium, Galerie in Situ, Paris, France

2000
The Museum of Poison, Galerie Bonakdar Jancou, New York, USA Nature Bureaucracies, American Fine Art Co, New York, USA

1999
Two Banks (tate Digs), Tate Gallery, London, UK
Where the Land Meets the Sea, organized by Arnold J. Kemp, Yerba Buena Center for the Arts, San Francisco, USA

1998
Adventures in Comparative Neuronatomy, organisée par Suzanne Witzgall, Deutsches Museum, Bonn, Germany
The Natural World, Vancouver Art Gallery, vancouver, USA
Loot, Raiding Neptune?s Vault, Galeria Emi Fontana, Milano, Italia
Private Property, Galerie fur Landschaftskunst, Hamburg-Altona, Germany

1997
Trophies & Souvenirs, London projets, London, UK
Mark Dion : Musée d?histoire Naturelle et autres fictions, Ikon Gallery, Birmingham, UK
Kunstverein, Hamburg, Germany
Hommage à Jean-Henri Fabre, Galerie des Archives, Paris, France
Cabinet of Curiosity, Wexner Center for the Arts, Colombus, USA

1996
Two Trees, American Fine Arts Co., New York, USA
Along the Shores of the North Sea and Baltic Sea and What they Found There, Galerie Christian Nagel, Koeln, Germany

1995
Unseen fribourg, Fri-Art Center d?Art Contemporain Kunsthalle, Fribourg, Switzerland
A Vital Matrix, Domestic Setting, Los Angeles, American Fine Arts Co., New York, USA
Dodo, Galerie Tanya Rumpff, Amsterdam, Holland
Flotsam and Jetsam (The End of the Game), de Vleeshal, Middleburg, Holland

1994
Artoteles, Rachel Carson, Russel Wallace, Galerie Metropol,Wien, Austria
When Dinosaurs Ruled the Earth ( Toys?R?U.S.), American Fine Art Co., New York, USA
Angelica Point, Galerie Emi Fontana, Milano, Italia

1993
The Great Hunter , The Marine Biologist, The Paleontologist and the Missionary, Galerie Marc jan cou, Zurich, Switzerland
The Great Munich Big Hunt, K-Raum Daxer, Munich, Germany

1992
American Fine Art Co., New York, USA
Galleri Nordanstad-Skarstedt, Stockholm

1991
Launching, Shark Editions, Spring Street Lounge, New York, USA

1990
Extinction, Dinosaurs and Disney: The Desks of Mickey Cuvier, Galerie Sylvana Lorenz, Paris
Frankenstein in the Age of Biotechnology, Galerie Christian Nagel, Cologne

Group exhibitions

2017
Exploratory Works: Drawings from the Department of Tropical Research Field Expedition, co curated with Katherine McLeod and Madeleine Thompson, The Drawing Center, New York
En marge, Galerie In Situ - Fabienne Leclerc, Paris, France
Constructing Paradise, Austrian Cultural Forum New York, New York
Just the Facts, The Milwaukee Institute of Art & Design Frederick Layton Gallery, Milwaukee, Wisconsin Wundercamera,Telefair Museum of Art, Savannah, Georgia
The Garden — End of Times, Beginning of Times, ARoS Aarhus Kunstmuseum, Aarhus, Denmark

2016
The Trouble with Jellyfish, Le Laboratoire Cambridge, Cambridge, UK

20 - An Exhibition in Three Acts, Migros Museum für Gegenwartskunst, Zurich, Germany
Emscherkunst 2016, multiple locations, Germany
Don’t Look Back: The 1990’s at MOCA, The Geffen Contemporary at MOCA, Los Angeles, CA
Sublime. The Tremors of the World., CentrePompidou-Metz, Metz, France

Come as you are: Art of the 1990's, Blanton Museum of Art, USA
Come as you are: Art of the 1990’s, Musée d’art Blanton, UT Austin, USA
To expose, to show, to demonstrate, to inform, to offer, Museum Moderner Kunst, Vienna
Radical Seafaring, Parrish Art Museum, Water Mill, New-York, USA
Mark Dion, Jessica Rath, Dana Sherwood, Pitzer Art Galleries, Pitzer College, Claremeont, CA, USA
Dead Animals, or the curious occurrence of taxidermy in contemporary art, David Winton Bell Gallery, Providence, RI, USA

2015
Hunters and Gatherers Contemporary Art, Museum Morsbroich, Leverkusen, Germany

Late Harvest, Musée d'Art du Nevada, USA
Come as you are: Art of the 1990's, Montclair Art Museum, USA
Come as you are: Art of the 1990's, Telfair Musuem of Art, USA

Come as you are: Art of the 1990's, University of Michigan Museum of Art, Ann Arbor, USA

Global Imagination, Museum De Lakenhal, Leyde, Hollande

2015

Construire une Collection, Part II - Villa Sauber, Nouveau Musée Nationale de Monaco

2014
As I run and happiness comes closer, Paris
Orders in Motion: On Collecting, Dynamic Histories, and lost Things- 250 years of the Dresden Art Academy, The Art Academy of Dresden, Germany
The trouble with Jellyfish, Le Laboratoire, Paris
Noah's Art, Ostwal Musée, Dortmund, Germany
Groundwork: life spent with nature. Wave Hill Public Garden and Cultural Center,USA
Anthropocène Monument, Les Abattoirs, Toulouse
GYRE : The plastic Ocean, Anchorage Museum, USA
Take It or Leave It : institution, image, ideology, Hammer Museum, USA
Forecast, Virginia Commonwealth University Anderson Gallery, USA
New York Makers Open, Museum of Arts and Design, USA
Mansion as Muse : Contemporary Art at Victorian Mansion, USA
The Lost Museum, a project with the Jenks Society for Lost Museums, Brown University, Providence, USA
Beyond Earth Art : Contemporary Artists and the Environment Johnson Museum of Art, Ithaca, USA
CAFAM Biennal 2014, Beijing, CAFA Art Museum Beijing.
Come As You Are : Art of the 1990's, Montclair Art Museum, Montclair

2013
Arqueologica, Matadero Madrid, Spain
Arctic, Lousiana Museum, Humlebaeck, Denmark
Le Surrealisme et l'Objet, Centre Pompidou, Paris
Collection Daniel et Florence Guerlain, Centre Pompidou, Paris
Arctic, Lousiana Museum, Humlebaeck, Denmark
The Way of the Shovel, MCA (Chicago), USA
L'arbre de vie, Collège des Bernardins, Paris
Chasse et chassé (7 juin au 13 octobre), domaine départemental de la Garenne Lemot (Loire atlantique), France.

2012
Cibles, Musée de la Chasse et de la Nature, Paris
Spécimens, Collections, croisements, sentinelles & Résidents, Domaine départemental de Chamarande, Chamarande, France
100 sculptures animalières - Bugatti, Pompom, Giacometti.., (13 avril - 28 octobre 2012), Boulogne-Billancourt Documenta 13 (9 juin - 16 septembre 2012) Kassel, Allemagne

2011
Musée d'histoire naturelle et Jardin des plantes,Paris
Minusubliminus, Musée de la Loire, Cosne-Cour-sur-loire, France
Belvedere, Warum ist landschaft schon ? , Arp Museum Bahnof Rolandseck, Remagen, Germany
Collection Guerlain, Les Mesnuls, France
Art/Système/Poésie, galerie In Situ/Fabienne Leclerc, Paris, France
The Luminous Interval: an exhibition of the D.Daskalopoulos Collection, Guggenheim Bilbao, Bilbao, Spain
Editions ex Libris # 1-20
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City, UT, USA
Kunstfestivalen Tumult, Nykobing F, Denmark
Ship In A Bottle, Public commission for Port of Los Angeles Waterfront Enhancement Project, Cabrillo Way marina, San Pedro, CA, USA

2010
Weltwissen World Knowledge. 300 years of Science in Berlin, Martin-Gropius-Bau, Berlin, Germany
Beyond/In Western New York 2010: Alternating Currents, Albright-Knox Art Gallery, Buffalo, NY, USA
New Acquisitions of the Art Foundation Mallorca Collection, CCA Kunsthalle Andratx, Majorca, Spain
Investigations of a dog, works from the FACE Collections, DESTE Foundation, Athens (Greece), Foundation, Cascais (Portugal), Fondazione Sandretto Re Rebaudengo, Turin (Italy), La maison rouge ? Fondation Antoine de Galbert, Paris (France) and Magasin 3 Stockholm Konsthall, Stockholm (Sweden).
Strange Travelers, curated project by the artist, Tanya Bonakdar Gallery, New York, USA
Doppler Effect: Images in Art and Science, Kunsthalle zu Kiel, Kiel, Germany
Rummaging in the Rubbish: Waste and Recycling in Contemporary Art, Koldo Mitxelena Kulturunea, San Sebastian, Spain; traveling to Centro de Arte y Naturaleza, Huesca, Spain
The Traveling Show, curated by Adriano Pedrosa, Fundacion/Coleccion Jumex, Mexico City, Mexico
Larger Than Life - Stranger Than Fiction, Triennial Kleinplastik 11, Fellbach, Germany
Adaptation: Between Species, curated by Helena Reckitt, The Powerplant, Toronto, Canada
Multiple Pleasures: Functional Objects in Contemporary Art, curated by Nathalie Karg/Cumulus Studios, Tanya Bonakdar Gallery, New York, USA
The Crude and the Rare, curated by Saskia Bos and Steven Lam, 41 Cooper Gallery, The Cooper Union, New York, USA
Kunstfestivalen Tumult, Kykobing, Denmark
The Morning After- The Prompt, The Silver Shed, New York, USA
Emscherkunst 2010, Norsternpark Gelsenkirchen, Germany
Théorie des modèles / Art & science: trop simple, trop complexe, Espace d'éxposition de la Head, Geneva, Switzerland
Serpula Lacrymans, Galerie fur Landschaftskunst, Hamburg, Germany
Weisser Schimmel / You can observe a lot by watching, Sammlung Falckenberg, Hamburg-Harburg, Germany

2009
Nature en Kit, Mudac, Lausanne, Switzerland
Assume Nothing: New Social Practice, Art Gallery of Greater Victoria, Victoria, USA
Human Nature, Berkeley Art Museum and Pacific Film Archive, Berkeley, USA
Radical Nature: Art and Architecture for a Changing Planet 1969-2009, Barbican Art Gallery, London, UK
Trouble in Paradise: Examining Discord between Nature and Society, Tucson Museum of Art, Tucson, USA
Classified, Tate Gallery of Modern Art, London, UK
Dream Time, Les Abattoirs and the La Grotte dumas d'Azul, Toulouse, France
Surrealism and Beyond, Helsinki City Art Museum, Helsinki, Finland
A Duck for Mr. Darwin, Baltic Center for Contemporary Art, Newcastle, UK
C'est notre terre II, Site Tour & Taxis, Bruxelles, Belgium
Watou2009, Watou, Belgium
Summer Show, Tanya Bonakdar Gallery, New York, USA
Ferne Naehe: Nature in der Kunst der Gegenwart, Kunst Museum, Bonn, Germany
Collections Collected, Kennedy Museum of Art, Athens, Greece
Interstices: Works from the Jumex Collection, MUMOK, Vienna, Austria
Be sure to attend carefully to what I have to say to you, Fri Art Kunsthalle, Fribourg, Germany
en vue...des manières de voir. la nature mise en images et en vitrine, Passerelle, Centre d'art, Brest, France
Schoene neue Welt, Museum modernen Kunst Stiftung Ludwig, Wien, Austria
«N'importe Quoi/Everything», Musée d'Art Contemporain de Lyon, Lyon, France

2008
Human Nature, Museum of Contemporary Art San Diego, USA
Struggle for life - Artenwandel und Artensterben im Anthropozaen, ERES-Stiftung, Muenchen, Germany
ARCHEOLOGY OF MIND - MORRA GRECOS FONDATION, Malmo Konstmuseum, Malmo, Sweden
Die Tropen. Ansichten von der Mitte der Weltkugel, Martin Gropius Bau, Berlin, Germany
observing beast, time, evolution. Kunst und Naturwissenschaft, Kunstverein Hildesheim/ Roemer- und Pelizaeus, Hildesheim, Germany
Tales of Time and Space, Folkstone Triennial, Folkestone, UK
Selective knowledge, ITYS, Institute for contemporary art, Athens, Greece
Néofutur, Les Abattoirs, Toulouse, France
Comme des bêtes, l'ours, le cochon, le chat et Cie, Musée cantonnal des Beaux-arts, Lauzanne, Switzerland
Estratos, PAC MURCIA, Spain
Des coiffes, décoiffes, Galerie Gabrielle Maubrie, Paris, France
Genesis Die Kunst der Schoepfung, Zentrum Paul Klee, Bern, Germany
The Sydney biennale, Australia

2007
Hansarviertel Projekt, Berlin, Germany
Genesis, Centraal Museum, Utrecht, Netherland

2006
The Tar Museum, Georg Kargl Gallery, Wien, Austria
Ecotopia, International Center of photography, New York, USA
Drawing as Process in contemporary art, Smart Museum of art, Chicago, USA
Cryptozoology : out of time place scale, Bates College Museum of Art, lewiston, Maine, USA
Becoming Animal, Mass Moca, North Adams, USA
Jagdsalon, Kunstraum Kreuzberg, Bethanien, Berlin, Germany
Sammlung Graesslin, Raeume Fur Kunst, St. Georgen, Germany
Zerstoerte Welten und die Utopie de Rekonstruktion, Kunstraum Dornbirn, Austria

2005
Le Bois sacré, Castel of Chambord, Chambord, France Dundee Bear Broch, Dundee Contemporary Arts, UK

2004
Braunschweig parcours 2004, Kulturinstitut Braunschweig, Germany
For the Birds, Artspace, New Haven, USA
Past Presence: Contemporary Reflections on the Main Line, Main Line Art Center, Lower Marion, USA Field. Science, Technology and Nature, Socrates Sculpture Park, Long Island City, USA

2003
RN : The past, present and Future of the nurses, Uniform, The Fabric Workshop and Museum, Philadelphia, USA
Confini, Cesac, Caraglio, Italia
Imperfect Marriages, Galeria Emi Fontana, Milano Italia
Jean Henri Fabre, Fondation Electra, Espace EDF Electra, Paris, France

2002
Factory Direct, Art center of the Capital Region, Troy New York, USA
Fresh Kills, Snug Harbor, Centre Culturel, Staten Island, New York, USA
Words and Things, CCA Glasgow, Scotland

2001
Fresh Kills, Snug Harbor Center for contemporary Art, New York, USA
Crossing the Line, Art Museum of Queens, New York, USA

2000
American Art Today : Fantasis & Curiosities, Art Museum of the university of Florida, Miami, USA
The Shape of the World, the end of the World, Pac Padiglione de arte Contemporaneo de Molano, Italia Small World- Dioramas, MCA, Chicago, USA
Sequences, Galerie Roger Pailhas, Marseille, France

1999
The Museum as Muse, Museum of modern art MoMA, New York, USA
Carnegie International, 99/00, Carnegie Art Museum, Pittsburgh, USA

1997
The Spiral Village, Musée Bonnefanten, Maastricht, Holland
Città Natura, Palace de l?exposition et musée zoologique, Roma, Italia
Veilleurs du monde, Centre culturel Français, Cotoriuo, Benin
Venice Biennale, Nordic pavillon, XL VII Venice Biennale, Italia Skulptur Projekte in Muenster, Muenster, Germany

1996
Vehicle, Galerie paolo Baldacci, New York, USA
Multiple Pleasure, Galerie Tanya Bonakdar, New York, USA
Berechenbarkeit der Welt, Bonner Kunstverein, Bonn
Cabinet de Bain, Piscine de la Motta, Fri-Art, centre d?art Contemporain-Kunsthalle, Fribourg, Switzerland
Hybrids, de Appel, Amsterdam, Holland
21st Century sculpture, Galerie John Gibson, New York, USA
Campo 6, galerie Civica d'Art Moderne et contemporain, Torino, Italia
Let's Talk About Art, Metropole de l'Art, Toronto, Canada
25th Anniversary : 25 young artists, Galerie john weber, New york, USA

1995
Mapping : A Response to MoMA, American Fine Arts Co., New York, USA
Zeichen und Wunder/Signos y Milagros, Kunsthaus Zurich, Switzerland ; Centre Galego de Arte Contemporaneo, Santiago de Compostela, Spain
It's not a Picture, Galerie Emi Fontana, milano, Italia
Searching for Sabah, musée Sabah, Sabah, Malaysia
Platzwechsel, Kunsthalle, Zuerich, Switzerland
Schoharie Creek Field Station, Art Awareness, Lexington, USADas Ende der avant Garde, Kunst als Dienstleistung, Kunsthalle des Hypo-Kulturstiftung, Munich, Germany
Aufforderung, in Shönster Weise, Galerie Christian Nagel, Köln, Germany

1994
Living in Knowledge : Une exposition à propos d?une question pas demandée, Duke Université Musée d'Art, Durham, USA Pro-Creation, fri-Art Centre d'Art Contemporain Kunsthalle, Fribourg, Switzerland
Don't look Now, Thread Waxing space, New York, USA
Services, Kunstverein Muenchen, Munich, Germany
Temporary Translation(s) Sammlung Schurmann, Deichtorhallen, Hamburg, Germany
Garbage, Real Art Ways, Hartford, USA
Green, Torch, Amsterdam, Holland
The Media and Art Exhibition 94, Compagnie Magic Media, Koeln, Germany
Concrete Jungle, Galerie Marc Jancou, London, GB Frauenkunst/Maennerkunst, Kunstverein Kippenberger, Musée Fridericianum, Kassel, Germany
Cocido y Crudo, Museo Nacional Centro de Arte de la Reina Sofia, madrid, Spain

1993
Galerie Annina Nosei, Nosei, New York, USA
Simply Made in America, Aldrich Musée d'Art Contemporain, Ridgefield Galerie Max Hetzler,Koeln, Germany Travelogue/Reisetagebuch, Hochschule fur Angewandte Kunst in collaboration with the Metropol gallery, Wien, Austria
Prallax View, P.S. 1 Museum, The Institute for Contemporary Art, Long Island City, maison Goethe, New York, USA
Culture in Action, Sculpture Chicago, USA
Animals, Galerie Tanya Rumpff, Holland
Spielhoelle ; Esthetique et Violence, Galerie Sylvana Lorenz, Paris, France
Project Unité, Unité d'habitation, Firminy, France
Sonsbeek 93, Arnhn, Holland
Kinder, galerie Ruediger Schoettle, Munich, Grafical 1, Innsbrick, Tyrol, Austria
Naturkunden, Galerie Paszti-Bott, Koeln, Germany
Restaurant La Bocca, Paris, France
Art-Culture-Ecology, Galerie bea voigt, Munich, Germany
What Happened to the Institutional Critique, American fine Arts Co., New York, USA
Installation, Project for the Birds of Antwerp zoo, Germany

Reviews and Publications

2016
Stoilas, Helen. “Mark Dion goes inside the mind of a plant explorer”, The Art Newspaper, December 2, 2016. (online)
Farrell, Barbara Gallo. “Objects have voice in assemblage art at Vassar”, Poughkeepsie Journal, November 2, 2016.(online)
Trechka, Mark. “A Giant Cabinet of Curiosities Challenges Taxonomy
Traditions, Liberal Arts”, The Creator Projects, September 29, 2016. (online)
Goodeve, Thyrza. “Mark Dion: Mourning is a Legitimate Mode of Thinking”, The Brooklyn Rail, May 16, 2016. (online)
BlouinArtInfo, April 4, 2016. (online)
Lynch, Scott. “Step Inside This Giant Birdcage in Chelsea”, Gothamist, March 25, 2016. (online)
Behringer, David. “Mark Dion: A Library For The Birds”, Design Milk, March 23, 2016.(online)
Buntaine, Julia. March 28, 2016SciArt in America (online)
“Mark Dion.” The New Yorker, March 28, 2016. p. 13
Meier Allison. “Cage aux Folios: Mark Dion Makes a Library for Birds”
Hyperallergic,March 21, 2016.(online) [ill.]
Halle, Howard. “Mark Dion, The Library for the Birds of New York and Other Marvels” Time Out New York, March 16 - 22, 2016.p.49 ill.
Halle, Howard. “Mark Dion, The Library for the Birds of New York and Other Marvels” Time Out New York, March 17, 2016.(online)Ill.
Newman, Caroline. “Hidden Treasures”, University of Virginia Today, March 10, 2016.(online)
Indrisek, Scott. “5 Must-See Gallery Shows During Armory Week”, BlouinArtInfo, February 29, 2016. (online).
Vu, Mimi. “Artful and Stunning Cabinets of Curiosities, Decoded.” The New York Times Style Magazine, February 25, 2016.(online])
Wouk Almino, Elisa. “ArtRx NYC. A library for Birds” Hyperallergic, February 23, 2016.(online)
“Winging it.” The Art Newspaper, Number 276, February 2016.p. 15 Hickson, Patricia. “Meeting Ground.” Antiques. January - February, 2016. p. 126-127

2015
Hillarie, M. Sheets, “A Wink at the Quirks of a Famed Collector,” The New York Times, March 06, 2015
Schwendener, Martha. “A Time When the World Seemed Larger”, The New York Times, April. 04, 2015. (online)
Archer, Sarah. “Contemporary Artists Creat a New Kind of Order at the Barnes Foundation.” Hyperallergic, July 28, 2015. (online)
Lange-Berndt, Petra and Dietmar Rubel, “Mark Dion: The Academy of Things,” Walther Konig, Germany
Brooks, David. “Courious by Nature. Into the wild with assemblage artist Mark Dion.” Man of the World, Issue No. 11, Spring 2015, pp. 142-149.
Venkatraman, Vijee. “At Le Laboratoire, jellies tell the story of the oceans’ woes.” The Boston Globe, September 17, 2015. (online)
Dunne, Susan. “Artist Pokes Fun At ‘Great Chain of Being’ With New Wadsworth Exhibit.” Hartford Courant, October 01, 2015. (online)
“Cost puts paid to art restoration hope.” Lancaster Guardian. October 07, 2015. (online)
Urist, Jacoba. “U-Turn on Lancaster garden artwork” Lancaster Guardian. November04, 2015. (online)

2014
Pechman, Ali. “Critics’ Picks: Between the Lines,” ArtForum online, January 18.
Feldman, Hannah, “The Way of the Shovel,” Artforum, February 2014.(online)
Goudouna, Sozita, “Mark Dion,” Naked but Safe, Issue 6, April 2014
Meier, Allison, “The Artistic Influence of an Overlooked Explorer,” Hyperallergic, May 2, 2014
Wecker, Menachem. “Getting Back to the Garden (of Eden).” Forward, July 21, 2014.(online)
Mallonee, Laura C. “Mark Dion’s Penchant for the Past.” Hyperallergic, July 15, 2014.(online)
Johnson, Ken. “A Garden Divine: Beware of Snake.” The New York Times, July 17, 2014.(online)
Cotter, Holland. “‘The Fifth Season’.” The New York Times, August 7, 2014.(online)

2013
Endt-Jones, Marion, ed, Coral: Something Rich and Strange, Liverpool University Press, Liverpool, 2013, pp 60-61; 107-109ed. “Mark Dion’s Macabre Treasury.” Sleek magazine, January 22 Ter Borg, Lucette. “Dions moderne wonderkamer.” NRC Handelsblad, February 11
Steinberg, Claudia. “Naturgewalt.” Art Investor, January, pp. 68-74 (illust.)
Cembalest, Robin. “The Curator Vanishes: Period Room as Crime Scene.” ARTnews, February 28
Russeth, Andrew. “Explorers’ Club: Mark Dion Has Turned Globe-Trotting
Natural Science Into an Art Form.” GalleristNY (The Observer), March 5
Kazakina, Katya. “Sex Toys, Piped Pollution, African Lesbians: Chelsea Art.” Bloomberg, March 21
Conley, Kevin. “Mark Dion.” The Exhibitionist in Town & Country, March 29
Goukassian, Elena. “Mark Dion: DEN.” Sculpture Magazine, April, P. 19
Smith, Roberta. “Mark Dion: Drawings, Prints, Multiples and Sculptures.” The New York Times, April 5, p. C29
Berk, Anne. “Mark Dions Installations.” Sculpture Network, April 5
Budick, Ariella. “Expo 1: New York, MoMA PS1, New York, review.” Financial Times, May 21
Lookofsky, Sarah. “Mark Dion | Trash on the Beach.” Disillusioned Magazine, Oct 10, 2013

2012
Beeson, John. “Mark Dion’s Twenty One Years of Think in Three Dimensions.” Art agenda, May 21
Lewis Jim. “The Know-it-All.” T Magazine: New York Times Style Mgazine, March 30
Saltz, Jerry. “Eleven Things That Struck, Irked, or Awed Me at Documenta 13.” New York Magazine, June 15
Ed. “Mark Dion, Janet Cardiff, and Tomas Saraceno in New York City,” Culture Spectator.com, August 28
Gat, Orit. “Mark Dion.” Modern Painters, October, p. 93
Armstrong, Elizabeth. More Real? Art in the Age of Truthiness. Minneapolis, MN. Minneapolis Arts Institute. Pp. 238-239
Landes, Joan B., Paula Young Lee, Paul Lundquist. “Gorgeous Beasts.” The Pennsylvania State University Press, 2012. pp. 167-178
Ronning, Svein. “Curare Il Paesaggio.” Abitare, September, pp. 48-49 and cover.

2011
Robertson, Rebecca. “The Elephant in the Room.” ARTnews, January, p. 26
Juarez, Kristin and Alana Wolf. “CENCIA invites Mark Dion to blur the traditional lines of art and study.” Burnaway, March 9
Ed. “Geballtes Wissen.” Welt Wissen, 2011 issue Cantu, John Carlos. “U-M Institute for the Humaniries installation toys with university history.” Ann Arbor.com, October 19

2010
“Marvelous Museum.” Oakland Museum of California and Chronical Books
Shaw, Cameron. “Critic’s Picks: Mark Dino.” Artforum, January 27
Hauser, Ethan. “Art of the Road Trip: Mark Dion’s Souvenirs.” T Magazine –New York Times Style Magazine, January 29
Basciano, Oliver. “A croquet set in a coffin.” Art Review, June, p. 70
Sheehy, Colleen. “Taxidermy and Extinction: Considering the Work of Mark Dion.” Constellation, June
Boal, Iain. “Irruptions of the Marvelous.” SFMoMA Open Space Blog, November 22
Ramirez, Loreto. “Mark Dino” Dissections in Art.” Arte al Limite, March/April, pp. 100-106

2009
Dion, Mark. «Mark Dion on Robert Smithson.» Art World Magazine, Feb/March, p. 126 (illust.)
Bindi, Gaia. «Towards an anti-oedipal relationship with nature.» Inside Magazine, issue 20, April. pp. 48-55 (illust.)
Kastner, Jeffrey. «Critical Mass.» Modern Painters, March, pp. 28-29 (illust.)
Connor, Steven. «The Right Stuff.» Modern Painters, March, pp. 59-63
Sasse Julie. Trouble in Paradise: Examining the Discord between Nature and Society. Tucson: Tucson Museum
of Art, 2009, pp. 76-77
Ferrarri, Silvia. “Archive.” FMR White Edition, no. 7, 2009, pp. 84-97
Sherwin, Skye. «Review: Art and nature collide at the Barbican.» The Guardian (online), June 19
Manacorda, Francesco. «Radical Nature –Art and Architecture for a Changing Planet 1969-2009.» Koenig Books Ltd. for Barbican Art Gallery, London, 2009, pp. 103-110
Knoth, Natalie. «Artists uses local finds for exhibits.» The Athens News, September 17, p. 27
ed. «Renowned artist gets inside Athens, OU for the fall.» The Athens News, September 2, pp. 50-51
Bonham-Carter, Charlotte and David Hodge. «The Contemporary Art Book.»
Goodman/Carlton Publishing Group: London, 2009, p. 63 (illust.)

2008
Gopnik, Blake. «Dion Wins Lucelia Prize with Edgy Pseudo-Exhibits.» The Washington Post, September 26, p. C05
Mark Dion: Mobile Gull Appreciation Unit: Field Guide. Ex cat.
Folkestone Triennial. 2008
Kennedy, Beverly. Other Sustainable Voices, Other Unnatural Rooms.? Observer: University of Hart- ford. Spring 2008; p. 6.
Heartney, Eleanor, Art & Today. Phaidon Press Inc. 2008. ilus.
Kazakina, Katya. «Tuymans's Riff on Disney, Dion's Clutter: Chelsea Galleries.» Bloomberg News On- line. February 22, 2008.

2007

Art:21 4: Art in the Twenty-First Century, Art:21 and Abrams, New York; 2007. pages 78 through 89, ilus.
Art in Action: Nature, Creativity and Our Collective Future. Natural World Museum and United Nations
Environment Programme. Palace Press: Earth Aware Ed.: 2007. pp. 66-67, ilus.
Pes, Javier. «Marking Time.» Museum Practice Autumn 2007. p. 32-35.
Paterson, Vicky, ed. Mark Dion: Systema Metropolis. Exhibition
Handbook. Natural History Museum, London, 2007.
Cookson, Clive. «Systema Metropolis, Natural History Museum, London». Review. The Financial Times, 25 June 2007
The Israel Museum. Listing. International Herald Tribune, 3-4 March 2007. p 26
David, Sandrine Ben. Saison surréaliste au musée d'Israel. Le
Jerusalem Post Édition Française, Art section, 6-12 March 2007, p 20
The Israel Museum. Listing. International Herald Tribune, 14-15 April 2007. p 20
Santiago, Fabiola. Art, Naturally: Sculptures vie for Glory on Tropical Turf. Review. The Miami He- rald, 28 January 2007
Bayliss, Sarah H. «Brown Paper Packages Tied Up with String.» Review.
Artnews, May 2007
Shaw, Lytle. Mark Dion: Musee d'Art Contemporain, Nimes, France. Review. Artforum, Summer 2007.
Mangion, Éric. «Mark Dion- taxidermie de l'erreur.» Art Press 332, March 2007. pp 46-51
Mark Dion: The Natural History of the Museum. Exhibition Catalogue. Carré d'Art Musée d'Art Contemporarin, Nîmes. Paris: Archibooks.
Rattlemeyer, Christian. «Mark Dion, Carré d'Art.» Review. Artforum, January 2007. p 125.
Taubman, Lara. «Forms of Classification: Alternative Knowledge and Contemporary Art.» Review. Art- forum.com, accessed January 2007.

2006
Beechem, Stephanie. «Man. Woman. Squirrel : Documenting Contemporary Experience at the Hoffmann.» The Pioneer Log, September 15, 2006. Pages 18-19
Berstein, Amy. «Artists and Specimens at Lewis and Clark College.» portlandart.net, October 12, 2006
Libby, Brian. «Examining the evidence of the human experience.» The Oregonian, September 8, 2006
Graves, Jen. Richard Likes It.? The Stranger, 20-26 July 2006.
Keyes, Bob. Artists hope viewers let imaginations run wild. Portland Press Herald, 25 June 2006.
Ecotopia for ICP Triennial. Artnet.com, 23 May 2006.
Rare Specimen.The New Yorker 3 April 2006.
Williams, Robert, and Jack Aylward-Williams, et al. Thesaurus Scienta Lancastriae. Preface by Mark Dion. Cumbria, UK: Unipress Cumbria
Hudson, Suzanne. Mark Dion, review. Artforum, February 2006
Goings on About Town Drawings by Dion. The New Yorker, 9 January 2006
Mark Dion. The New Yorker, 9 January, 2006
Trainor, James. Odd Lots, review. Frieze.com, January 2006
Mark Dion, The Curiosity Shop. Time Out New York, issue 536, January 5-11, 2006

2005
Higgins, Shaun OL., and Colleen Striegel. Press Gallery: The Newspaper in Modern and Postmodern Art. Spokane, Washington: New Media Ventures, 2005
Voice Choices. The Village Voice, December 21-27, 2005, p.79
Goings on About Town, listing for Odd Lots: Revisiting Gordon Matta-Clark?s Fake Estates, The New Yorker, October 17, 2005
Miller, Francine Koslow. Becoming Animal, review, Frieze.com, October 2005
Parsy, Paul-Hervé. Mark Dion presents: Dungeon of the Sleeping Bear, The Phantom Forest, The Birds of Guam, and Other Fables of Ecological Mischief. Château d'Oiron, 2005
Coxon, Ann. Mark Dion: South London Gallery. Art Monthly, October 2005.
Art of the Natural World.Creative Week, September 2005.
Wacky Wildlife. Southwark Weekender, 2 September 2005.
Haddrell, James. Holey moley. The Pulse (South London Press), 16 September 2005.
Mark Dion: Microcosmographia. London Student, 20 September 2005.
Lack. Jessica. Preview: Microcosmographia. The Guardian, 3-9 September 2005.
Adams, Amy and Conal Hanna. Don't miss Mark Dion: Microcosmographia. TNT Magazine, 7 Sep- tember 2005.
What's on: United Kingdom.? The Art Newspaper, no.161, September
Hammonds, Kit. ?American Naturalist. Untitled, Spring 2005.
Mark Dion: Microcosmographia. www.artrepublic.com, September.
De Cruz, Gemma. Art meets science at the South London Gallery. BBC Collective Online, 15 Septem- ber 2005.
Haddrell, James. Microcosmographia at the South London Gallery. Indielondon.co.uk, September

2005
Clayton, Richard. Back to Nature. Design Week, 8 September 2005.
Falconer, Morgan. The mole that stole the show. The Times (London), 21 September 2005. Hac- kworth, Nick. ?Mark Dion: Microcosmographia. The Evening Standard, 26 September 2005.
What was that all about Mark Dion's Microcosmographia. The Guardian, 14 September 2005. Microcosmographia, exhibition catalogue, South London Gallery, 2005.
Kantor, Jordan. Drawing from the Modern 1975-2005, exhibition catalogue, The Museum of Modern Art, New York
Glueck, Grace. The Line Between Species Shifts, and a Show Explores the Move. The New York Times, August 26, 2005
Becoming Animal: Contemporary Art in the Animal Kingdom, exhibition catalogue, MASS MoCA, North Adams, Massachusetts.
Dion, Mark. Bureau of the Centre for the Study of Surrealism and its Legacy. The AHRB Research Centre for Studies of Surrealism and its Legacies (with Book Works); London, 2005.
Eleey, Peter. Mark Dion, The Museum of Modern Art, New York. Frieze, April 2005, Issue 90. p 110
Leffingwell, Edward. ?Report from Sao Paulo: the Extraterritorial Zone, Art In America. Feb. 2005, pp 48 - 55

2004
McCormack, Christopher. Previews. Contemporary, issue no. 68, 2004. pp 54-55
Smith, Roberta. In the Shards of the Past, The Present Is Revealed. New York Times, November 19, 2004.
Dion, Mark. 1000 Words: Mark Dion Talks About Rescue Archaeology, Artforum, November 2004, pp 180 181.
Birke, Judy. A Fowl Menagerie, New Haven Register, March 14, 2004
Johnson, Ken. Art In Review: Field at Socrates Sculpture Park. The New York Times, July 23, 2004 Crivellaro, Serena. For the Birds not for the weak of heart, flighty. The Yale Herald, January 23, 2004.
Genocchio, Benjamin. Not Only Watching, Painting and Sculpture Too, New York Times, February 15, 2004.

2003
Dion, Mark. «Best of 2003: Books», Artforum, December 2003, p.50
«Mark Dion: Notes Towards a Dystopian Dictionary, 2003» A Short History of Performance - Part II, catalogue, Whitechapel, pp. 16-19
Schwendener, Martha. «Mark Dion: American Fine Arts / Aldrich Museum.» Artforum, Summer 2003, p. 192
Dion, Mark, L'Ichthyosaure La Pie et autres merveilles du monde naturel, Images En Manoeuvres Edi- tions, 2003
Johnson, Ken, «Mark Dion: Collaborations,» The New York Times, Friday, April 18, p. E34
Ward, Ossian. «The Ordering of Species,» Art Review, March 2003, pp. 100-103
Levin, Kim. «Voice Choices: Mark Dion,» The Village Voice. April 16-22, 2003
Mittelbach, Margaret and Michael Crewdson. «In Winter, There's an Art to Birding» The New York Times, Friday, Jan. 31, P. E33
Mittelbach, Margaret and Michael Crewdson. «In Winter, There?s an Art to Birding,» The New York Times, Friday, Jan. 31, P. E33
Klein, Richard, Ed. Larry Aldrich Award, Aldrich Museum of Contemporary Art, Catalogue. Ridgefield, CT
Pollack, Barbara. «Animal House,» Art News. January 2003 Ganim, Elaina. «Living and Dying with Mark Dion.» NY ARTS, January 2003, p.15

2002
Village Voice: Recommended, «Mark Dion at Tanya Bonakdar» 12.20.02.
Ammann, Daniel. «Das Bedrohte Tier» The Animal in Contemporary Art (Das Tier in der zeitgenoes- sischen Kunst), 2002
Uta Grosenick and Burkhard Riemschneider, Editors. Art Now: 137 Artists at the Rise of the New Mille- nium. 2002, p.120-123
Vogel, Carol. «Inside Art.» The New York Times,. Friday, May 17, 2002, Fine Arts/Leisure, pg. 30 Lloyd, Ann Wilson. The Drama of Digging in New England's Trash
The New York Times, Sunday, January 6 2002, Arts/Architecture, p. 36.

2001
Lateral Thinking: Art of the 1990s, Museum of Contemporary Art San Diego, Ex. Cat.
Mark Dion, Peter Fend, Dan Peterman. Ecologies. The David and Alfred Smart Museum of Art, Univer- sity of Chicago; Chicago, 2001
Ollman, Leah. «Losing Ground: Public Art at the Border,» Art in America, May 2001, p.68-71 Wagner, Sandra. «inSITE2000,» Camera Austria, International, 74/2001, p. 87-88 2000
Jana, Reena, Mark Dion and Claire Corey Honored by Aldrich Museum, Artforum.com, August 15, 2001, http://www.artforum.com/index.php?pn=news
Mark Dion: New England Digs, published by the Fuller Museum of Art, Brockton, MA.
Vail, Amanda. «Mark Dion,» Knot Magazine: www.knotmag.com, June
American Art Today: Fantasies and Curiousities published by Florida International University Art Mu- seum, p.26.
Camper, Fred, Ecologies - Nature Containers, Chicago Reader, August 2000.
Kley, Elisabeth,»Mark Dion,» ArtNews Summer 2000, pgs.206-207.
Hofman, Irene, «The 1999/2000 Carnegie International, Art Nexus, May-July 2000, p.114.
Schwabsky, Barry, review of the Archeology book, Bookforum, summer 2000.
«Living vegetation in contemporary art» Transplant, 2000, p. 44-47.
Bollen, Christopher, « The Museum of Poison» Time Out New York, April 20-27, p. 61.
«Mark Dion» The Village Voice» April 25, 2000, p. 101
«Mark Dion» New York, April 17,2000
«Mark Dion» Time Out New York, April 6-13, 2000
Cotter, Holland, «Mark Dion», The New York Times, April 14, 2000.
Leffingwell, Edward, Carnegie Ramble. Art in America, March 2000, pps. 86-93.
Ellis, Samantha Tate Thames Dig, Evening Standard, 24 February 2000.
Cotter, Holland, Surging into Chelsea. The New York Times, 21 January 2000, p. E41.
Lewinson, David, «Small World - MCA San Diego,» Artweek, March 2000.
Weiner, Jessica, It's a Small World After All, The Weekly, Feb. 11, 2000.
Pincus L. Robert, «World toys with magic of dioramas, «San Diego Union Tribune, Feb. 6, 2000.
Ollman, Leah, Tiny Worlds Create grand Illusions, Los Angeles Times, Jan. 23, 2000
Pincus, Robert L., One man's trash,San Diego Union Tribune, Jan. 2000.

1999
Mark Dion: Archaeology, Editors Alex Coles and Mark Dion, 1999 Carnegie International 1999/2000, Essay by Madeleine Grynsztejn, curator, pp. 28, 29, 108, 168.
Heartney, Eleanor, A Cabinet of Critiques, Art in America, December 1999, pg. 73.
Birnbaum, Daniel, Stream of Conscience, Artforum, November 1999, pp. 116-121.
Pincus, Robet L., «World-class exhibition» The San Diego Union-Tribune, Nov 99
Herbert, Martin, Mark Dion: Classified Information, Dazed & Confused, October 1999, pps. 104- 108.
Riemschneider, Burkhard and Grosenick, Uta, Art At The Turn Of The Century, Taschen Verlag GMBH, pps. 126-129
Grant, Simon, Deep and Meaningful. London Evening Standard, 2 November 1999, pg. 53.
Grant, Simon, Oozing authenticity, The Guardian, 30 October, 1999
Haigh, Gerald, Striking discoveries, The Primary, 27 September.
Do it all Dion,The Guardian, Guide Section, 17 July, 1999.
Museum Fun,Southwark News, 22 July 1999.
Pile, Stephen, Meanings wrenched from Thames, Sunday Telegraph, 31 July.
Here's mud in your eye The Monday Review, The Independent, 26 July.
Out and about, Art Monthly, July - August, 1999.
What's on,Space: The Guardian, 1 July 1999.
Kent, Sarah, Mark Dion, Tate, Time Out London, 15 July Negrotti, Rosanna, ?Mark Dion/Tate Gallery, What's On in London. Kemp, Arnold J., where the Land Meets the Sea, Ecotopias
Text zur kunst-Edition Heft Nr. 36, December 1999, p.168-169

1998
Amirrezvani, Anita,?A kindergarten in Chernobyl, Contra Costa Times, November 15, 1998
Maclay, Catherine, An eyeful of eco-damage. Mercury-News, Dec. 6, 1998.
Bonetti, David, Art meets science in Yerba buena's ?Ecotopia, San Francisco Examiner, November 20, 1998.
Zannari, Bonny, Exhibit raises questions concerning our future, San Mateo Times, November 20, 1998
Mates, Randy, Natural Instincts, ststation.com, December 8, 1998
Helfand, Glen, Naughty by nature.?San Francisco Bay Guardian Examiner.
Two Essays, published in conjunction with the exhibition The Natural World, Vancouver Art Gallery, Vancouver, BC

1997
Steihaug, Jon-Ove, (naturally artificial:) MacRitchie, Lynn, Stuff of Life, The Guardian, London, 28 January.
Meyer, James, The Macabre Museum Frieze, London, January

1996
Levin, Kim, Mark Dion, Village Voice, New York, 30 January
Karmel, Pepe, Mark Dion, New York Times, 2 February
Chervokas, Jason and Watson, Tom, Guyana: 3 Artists Thrash Romance in Trek through Heart of
Darkness, New York Times Cyber Times, 26 August
Schwendener, Martha,Mark Dion Time Out New York, 7-14 February
Turner, Grady T., Mark Dion at American Fine Arts Co., Art in America, New York, May. Theewen, Gerhard, ?Das Kunstkebinett als Ausstellung, Salon Verlog, Cologne.
Theewen, Gerhard, Mark Dion, Where are You Now?: The Attempt to Correspond with a Travelling Artist, Kuenstlerhaus Bathanien, Berlin.
Litz, Christine, Das Pippi-Langstrumpf-Prinzip, Rhein Art, Germany, June
Runnette, Charles, Pictures from an Expedition, New York Magazine, September
Williams, Gilda, Mark Dion, London Projects, Ikon Gallery, Birmingham, Art Monthly, London, March
Guyana, WORD Magazine
Designed sets for Gregg Bordowitz's film, The Suicide
Concrete Jungle, Juno Books, New York?Den naturhistoriske kasse-Konservering, Kategorisering of

1995
udstillung, Oejeblikket: Tidsskrift for Visuelle Kulturei, Copenhagen, Summer.
Leturcq, Armelle, Mark Dion, Blocnotes, 21, Paris
Krebs, Edith, Fribourg: Mark Dion im Centre D'Art Contemporain Kunsthalle, Kunst-Bulletin, Zuerich, October.
Salvadé, Christine, Quand un artiste new-yorkais gratte le sol de Fribourg, Le Nouveau Quotidien, Paris, 4 October
Ursprung, Philip, Mark Dion: Unseen Fribourg?, Springer, Vienna, November
J.D.F., Le New-Yorkais Mark Dion se penche sur l?homo friburgensis, La Liberté, Switzerland, 1 September
J.D.F., Entre Berlin et Rio, Mark Dion sonde l'invisible qui respire sous nos pieds, interview, La Liberté, Switzerland, 9-10 September.
Volkart, Yvonne, Platzwechsel, Springer, Vienna, September
Simon, Jason, Jean Painlevé and Mark Dion? Parkett, No 44, Zürich
Gorney, S.P., Mark Dion, Juliet, Paris, June

1994
Germer, Stefan, Unter Geiern, Kontext-Kunst im Kontext, Texte zur Kunst, Cologne, August Fuelung des Naturhistorischen Museums, Texte zur Kunst, Cologne, November
Decter, Joshua, ?Mark Dion at Galerie Metropol, Artforum, New York, January 1995
Krumpl, Doris, Meister Reineke, mit vielen Dioptrien, Der Standard, Vienna, 20 July.
Horny, Henrietta, Ein Fuchs macht Urlaub oder die andere Naturgeschichte, Kurier, Vienna, 25 July Hofleitner, Johanna, Mark Dion? Flash Art, Milan,
Tager, Alexandra, Review of Concrete Jungle, Art and Auction, New York, December
Lisa Corrin and Gary Sangster, Culture is Action: Action in Chicago?, Sculpture, Washington, D.C., March/April, 1994.
Huebner, Jeff, Chicago Students Green Their Habitat, E Magazine, Chicago, January/February 1994. Hoffman, Justin, Jager der Verborgenen Tier-Welt, Heaven Sent, Frankfurt, February, 1994. Hoffman, Justin, ?Ein Gersprach mit Mark Dion, Kunst-Bulletin, Zürich, March

1993
Kurjakovic, Daniel, Zürich: Mark Dion bei Marc Jancou, Kunst-Bulletin, Zürich, April
Kurjakovic, Daniel, Jagen, Tauchen, Ausgraben, Bekehren, Zuerichsee- Zeitung/Allgemiener Anzeiger/ Grenzpost, Switzerland, 24 March
Bonami, Francesco, Parallax View, P.S. 1 Goethe Institute,
New York, Flash Art, Milan, October
Heartney, Eleanor, The Dematerialization of Public Art,
Sculpture Magazine, Washington, D.C., March/April
Cameron, Dan, Culture in Action, Eliminate the Middleman, Flash Art, Milan, November/December Kimmelman, Michael, ?Of Candy Bars and Public Art, New York Times, Sunday September 26 Scanlan, Joseph, ?Culture in Action, Frieze, London, November/December
Matre, Lynn Van, Carving a Niche, Chicago Tribune, 3 June
Stevens, Liz, Environment as Art, New City, Chicago, 22-28 April.
Lebovici, Elisabeth, Au débotté chez Le Corbusier, Liberation, Paris, 23 June
Pencenat, Corine, Unité D?Habitation, Septième Rue, Galeries Magazine, Paris, Summer
Projet Unité, Purple Prose, Paris, Summer
Graw, Isabelle, La Culture, Zur Ausstellung Projet Unite in Firminy, Artis, Hamburg, September
Decter, Joshua and Olivier Zahm, Bacj to Babel, Project Unité, Firminy, Artforum, New York, November
Lambrecht, Luk, Sonsbeek 93, Flash Art, Milan, October
Archer, Michael, Renée Green, Mark Dion und der Einfluß von Marcel Broodthaers, Texte zur Kunst, Cologne, March
Saunders, Wade, ?Making Art, Making Artists: Interviews with 23 Artists?, Art in America, New York, January
Troncy, Eric, Naakt en Kneedbaar, Metropolis M, No 3, Utrecht

1992
Kwon, Miwon, Unnatural Tendencies: Scientific Guises of Mark Dion, Forum International, Antwerp, May/August
Coelewig, Leontine, Wie mag er in de Ark, Metropolis Museum, Amsterdam, April
Smolik, Noemi,Concrete Jungle at Tanja Grunert Galerie, Artforum, New York, Summer
Goings On About Town, The New Yorker, May
Broudon, David, Mark Dion at American Fine Arts Co., Flash Art, Milan, Summer
Kwon, Miwon; Marcovitz, James; Molesworth, Helen, Confessions of an Amateur Naturalist, Docu- ments, New York, Fall/Winter
Animals, Anne de Villepoix, Paris, Flash Art, Milan, October
Boller, Gabrielle, Nos Sciences Naturelles?, Art Press, No 172, Montreal
Jones, Nancy, Junk Art New York Woman, April
Graw, Isabelle, Jugend forsht (Armaly, Dion, Fraser, Mueller), Texte zyr Kunst, No 1, Cologne, Autumn Bourriaud, Nicolas, The Signature Game?, Flash Art, No 155,
Milan, November/December
Graw, Isabelle, Field Work, Flash Art, No 155, Milan, November/December
Clothier, Peter, For Love not Money: LA Collects, ArtNews, December
Interview with Michel von Praet ?Renovating Nature, Flash Art, No 155, Milan, November/December

1989
Pamphlet, Biodiversity: An Installation for the Wexner Center, Wexner Center for Visual Arts, Columbus, Ohio
Darghis, Manohla, ?Counter Currents: F for Fake, The Village Voice, New York, 31 January
Cembalest, Robin, ?Restoration Tragedies, ArtNews, New York, May
Mahoney, Robert, Galleries: Real America? New York Press, 1 March
Weaver, Frank, Review: Pathetique at Gallery Schmela, Flash Art, No 149, Milan, November/December Levin, Kim, ?Earthworks, The Village Voice, New York, 4 July
Interview, Ashley Bickerton: Un conversation avec Mark Dion,
Galeries Magazine, No 33, Paris, October/November
1989 Smith, Roberta, The Whitney Interprets Museums Dreams, New York Times, 23 July

1988
Schwendenwien, Jude, The Pop Project Part IV: Nostalgia as Resistance, Artscribe, London, Novem- ber/December
Tales from the Dark Side?, Real Life Magazine, No. 14, New York

1987
Indiana, Gary, ?Agitations, The Village Voice, New York, 28 July
Zipes, Jack, Fairy Tale as Myth/Myth as Fairy Tale, New Observation, No. 45, New York, 1987 Heartney, Eleanor, ?Review: Toys Are Us, Afterimage, Rochester, New York, March, 198

1986
Rooted Rhetoric, Castel dellOvo, Naples
Cutting Em off at the Pass, Thirty-Third Arts Festival of Atlanta, USA
The Fairy Tale: Politics, Desire and Everyday Life, Artists Space, New York , USA

1985
Four Walls, Hoboken, New Jersey , USA
Whitney Independent Study Program Show, Whitney Museum of Art, New York, USA Transitional Objects, Philip Nelson Gallery, Lyon, France

Art Gallery of Ontario, Canada
The Art Gallery of New South Wales, New South Wales, Australia
Aspen Re Collection, New York, NY
Bibliothèque nationale de France, Paris
Camperdown Wildlife Park, Dundee Scotland
Michael C. Carlos Museum, Emory University, Atlanta, GA
CCA Kunsthalle Andratx, Majorca, Spain
Centre Georges Pompidou
Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain
Sterling and Francine Clark Art Institute, Williamstown, MA
Château d'Orion, France
FRAC Languedoc-Roussillon, France
Gemeentemuseum Den Haag, The Netherlands
Hamburger Kunsthalle, Hamburg
Harvard University Art Museums, Cambridge, MA
Henry Moore Institute
Het Museum van Hedendaagse Kunst, Antwerp
Hunterian Museum and Art Gallery, University of Glasgow, Scotland
Israel Museum of Art, Jerusalem
Kunsthaus Zurich
Kunstmuseum Stuttgart
Kunstwegen EWIV, Nordhorn, Germany
Kunst im Öffentlichen Raum Niederösterreich
Manchester Museum
The Metropolitan Museum of Art, New York, NY
Miami Art Museum, Miami, FL
Minneapolis Institute of Art
Musée de la Chasse et de la Nature, Paris
Museum of Contemporary Art, Chicago, IL
The Museum of Contemporary Art, Los Angeles, CA
Museum Gassendi, Digne, France
Museum Het Domein, Sittard, The Netherlands
Museum Ludwig, Cologne
Museum of Modern Art, New York, NY
Museum Ostwall, Dortmund, Germany
New York Public Library, New York, NY
Nouveau Musée National de Monaco
Porthmeor Studios, St. Ives, U.K.
Seattle Art Museum, Seattle, WA
Smart Museum of Art, University of Chicago, IL
Storey Institute, Lancaster, U.K.
Tate Gallery, London
Utah Museum of Fine Arts, Salt Lake City, UT
Wadsworth Atheneum, Hartford, CT

Selected Public Commissions:

City of Braunschweig, Germany
City of Newcastle, U.K.
Hofgarden, Dusseldorf
Johns Hopkins University Library
Norway National Tourist Route
Ship in a Bottle for Port of Los Angeles, CA
Vertical Garden in Tooley Street, London

Mark Dion - L'ichthyosaure La pie et autres merveilles du monde naturel

Images en manoeuvres éditions,
Mark Dion - The Natural History of the Museum

archibooks,
Mark Dion - New england digs
Mark Dion

Phaidon,
Oceanomania - Mark Dion

Nouveau Musée National de Monaco,
Mark Dion - Microcosmographia

South London Gallery,

Artful and Stunning Cabinets of Curiosities, Decoded

25.02.2016, T - THE NEW YORK TIMES STYLE MAGAZINE