Mark Dion
Le Laboratoire de la nature, 02.19 - 04.19
Le Fresnoy Studio National des Arts Contemporains
© Yves Boutry

Mark Dion
Theatre of the Natural World, 2018
Whitechapel Gallery, Londres, UK

Mark Dion
Paris Streetscape, 2017
Iron, wood, stuffed animals and various materials
190 x 150 x 250 cm
Unique artwork
Exhibition view / Private Collection

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

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

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 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

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

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

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

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


Born in 1961, New Bedford, Massachusetts, US
Lives and works in New York, US

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.

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 Perilous Texas Adventures of Mark Dion, The Amon Carter Museum of American Art (2020), Mark Dion: Our Plundered Planet, The Hugh Lane Gallery, Irlande (2019), Mark Dion: Theatre of the Natural World, Whitechapel Gallery Londres (2018), Mark Dion: Misadventures of a 21st-Century Naturalist, Institute of Contemporary Art Boston (2017), The Curator's Office, Minneapolis Institute of Art, Minneapolis (2013), The Macabre Treasury at Museum Het Domein in Sittard, The Netherlands, (2012), 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.

Download the biography


Solo exhibitions

Mark Dion: Investigations, Inquiries and a Few Good Jokes, Galerie In Situ - fabienne leclerc, Grand Paris, FR


Delirious Toys - The Berlin Toy Cabinet of Wonder
, Museum Nikolaikirche, Berlin, Germany
Field Station of the Melancholy Entomologist, Ice House Project Space, Sharon, CT
Systema Naturae, Saskia Neuman Gallery, Stockholm
Journey to Nature’s Underworld, organized by American Federation of Arts The Bruce Museum, Greenwich, CT [traveling to Virginia Museum of Contemporary Art, Virginia Beach, VA ; The Tang Teaching Museum at Skidmore, Saratoga Springs, NY; Lowe Art Museum, University of Miami, Miami, Palmer Museum of Art, Penn State, University Park, PA] (two-person)

Witches' Cottage, Museum Morsbroich Gustav, Leverkusen, GE
The Tropical collectors, Musée national Pablo Picasso - La Guerre et la Paix, FR

Retour à l'école, In Situ-fabienne leclerc, Grand Paris, FR
Mark Dion & David Brooks : The Great Bird Blind Debate, Planting Fields Foundation, Oyster Bay, NY, USA
Mark Dion & Dana Sherwood : The Pollinator Pavilion, Thomas Cole National Historic Site, Catskill, NY, USA
The Field Station of the Melancholy Marine Biologist, Governor?s Island, NY, USA (long-term installation)
Cabinet of Electrical Curiosities, Kunsthalle Praha, Prague (site-specific commission)
Barakat Contemporary, Seoul, KOR
Bureau de l'ornithologue, Musée Gassendi, Digne-les-Bains, FR
(commissioned installation)
Mark Dion: The Accused, Verbeke Foundation, Kemzeke, BE

The Perilous Texas Adventures of Mark Dion
, The Amon Carter Museum of American Art, Fort Worth, Texas, USA
Mark Dion: Follies, Laumeier Sculpture Park, St. Louis, MO
Mark Dion & Dana Sherwood: The Pollinator Pavilion, Thomas Cole National Historic Site, Catskill, NY

Wunderkammer 2, Esbjerg Art Museum, Esbjerg, DK
Mark Dion : The Life of a Dead Tree,
Museum of Contemporary Art, Toronto, CA
Mark Dion: Our Plundered Planet, 
The Hugh Lane Gallery, Dublin, IR
Mark Dion: Follies, Storm King Art Center, Cornwall, NY
Fragile Earth: The Naturalist Impulse in Contemporary Art, Florence Griswold, Museum, New Lyme, CT
Mark Dion: Theatre of the Natural World, Whitechapel Gallery, London, GB

Prospect 4: The Lotus in Spite of the Swamp, New Orleans, US
American Politics Dirty Tricks, Georg Kargl Fine Arts, Vienna, AT
Mark Dion, FRAC Provence-Alpes-Côte d'Azur, Marseille, FR
The Wondrous Museum of Nature, Kunstmuseum St. Gallen, CH
Mark Dion: Misadventures of a 21st-Century Naturalist, Institute of Contemporary Art Boston, US
Exploratory Works: Drawings from the Department of Topical Research Field Expeditions, The Drawing Center, New York, US
Waiting for the Extraordinary, U-M Institute of the Humanities, University of Michigan, Ann Arbor, US
Virginia Curiosity Shop: a Mark Dion Project for UVA, The University of Virginia, Charlottesville, VA
Mark Dion: Fieldwork IV, Cairn Centre D'Art, Digne-les-Bains, FR
Wayward Wilderness, Marta Herford, Herford, DE
Against the Current, Ormston House, Limerick, IR
Library for the Birds of New York and Other Marvels, Tanya Bonakdar Gallery, New York, US
Reconnaissance, Wounters/ Waldburger, Brussels, BE
Recent Mischief, Ruffin Gallery, Richmond, US
The Universal Collection, The Frances Lehman Loeb Art Center, NY, US
ExtraNaturel: Voyage initiatique dans la collection des Beaux-Arts de Paris, Palais des Beaux-Arts, Paris, FR
The World in a Box and Other Adventures in Cosmology: Recent Print Editions of Mark Dion, Ruffin Gallery, University of Virgina, Charlottesville, US


Mark Dion: Matrix 173, The Wadsworth Atheneum's Great Chain of Being, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, US
Mark Dion, Museum Marta Herford, Herford, DE
Mark Dion: The Phantom Museum-Wonder Workshop, Clifford Gallery and Picker Art Gallery, Colgate University, Hamilton, New York, US
Mark Dion: The Undisciplined Collector, Rose Art Museum, Brandeis University, Waltham, Massachusetts, US
The Trouble with Jellyfish (Mark Dion with Lisa-Ann Gershwin), Le Laboratoire, Cambridge, US
Future Histories, curator Magnus af Petersens, Casa dei tre Oci, Venice, IT
The Lost Museum: A Project of the Jenks Society, Department of Social Humanities, Brown University, Providence, US
Mark Dion: The Octagon Room, Massachusetts Museum, North Adams, US
Wunderkammer Oberösterreich, IM OÖ, Kulturquartier, Linz, AU
Against the Current, Ormston House, Limerick, IR
Mark Dion: The Wondrous Museum of Nature, Kunstmuseum, St. Gallen, CH

The Lost Museum: A Project of the Jenks Society, Department of Social Humanities, Brown University, Providence, Rhode Island, US
Cosmographia: Selected works on paper, 1991-2014, IN SITU - fabienne leclerc, Paris, FR
The Academy of Things, HfBK Dresden, Staatliche Kunstsammlungen Dresden, DE
The Macabre Treasury, Museum Het Domein, Sittard, NE
Mark Dion: Drawings, Prints, Multiples and Sculptures, Tanya Bonakdar Gallery, New York, US
The Pursuit of Sir William Hamilton, Museo Pignatelli, Naples, IT
The Curator's Office, Minneapolis Institute of Art, Minneapolis, US
Field Station Honda, FLORA ars+natura, Bogotá, CO
The Octagon Room on long-term view at Massachusetts Museum of
Contemporary Art, North Adams, MA
Above/Below Ground, a project by Mark Dion and Amy Yoes for the Siena Art Institute, Siena, IT

Mark Dion: Phantoms of the Clark Expedition, The Explorers Club, New York, US
Mark Dion: Twenty One Years of Think in Three Dimensions, Galerie Christain Nagel, Berlin, DE
Troubleshooting, USF Contemporary Art Museum, Tampa, US
Fresh Skulpture (in collaboration with Dana Sherwood), Galerie Georg Kargl, Vienna, AU

Oceanomania, Souvenirs from A Mysterious Sea, from the Expedition to the Aquarium, Musée océanographique de Monaco, MC
The Marvelous Museum, Oakland Museum of California, Oakland, US
The South Florida Wildlife Rescue Unit, Miami Art Museum, US
Waiting for the Extraordinary, Michigan State University, Institute for the Humanities, East Lansing, US

Travels of William Bartram, Tanya Bonakdar Gallery, New York, US
A World For The Spoiling, IN SITU - fabienne leclerc, Paris, FR
Winged Defense, Presidio Habitats with Nitin Jayaswal, For-Site Foundation, San Francisco, US
The Amateur Ornithologist Clubhouse, Emscher Kunst, Ruhr, DE
Zwischenzonen, Muséo Jumex, Mexico City, MX
Permanent installation for the Springhornhof Institute of Neolithic Archeology, Kunstverein Stiftung Springhornhof Neuenkirchen, DE
Le départment archeologique des recherches archeologiques subaquatiques et sour-marines du Musée de l'Arles et de la Provence Antiques, Musée departmental d'Arles antique, Arles, FR
Permanent public garden installation, Tooley Street Hanging Garden, London, GB
Concerning Hunting, Herbert Gerisch-Stiftung, Neumünster, DE
Mark Dion, Kunsthalle Krems, Krems-Stein, AU
Mark Dion: Collected Editions 1984 - 2009, Trisolini Gallery, Baker University Center, Ohio, US
Inspired by the Wagner: Mark Dion Speaks on his Work, The Wagner Free Institute of Science, Philadelphia, US
Artists on Artists Lecture Series: Mark Dion on Robert Smithson, Dia Art Foundation, New York, US
Mark Dion: Travels of William Batram-Reconsidered, Atlantic Center for the Arts, New Smyrna Beach, Florida, US
Concerning Hunting, Galleria Civica di Modena, IT
Concerning Hunting, Kunstraum Dorndirn, AU
Mark Dion: Maquettes, Goodwater Gallery, Toronto, CA
Concerning Hunting, Aarhus Kunstbygning, DK
Bartrams' Travels Reconsidered, Bartram's Garden, Philadelphia, US
Art Unlimited, Art Basel, CH
Maquettes, Goodwater Gallery, Toronto, CA
The Octagon Room, Tanya Bonakdar Gallery, New York, US

Kunstraum Dornbirn, Dornbirn, AU
Library for the birds of Paris and other fables, Université de Paris 1, Galerie Michel Journiac, Paris, FR
Systema Metropolis, The Natural History Museum, London, GB
Tooley Street Hanging Garden (commission in collaboration with Gross Max), London, GB
Buchsdom Tower (commission), Schlossgravnik, AU
Le bureau des fondateurs, Musée de la chasse et de la nature (permanent exhibition), Paris, FR
The Natural History of the Museum, Seedamm Kulturzentrum, Pfaeffikon, CH
The Natural History of the Museum, Dunkers Kulturhus, Helsingborg, SE
The Natural History of the Museum, Carré d'Art, Musée d'art contemporain de Nîmes, FR
Seattle Vivarium, Olympic Sculpture Park, Seattle, US
Maquettes, Goodwater Gallery, Toronto, CA
Memorial to Thomas Bewick, St Michael's Church, Newcastle upon Tyne Public Art Project, Newcastle, GB
Salon Jacqueline Sommer, Musée de la Chasse et de la Nature, Paris, FR

The South Florida Wildlife Rescue Unit, Miami Art Museum, Miami, US
Dundee Bear Broch, Camperdown Wildlife Center, Dundee, GB
Microcosmographia, The Harris Museum and Art Gallery, Preston, US
Microcosmographia, Oriel Mostyn, Llundudno, Wales Bureau of the Center for the Study of Surrealism and its Legacy, The Manchester Museum, GB
Neotropic, In Situ - fabienne leclerc, Paris, FR

The Brazilian Expedition of Thomas Ender - Reconsidered, Akademie der Bildenden Künste, Vienna, AU
Art Unlimited 2005, In Situ - fabienne leclerc, Paris, Basel, CH
Bureau of the Centre for the Study of Surrealism and its Legacy, Manchester Museum, GB
Dungeon of the Sleeping Bear, the Phantom Forest, the Birds of Guam and other Fables of Ecological Mischief, Château d'Oiron, Oiron, FR
Microcosmographia and the Secret Garden Biological Field Unit, South London Gallery, GB
Salon de Chasse, Musée de la Chasse et de la Nature, Château de Chambord, Chambord, FR
The Curiosity Shop, Tanya Bonakdar Gallery, New York, US
Memento Mori (My Glass is Run), Aldrich Contemporary Art Museum, Ridgefield, US
Dundee Bear Broch, Camperdown Wildlife Center, Dundee Contemporary Arts, Dundee, GB
Projects 82: Mark Dion Rescue Archeology, A Project for the Museum of Modern Art, MoMA, New York, US
Universal Collection, Historisches Museum, Frankfurt am Main, DE
American Politics, Galerie Christian Nagel, Berlin, DE
Mark Dion: drawings and printed works, Goodwater Gallery, Toronto, CA
Urban Field Station, American Philosophical Society, Philadelphia, US
Tropical Travels, Thomas Ender (1817-1818) and Mark Dion (2003), Akademie der Bildenden Künste, Vienna, AU

The Icthyosaurus, the Magpie, and Other Marvels of the Natural World, Musée Gassendi, la Réserve Géologique de Haute Provence, Musée de Digne, Digne-Les-Bains, (catalog), FR
Encyclomania, Kunstverein Hanover, Hannover and Bonner Kunstverein, Bonn, DE
Mark Dion: Collaborations 1987-2003, Joseloff Gallery, Hartford, Connecticut and Americana Fine Arts, Co., New York, US
Full House, 9th Annual Larry Aldrich Foundation Award, The Aldrich Museum of Contemporary Art, Ridgefield, US
RN: The Past, Present and Future of the Nurse Uniform, The Fabric Workshop and Museum, Philadelphia, US

Microcosmographia, University of Tokyo Museum, Tokyo, JP
Mark Dion: Encyclomania, Villa Merkel, Esslingen, DE
Vivarium, Tanya Bonakdar Gallery, New York City, US
New England Digs, List Art Center, Providence, US
The Hamburg Canal Field Station, Galerie für Landshaftkunst, Hamburg, DE
Urban Wildlife Observation Unit, The Public Art Fund, Madison Square Park, New York, US
Ursus Maritimus, Goodwater Gallery, Toronto, CA

New England Digs, Fuller Museum of Art, Brockton, US
Cabinet of Curiosity for the Weisman Art Museum, Weisman Art Museum, Minneapolis, US
Theatrum Mundi : Armarium, IN SITU - fabienne leclerc, Paris, FR
The Museum of Poison, Galerie Bonakdar Jancou, New York, US
Nature Bureaucracies, American Fine Art Co., New York, US
Tate Thames Digs (Two Banks), Tate Gallery, London, GB
Art Now 20: Tate Thames Dig, Tate Gallery, London, GB
Where the Land Meets the Sea, organized by Arnold J. Kemp, Yerba Buena Center for the Arts, San Francisco, US

Adventures in Comparative Neuronatomy, organisée par Suzanne Witzgall, Deutsches Museum, Bonn, DE
The Natural World, Vancouver Art Gallery, Vancouver, CA
Loot, Raiding Neptune's Vault, Galeria Emi Fontana, Milan, IT
Private Property, Galerie fur Landschaftskunst, Hamburg-Altona, DE

Trophies & Souvenirs, London Projets, London, GB
Mark Dion : Musée d'histoire naturelle et autres fictions, Ikon Gallery, Birmingham, GB
Kunstverein, Hamburg, DE
Hommage à Jean-Henri Fabre, Galerie des Archives, Paris, FR
Cabinet of Curiosity, Wexner Center for the Arts, Colombus, US

Two Trees, American Fine Arts Co., New York, US
Along the Shores of the North Sea and Baltic Sea and What they Found There, Galerie Christian Nagel, Cologne, DE
Unseen fribourg, Fri-Art Center d'Art Contemporain Kunsthalle, Fribourg, CH
A Vital Matrix, Domestic Setting, Los Angeles, American Fine Arts Co ., New York, US
Dodo, Galerie Tanya Rumpff, Amsterdam, NL
Flotsam and Jetsam (The End of the Game), de Vleeshal, Middleburg, NL

Artoteles, Rachel Carson, Russel Wallace, Galerie Metropol,Wien, AT
When Dinosaurs Ruled the Earth ( Toys R U.S.), American Fine Art Co., New York, US
Angelica Point, Galerie Emi Fontana, Milan, IT

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

American Fine Art Co., New York, US
Galleri Nordanstad-Skarstedt, Stockholm, SE

Launching, Shark Editions, Spring Street Lounge, New York, US
Extinction, Dinosaurs and Disney: The Desks of Mickey Cuvier, Galerie Sylvana Lorenz, Paris, FR
Frankenstein in the Age of Biotechnology, Galerie Christian Nagel, Cologne, DE

Group exhibitions

Journey to Nature's Underworld, Lowe Art Museum, University of Miami, Miami, Florida, USA
Journey to Nature's Underworld, Palmer Museum of Art, Penn State, University Park, Pennsylvanie, USA

Désordres, Musée d'art contemporain de Lyon, Lyon, FR
Journey to Nature's Underworld, Virginia Museum of Contemporary Art, Virginia Beach, Virginia, USA
Journey to Nature's Underworld, The Tang Teaching Museum, Skidmore College, New-York, USA
Home Again, Newfields , Indianapolis, Indiana, USA
The World In Which We Live: The Art of Environmental Awareness, Richard and Carole Cocks Art Museum, Miami University, Oxford, Ohio, USA

Über den Wert der Zeit / On the Value of Time, Ludwig Museum, Köln, AL
Touch Nature,
Austrian Culture Forum New York, New York, USA
Un/Natural Selections: Wildlife in Contemporary Art
, Hudson River Museum, New-York, USA
Reimag(in)ing the Victorians,
Djanogly Gallery, University of Nottingham, Nottingham, UK
"A singularly Marine & Fabulous Produce": The Cultures of Seaweed
New Bedford Whaling Museum, New Bedford, Massachusetts, USA
Journey to Nature's Underworld,
The Bruce Museum, Greenwich, Connecticut, USA
Tossed: Art from Discarded, Found and Re-purposed Materials, Middlebury College Museum of Art, Middlebury, Vermont, USA
Favoloso Calvino, Scuderie del Quirinale, Rome, Italy

Tense Condition
, Staatsgalerie, Stuttgart, Germany

n/Natural Selections : Wildlife in Contemporary Art, National Museum of Wildlife, Jackson, WY, USA
Topographies : Changing Conceptions of the American Landscape, Binghampton University Art Museum, Broome County, NY, USAFragile Creation, Dom Museum, Vienna, Autriche
We Are Animals, Kunsthal Rotterdam, Netherlands
Body & Soul. Thinking Feeling Brushing Teeth, Museum Ostwall, Dortmund, Germany

Et maintenant, le dessin...,
In Situ - Fabienne Leclerc, Romainville, FR

A Passion for Drawing. The Guerlain Collection from the Centre Pompidou, Albertina, Vienne, AT
Le Laboratoire de la Nature
, Le Fresnoy, FR


O Triãngulo Atlãntico, 11th Mercosul Visual Biennial, BZ
Affective Affinities, The 33rd São Paulo Biennial, curated by Gabriel Pérez-Barreiro, São Paulo, BR
Wild Designs, Peabody Essex Museum, Salem, US
Endangered Species: Artists on the Front Line of Biodiversity, Whatcom Museum, Belingham, US
The Magic Kingdom, curated by Avi Lubin, Beit Uri and Rami Nehoshtan Museum, Ashdot Ya'akov Meuhad, ISR
Nature's Nation: American Art and Environment, Princeton Art Museum, Princeton, US
Wilderness, Schirn Kunsthalle Frankfurt, Frankfurt, DE
From Theory to Practice: Trajectories of the Whitney Independent Study Program, curated by John Tyson and Sam Toabe, University of Massachusetts, Boston, US
The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004), Center for Curatorial Studies and Hessel Musem of Art, Bard College, NY, US

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

The Trouble with Jellyfish, Le Laboratoire Cambridge, Cambridge, UK
20 - An Exhibition in Three Acts, Migros Museum für Gegenwartskunst, Zurich, DE
Emscherkunst 2016, multiple locations, DE
Don't Look Back: The 1990's at MOCA, The Geffen Contemporary at MOCA, Los Angeles, CA, US
Sublime. The Tremors of the World., Centre Pompidou-Metz, Metz, FR
Come as you are: Art of the 1990's, Musée d'art Blanton, UT Austin, US
To expose, to show, to demonstrate, to inform, to offer, Museum Moderner Kunst, Vienne, AT
Radical Seafaring, Parrish Art Museum, Water Mill, New-York, US
Mark Dion, Jessica Rath, Dana Sherwood, Pitzer Art Galleries, Pitzer College, Claremeont, CA, US
Dead Animals, or the Curious Occurrence of Taxidermy in Contemporary art, David Winton Bell Gallery, Providence, US
Come as you are: Art of the 1990's, Blanton Museum of Art, UT Austin, US

Late Harvest, Musée d'Art du Nevada, US
Hunters and Gatherers Contemporary Art, Musée Morsbroich, Leverkusen, DE
Come as you are: Art of the 1990's, Montclair Art Museum, US
Come as you are: Art of the 1990's, Telfair Art Museum, US
Come as you are: Art of the 1990's, University of Michigan Art Museum, Ann Arbor, US
Global Imagination, Museum De Lakenhal, Leyde, NL
Construire une Collection, 2nd Volet - Villa Sauber, Nouveau Musée Nationale de Monte Carlo, MC

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

Arqueologica, Matadero Madrid, ES
Arctic, Lousiana Museum, Humlebaeck, DK
Le Surrealisme et l'Objet, Centre Pompidou, Paris, FR
Collection Daniel et Florence Guerlain, Centre Pompidou, Paris, FR
Arctic, Lousiana Museum, Humlebaeck, DK
The Way of the Shovel, MCA (Chicago), US
L'arbre de vie, Collège des Bernardins, Paris, FR
Chasse et chassé, Domaine Départemental de la Garenne Lemot, Loire Atlantique, FR

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

Musée d'histoire naturelle et Jardin des plantes, Paris, FR
Minusubliminus, Musée de la Loire, Cosne-Cour-sur-loire, FR
Belvedere, Warum ist Landschaft schoen, Arp Museum Bahnof Rolandseck, Remagen, DE
Collection Guerlain, Les Mesnuls, FR
Art/Système/Poésie, IN SITU - fabienne leclerc, Paris, FR
The Luminous Interval: an Exhibition of the D.Daskalopoulos Collection, Guggenheim Bilbao, Bilbao, ES
Editions ex Libris # 1-20
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City, UT, US
Kunstfestivalen Tumult, Nykobing F, DK
Ship In A Bottle, Public commission for Port of Los Angeles Waterfront Enhancement Project, Cabrillo Way Marina, San Pedro, CA, US

Weltwissen World Knowledge. 300 years of Science in Berlin, Martin-Gropius-Bau, Berlin, DE
Beyond/In Western New York 2010: Alternating Currents, Albright-Knox Art Gallery, Buffalo, NY, US
New Acquisitions of the Art Foundation Mallorca Collection, CCA Kunsthalle Andratx, Majorca, ES
Investigations of a dog, Works from the FACE Collections, DESTE Foundation, Athens (GR), Foundation, Cascais (PT), Fondazione Sandretto Re Rebaudengo, Turin (IT), La Maison Rouge, Fondation Antoine de Galbert, Paris (FR) and Magasin 3 Stockholm Konsthall, Stockholm (SE).
Strange Travelers, Curated Project by the Artist, Tanya Bonakdar Gallery, New York, US
Doppler Effect: Images in Art and Science, Kunsthalle zu Kiel, Kiel, DE
Rummaging in the Rubbish: Waste and Recycling in Contemporary Art, Koldo Mitxelena Kulturunea, San Sebastian, ES; traveling to Centro de Arte y Naturaleza, Huesca, ES
The Traveling Show, curated by Adriano Pedrosa, Fundacion/Coleccion Jumex, Mexico City, MX
Larger Than Life - Stranger Than Fiction, Triennial Kleinplastik 11, Fellbach, DE
Adaptation: Between Species, curated by Helena Reckitt, The Powerplant, Toronto, CA
Multiple Pleasures: Functional Objects in Contemporary Art, curated by Nathalie Karg/Cumulus Studios, Tanya Bonakdar Gallery, New York, US
The Crude and the Rare, curated by Saskia Bos and Steven Lam, 41 Cooper Gallery, The Cooper Union, New York, US
Kunstfestivalen Tumult, Kykobing, DK
The Morning After- The Prompt, The Silver Shed, New York, US
Emscherkunst 2010, Norsternpark Gelsenkirchen, DE
Théorie des modèles / Art & science: trop simple, trop complexe, Espace d'éxposition de la Head, Geneva, CH
Serpula Lacrymans, Galerie fur Landschaftskunst, Hamburg, DE
Weisser Schimmel / You can observe a lot by watching, Sammlung Falckenberg, Hamburg-Harburg, DE
Nature en Kit, Mudac, Lausanne, CH
Assume Nothing: New Social Practice, Art Gallery of Greater Victoria, Victoria, US
Human Nature, Berkeley Art Museum and Pacific Film Archive, Berkeley, US
Radical Nature: Art and Architecture for a Changing Planet 1969-2009, Barbican Art Gallery, London, GB
Trouble in Paradise: Examining Discord between Nature and Society, Tucson Museum of Art, Tucson, US
Classified, Tate Gallery of Modern Art, London, GB
Dream Time, Les Abattoirs and the La Grotte dumas d'Azul, Toulouse, FR
Surrealism and Beyond, Helsinki City Art Museum, Helsinki, FI
A Duck for Mr. Darwin, Baltic Center for Contemporary Art, Newcastle, UK
C'est notre terre II, Site Tour & Taxis, Watou, Bruxelles, BE
Summer Show, Tanya Bonakdar Gallery, New York, US
Ferne Naehe: Nature in der Kunst der Gegenwart, Kunst Museum, Bonn, DE
Collections Collected, Kennedy Museum of Art, Athens, GR
Interstices: Works from the Jumex Collection, MUMOK, Vienna, AT
Be sure to attend carefully to what I have to say to you, Fri Art Kunsthalle, Fribourg, DE
en vue...des manières de voir. la nature mise en images et en vitrine, Passerelle, Centre d'art, Brest, FR
Schoene neue Welt, Museum modernen Kunst Stiftung Ludwig, Wien, AT
«N'importe Quoi/Everything», Musée d'Art Contemporain de Lyon, Lyon, FR

Human Nature, Museum of Contemporary Art San Diego, US
Struggle for life - Artenwandel und Artensterben im Anthropozaen, ERES-Stiftung, Muenchen, DE
Die Tropen. Ansichten von der Mitte der Weltkugel, Martin Gropius Bau, Berlin, DE
observing beast, time, evolution. Kunst und Naturwissenschaft, Kunstverein Hildesheim/ Roemer- und Pelizaeus, Hildesheim, DE
Tales of Time and Space, Folkstone Triennial, Folkestone, UK
Selective knowledge, ITYS, Institute for contemporary art, Athens, GR
Néofutur, Les Abattoirs, Toulouse, FR
Comme des bêtes, l'ours, le cochon, le chat et Cie, Musée cantonnal des Beaux-arts, Lauzanne, CH
Estratos, PAC MURCIA, ES
Des coiffes, décoiffes, Galerie Gabrielle Maubrie, Paris, FR
Genesis : Die Kunst der Schoepfung, Zentrum Paul Klee, Bern, DE
The Sydney Biennale, Australia, AU


Hansarviertel Projekt, Berlin, DE
Genesis, Centraal Museum, Utrecht, NL

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

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

Braunschweig parcours 2004, Kulturinstitut Braunschweig, DE
For the Birds, Artspace, New Haven, US
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, US

RN : The Past, Present and Future of the Nurses, Uniform, The Fabric Workshop and Museum, Philadelphia, US
Confini, Cesac, Caraglio, IT
Imperfect Marriages, Galeria Emi Fontana, Milan, IT
Jean Henri Fabre, Fondation Electra, Espace EDF Electra, Paris, FR

Factory Direct, Art Center of the Capital Region, Troy New York, US
Fresh Kills, Snug Harbor, Centre Culturel, Staten Island, New York, US
Words and Things, CCA Glasgow, GB

Fresh Kills, Sag Harbor Center for Contemporary Art, New York, US
Crossing the Line, Art Museum of Queens, New York, US


American Art Today : Fantasis & Curiosities, Art Museum of the University of Florida, Miami, US
The Shape of the World, The End of the World, Pac Padiglione de Arte Contemporaneo de Molano, Italia Small World- Dioramas, MCA, Chicago, US
Sequences, Galerie Roger Pailhas, Marseille, FR

The Museum as Muse, Museum of Modern Art, New York, US
Carnegie International, 99/00, Carnegie Art Museum, Pittsburgh, US

The Spiral Village, Musée Bonnefanten, Maastricht, NL
Città Natura, Palace de l'Exposition et Musée Zoologique, Rome, IT
Veilleurs du monde, Centre Culturel Français, Cotoriuo, BJ
Venice Biennale, Nordic pavillon, XL VII Venice Biennale, IT
Skulptur Projekte in Muenster, Muenster, DE

Vehicle, Galerie Paolo Baldacci, New York, US
Multiple Pleasure, Galerie Tanya Bonakdar, New York, US
Berechenbarkeit der Welt, Bonner Kunstverein, Bonn, DE
Cabinet de Bain, Piscine de la Motta, Fri-Art, Centre d'art Contemporain-Kunsthalle, Fribourg, CH
Hybrids, de Appel, Amsterdam, Holland, NL
21st Century sculpture, Galerie John Gibson, New York, US
Campo 6, Galeria Civica d'Art Moderne et Contemporaneo, Turin, IT
Let's Talk About Art, Metropole de l'Art, Toronto, CA
25th Anniversary : 25 young artists, Galerie John Weber, New York, US


Mapping : A Response to MoMA, American Fine Arts Co., New York, US
Zeichen und Wunder/Signos y Milagros, Kunsthaus Zurich, Switzerland ; Centre Galego de Arte Contemporaneo, Santiago de Compostela, ES
It's not a Picture, Galerie Emi Fontana, Milan, IT
Searching for Sabah, Musée Sabah, Sabah, MY
Platzwechsel, Kunsthalle, Zuerich, CH
Schoharie Creek Field Station, Art Awareness, Lexington, US
Das Ende der avant Garde, Kunst als Dienstleistung, Kunsthalle des Hypo-Kulturstiftung, Munich, DE
Aufforderung, in Shönster Weise, Galerie Christian Nagel, Cologne, DE

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

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



"Mark Dion: Misadventures of a 21st-Century Naturalist". Yale University Press, 2017.

"Mark Dion: The Academy of Things". Verlag der Buchhandlung Walther Konig, 2015.

"Mark Dion: Oceanomania". Mack, 2011.

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.

"Mark Dion, Travels of William Bartram: Reconsidered". John Bartram Association, 2008.
"Mark Dion: Concerning Hunting". 2008.

"Art in Action: Nature, Creativity and Our Collective Future". Natural World Museum and United Nations. 2007.
"Mark Dion: The Natural History of the Museum." Carré d'Art Musée d'Art Contemporain, Nîmes. 2007.

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.
"Microcosmographia." South London Gallery, 2005.
Kantor, Jordan. "Drawing from the Modern 1975-2005." The Museum of Modern Art, New York. 2005.
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. London, 2005.

"Microcosmographia: Mark Dion's Chamber of Curiosities". 2003.
"Mark Dion's Field Guide to the Wildlife of Madison Square Park". Mark Dion Essays by Michael Crewdson, Marga, 2003.
"Drawings, Journals, Photographs, Souvenirs, and Trophies 1990-2003". Aldrich Museum of Contemporary Art. 2003.

Dion, Mark. "Concrete Jungle", Juno Books, 1996.



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

Hillarie, M. Sheets, A Wink at the Quirks of a Famed Collector. The New York Times, 6 mar. 2015
Schwendener, Martha. A Time When the World Seemed Larger. The New York Times, 4 apr. 2015.
Archer, Sarah. Contemporary Artists Creat a New Kind of Order at the Barnes Foundation. Hyperallergic, 28 jul. 2015.
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, 17 sep. 2015.
Dunne, Susan Artist Pokes Fun At Great Chain of Being With New Wadsworth Exhibit. Hartford Courant, 1 oct. 2015.
Cost puts paid to art restoration hope. Lancaster Guardian. 7 oct. 2015.
Urist, Jacoba. U-Turn on Lancaster garden artwork. Lancaster Guardian 4 nov. 2015.

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

Ter Borg, Lucette. Mark Dion's Macabre Treasury. Sleek magazine, 22 jan. 2013.
Dions moderne wonderkamer. NRC Handelsblad, 11 feb. 2013.
Steinberg, Claudia. Naturgewalt. Art Investor, jan. 2013, pp. 68-74 (illust.)
Cembalest, Robin. The Curator Vanishes: Period Room as Crime Scene.ARTnews, 28 feb. 2013.
Russeth, Andrew. Explorers Club: Mark Dion Has Turned Globe-Trotting Natural Science Into an Art Form. Gallerist NY (The Observer), 5 mar. 2013.
Kazakina, Katya. Sex Toys, Piped Pollution, African Lesbians: Chelsea Art.Bloomberg, 21 mar. 2013.
Conley, Kevin. Mark Dion. The Exhibitionist in Town & Country, 29 mar. 2013.
Goukassian, Elena. Mark Dion: DEN. Sculpture Magazine, apr. 2013, P. 19
Smith, Roberta. Mark Dion: Drawings, Prints, Multiples and Sculptures. The New York Times, 5 apr. 2013, p. C29
Berk, Anne. Mark Dions Installations. Sculpture Network, 5 apr. 2013.
Budick, Ariella. Expo 1: New York, MoMA PS1, New York, review Financial Times, 21 may 2013.
Lookofsky, Sarah. Mark Dion | Trash on the Beach. Disillusioned Magazine, 10 oct. 2013.

Beeson, John. Mark Dion's Twenty One Years of Think in Three Dimensions. Art agenda, 21 may 2012.
Lewis Jim. The Know-it-All. T Magazine: New York Times Style Magazine, 30 mar. 2012.
Saltz, Jerry. Eleven Things That Struck, Irked, or Awed Me at Documenta 13.New York Magazine, 15 jun. 2012.
Ed. Mark Dion, Janet Cardiff, and Tomas Saraceno in New York City. Culture, 28 jun. 2012.
Gat, Orit. Mark Dion. Modern Painters, oct. 2012, 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.

Robertson, Rebecca. The Elephant in the Room. ARTnews, jan. 2011, p. 26
Juarez, Kristin and Alana Wolf. CENCIA invites Mark Dion to blur the traditional lines of art and study. Burnaway, 9 mar. 2011.
Ed. Geballtes Wissen. Welt Wissen, 2011.
John Carlos. U-M Institute for the Humaniries installation toys with university history. Ann, 9 oct. 2011.

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

Dion, Mark. "Mark Dion on Robert Smithson", Art World Magazine, feb./mar. 2009, p. 126 (illust.)
Bindi, Gaia. "Towards an anti-oedipal relationship with nature", Inside Magazine, issue 20, apr. 2009, pp. 48-55 (illust.)
Kastner, Jeffrey. "Critical Mass", Modern Painters, mar. 2009, pp. 28-29 (illust.)
Connor, Steven. "The Right Stuff", Modern Painters, mar. 2009, 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), 19 jun. 2009.
Knoth, Natalie. "Artists uses local finds for exhibits", The Athens News, 17 sep. 2009, p. 27.
"Renowned artist gets inside Athens, OU for the fall", The Athens News, 2 sep. 2009, pp. 50-51.
Bonham-Carter, Charlotte and David Hodge. "The Contemporary Art Book", Goodman/Carlton Publishing Group: London, 2009, p. 63 (ill.)

Gopnik, Blake. "Dion Wins Lucelia Prize with Edgy Pseudo-Exhibits", The Washington Post, 26 sep. 2008, p. C05.
Mark Dion: Mobile Gull Appreciation. 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. (illus.)
Kazakina, Katya. "Tuymans's Riff on Disney, Dion's Clutter: Chelsea Galleries", Bloomberg News On- line. 22 feb. 2008.

Art: 21: Art in the Twenty-First Century 3, (Art 21 PBS S) pt.3, New York; 2007. pages 78 through 89, (illus.)
Environment Programme. Palace Press: Earth Aware, 2007, pp. 66-67, ill.
Pes, Javier. "Marking Time", Museum Practice, autumn 2007. p. 32-35.
Paterson, Vicky. Mark Dion: Systema Metropolis.Natural History Museum, London, 2007.
Cookson, Clive. "Systema Metropolis, Natural History Museum, London", The Financial Times, 25 jun. 2007.
"The Israel Museum. Listing." International Herald Tribune Magazine, 3-4 mar. 2007, p 26.
David, Sandrine Ben. "Saison surréaliste au musée d'Israel". Le Jerusalem Post Édition Française, Art section, 6-12 mar. 2007, p 20.
"The Israel Museum. Listing". International Herald Tribune Magazine, 14-15 apr. 2007, p 20.
Santiago, Fabiola. Art, "Naturally: Sculptures vie for Glory on Tropical Turf".The Miami He- rald, 28 jan. 2007.
Bayliss, Sarah H. "Brown Paper Packages Tied Up with String", Artnews, may 2007.
Shaw, Lytle. "Mark Dion: Musee d'Art Contemporain". Artforum, Nimes, France, summer 2007.
Mangion, Éric. "Mark Dion- taxidermie de l'erreur", Art Press 332, mar. 2007. pp 46-51.
Rattlemeyer, Christian. "Mark Dion, Carré d'Art", Artforum, jan. 2007. p 125.
Taubman, Lara. "Forms of Classification: Alternative Knowledge and Contemporary Art", Artforum, jan. 2007.
Beechem, Stephanie. "Man. Woman. Squirrel : Documenting Contemporary Experience at the Hoffmann", The Pioneer Log, 15 sep. 2006. p. 18-19.
Berstein, Amy. "Artists and Specimens at Lewis and Clark College",, 12 oct. 2006.
Libby, Brian. "Examining the evidence of the human experience", The Oregonian, 8 sep. 2006.
Graves, Jen. "Richard Likes It." The Stranger, 20-26 jul. 2006.
Keyes, Bob. "Artists hope viewers let imaginations run wild", Portland Press Herald, 25 jun. 2006.
"Ecotopia for ICP Triennial", Artnet, 23 may 2006.
"Rare Specimen", The New Yorker, 3 apr. 2006.
Williams, Robert, and Jack Aylward-Williams, et al. Thesaurus Scienta Lancastriae. Preface by Mark Dion. Unipress Cumbria, Cumbria, UK.
Hudson, Suzanne. "Mark Dion", Artforum, feb. 2006.
"Goings on About Town Drawings by Dion", The New Yorker, 9 jan. 2006.
"Mark Dion". The New Yorker, 9 jan. 2006.
Trainor, James. "Odd Lots"., jan. 2006.
"Mark Dion, The Curiosity Shop". Time Out New York, issue 536, 5-11 jan. 2006.


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, 21-27 dec. 2005, p.79
"Goings on About Town, listing for Odd Lots: Revisiting Gordon Matta-Clark's Fake Estates", The New Yorker, 17 oct. 2005.
Miller, Francine Koslow. "Becoming Animal"., oct. 2005.
Coxon, Ann. "Mark Dion: South London Gallery." Art Monthly, oct. 2005.
Art of the Natural World. Creative Week, sep. 2005.
"Wacky Wildlife". Southwark Weekender, 2 sep. 2005.
Haddrell, James. "Holey moley. The Pulse". South London Press, 16 sep. 2005.
"Mark Dion: Microcosmographia". London Student, 20 sep. 2005.
Lack. Jessica. "Preview: Microcosmographia". The Guardian, 3-9 sep. 2005.
Adams, Amy and Conal Hanna. "Don't miss Mark Dion: Microcosmographia'.  TNT Magazine, 7 sep. 2005.
"What's on: United Kingdom". The Art Newspaper, no.161, sep. 2005.
Hammonds, Kit. "American Naturalist". Untitled, spring 2005.
"Mark Dion: Microcosmographia.", sep. 2005.
De Cruz, Gemma." Art meets science at the South London Gallery". BBC Collective Online, 15 sep. 2005.
Haddrell, James. "Microcosmographia at the South London Gallery"., sep. 2015.
Clayton, Richard. "Back to Nature". Design Week, 8 sep. 2005.
Falconer, Morgan. "The mole that stole the show". The Times, London, 21 sep. 2005.
Hackworth, Nick. "Mark Dion: Microcosmographia". The Evening Standard, 26 sep. 2005.
"What was that all about Mark Dion's Microcosmographia." The Guardian, 14 sep. 2005.
Glueck, Grace. "The Line Between Species Shifts, and a Show Explores the Move". The New York Times, 26 aug. 2005.
Becoming Animal: Contemporary Art in the Animal Kingdom. MASS MoCA, North Adams, Massachusetts.
Eleey, Peter. "Mark Dion, The Museum of Modern Art, New York." Frieze, issue no. 90, apr. 2005, p 110.
Leffingwell, Edward. "Report from Sao Paulo: the Extraterritorial Zone", Art In America, feb. 2005, pp 48 - 55.

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, 19 nov. 2004.
Dion, Mark. "1000 Words: Mark Dion Talks About Rescue Archaeology". Artforum, nov. 2004, pp 180-181.
Birke, Judy. "A Fowl Menagerie", New Haven Register, 14 mar. 2004.
Johnson, Ken. "Art In Review: Field at Socrates Sculpture Park". The New York Times, 23 jul. 2004.
Crivellaro, Serena. "For the Birds not for the weak of heart, flighty". The Yale Herald, 23 jul. 2004.
Genocchio, Benjamin. "Not Only Watching, Painting and Sculpture Too". New York Times, 15 feb. 2004.

Dion, Mark. «Best of 2003: Books». Artforum, dec. 2003, p.50.
Mark Dion: Notes Towards a Dystopian Dictionary. A Short History of Performance - Part II, Whitechapel, 2003, 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 Editions, 2003.
Johnson, Ken, «Mark Dion: Collaborations». The New York Times, Friday, apr. 18, 2003, p. E34.
Ward, Ossian. «The Ordering of Species». Art Review, mar. 2003, pp. 100-103.
Levin, Kim. «Voice Choices: Mark Dion,» The Village Voice, 16-22 apr. 2003.
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. Ridgefield, CT.
Pollack, Barbara. «Animal House». Art News, jan. 2003.
Ganim, Elaina. «Living and Dying with Mark Dion.». NY ARTS, jan. 2003, p.15.


«Mark Dion at Tanya Bonakdar». Village Voice: Recommended, 20 dec. 2002.
Ammann, Daniel. «Das Bedrohte Tier» The Animal in Contemporary Art (Das Tier in der zeitgenoes- sischen Kunst), 2002.
Uta Grosenick and Burkhard Riemschneider. ''Art Now: 137 Artists at the Rise of the New Millenium''. 2002, p.120-123.
Vogel, Carol. «Inside Art.» The New York Times, Friday, 17 may 2002. Fine Arts/Leisure, p. 3.
Lloyd, Ann Wilson. ''The Drama of Digging in New England's Trash''. The New York Times, Sunday, jan. 6, 2002, Arts/Architecture, p. 36.

Lateral Thinking: Art of the 1990s, Museum of Contemporary Art San Diego.
Mark Dion et al. Ecologies. The David and Alfred Smart Museum of Art, University of Chicago, Chicago, 2001.
Ollman, Leah. «Losing Ground: Public Art at the Border» Art in America, may 2001, p.68-71
''Jana, Reena, Mark Dion and Claire Corey Honored by Aldrich Museum'',, 15 aug. 2001.
''Mark Dion: New England Digs''. The Fuller Museum of Art, Brockton, MA.
Vail, Amanda. «Mark Dion». Knot Magazine, jun. 2001.
American Art Today: Fantasies and Curiousities. Florida International University Art Museum, p.26.
''Mark Dion'' New York, 17 apr. 2000.
«Mark Dion» Time Out New York, 6-13 apr. 2000.
Wagner, Sandra. «inSITE2000,» Camera Austria, International, 74/2001, p. 87-88, 2000.
Cotter, Holland. «Mark Dion», The New York Times, 14 apr. 2000.
Leffingwell, Edward and Carnegie Ramble. Art in America, mar. 2000, pps. 86-93.
Ellis, Samantha. "Tate Thames Dig". Evening Standard, 24 feb. 2000.
Cotter, Holland.  "Surging into Chelsea". The New York Times, 21 jan. 2000, p. E41.
Lewinson, David. "Small World - MCA San Diego". Artweek, mar. 2000.
Weiner, Jessica. ''It's a Small World After All''. The Weekly, 11 feb. 2000.
Pincus L. Robert. ''World toys with magic of dioramas''. San Diego Union Tribune, 6 feb. 2000.
Ollman, Leah. "Tiny Worlds Create


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

Cabinet of Wonder, Gathering Place, Tulsa, US
City of Braunschweig, DE
City of Newcastle, GB

Fish Fountain for Stavoren, NL
Hofgarden, DE
Johns Hopkins University Library, US
Norway National Tourist Route, NO
Ship in a Bottle for Port of Los Angeles, US
Vertical Garden in Tooley Street, GB


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


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 polished 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.


  • Retour à l'école
    Natacha Pugnet : Retour à l'école
    Galerie In Situ-fabienne leclerc, Grand Paris
    September 2021
  • The Perilous Texas Adventures of Mark Dion
    Mark Dion & Margaret C. Adler : The Perilous Texas Adventures of Mark Dion
    February 2020
  • Mark Dion - Theatre of the Natural World
    Iwona Blazwick, Petra Lange-Bernd, Gilda Williams : Mark Dion - Theatre of the Natural World
    Whitechapel Gallery, London
    February 2018
  • The Incomplete Writings of Mark Dion
    Roel Arkesteijn : The Incomplete Writings of Mark Dion
    Fieldwork Museum
    January 2018
  • Mark Dion - Misadventures of a 21 st-Century Naturalist
    Ruth Erickson : Mark Dion - Misadventures of a 21 st-Century Naturalist
    The Institute of Contemporary Art/Boston and Yale University Press
    October 2017
  • Oceanomania - Mark Dion
    Oceanomania - Mark Dion
    Nouveau Musée National de Monaco
    September 2011
  • The Marvelous Museum: Orphans, Curiosities & Treasures: A Mark Dion Project
    The Marvelous Museum: Orphans, Curiosities & Treasures: A Mark Dion Project
    Oakland Museum of California, USA
    October 2010
  • Lab Book
    Mark Dion & Luc Long : Lab Book
    Acte Sud
    February 2010
  • Concerning Hunting
    Concerning Hunting
    Hatje Cantz
    February 2008
  • Mark Dion - The Natural History of the Museum
    Mark Dion - The Natural History of the Museum
    February 2007
  • Mark Dion - L'ichthyosaure La pie et autres merveilles du monde naturel
    Mark Dion - L'ichthyosaure La pie et autres merveilles du monde naturel
    Images en manoeuvres éditions
    February 2003
  • Mark Dion
    Mark Dion
    July 1999
  • Mark Dion - Microcosmographia
    Mark Dion - Microcosmographia
    South London Gallery
  • Mark Dion - New england digs
    Mark Dion - New england digs