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2017 “Lost in Museums? Changeable Media, Their World, and Performance.” Museum History Journal, proceedings of Lost Museums Colloquium, Brown University, Providence (special issue of Museum History Journal), in process.2017  “The Technique of Conservation: Hands and Minds, Science, and Humanities.” Forum Section in History of Humanities, Materials and Techniques in the History of Art History, edited and introduced by Sven Dupré, in process.2016 The Lands of Art: On Land (Art) Shifting Grounds. Alps Art Academy: Land Art – A Reader and Alps Art Academy online, in process.2016 “Transitional Media: Duration, Recursion and the Paradigm of Conservation.“ Saving the Now, preprints of the International Committee of Conservation (IIC) 2016 Los Angeles Congress, in collaboration with the International Network for the Conservation of Contemporary Art (INCCA). London: Archetype Publications (limited print edition) and Leeds: Maney Publishing (electronic journal publication), in process.2016  “The Aesthetics of Change: On the Relative Durations of the Impermanent.” In Authenticity in Transition, edited by Erma Hermens and Frances Robertson, 13-24. London: Archetype Publications.2016 “The ‘Virtual Body of Art:’ Reflections on the Impossibility of Material Continuation.” Book review Wirtualne Ciało Sztuki by Elżbieta Wysocka (Warszawa: Narodowe Centrum Kultury, 2013), Zeitschrift für Kunsttechnologie und Konservierung: Deutscher Restauratoren Verband.2015 “Archival Turn.” In Data Drift: Archiving Media And Data Art In The 21st Century, edited by Rasa Smite, Lev Manovich and Raitis Smits, 73-89. Riga: RIXC and Liepaja’s University Art Research Lab.2015 „Die Wandelbarkeit von Objekten und Konzepten: Zur Erhaltung von computerbasierten Medien am Beispiel von I/Eye.“ In Die Vergänglichkeit des Materials, edited by Simone Heuken, 135-155. Cologne: Verband Deutscher Restauratoren VDR.2014 “The Explicit Material: On the Intersections of Conservation, Art History and Human Sciences.” Simulacrum, Stichting Simulacrum, Kunsthistorisch Instituut, University of Amsterdam, 23/1.2014 “From Social to Technological Interactivity: Delegating the Act, Translating the Object.” In Hannes Schmid: Momentous II, edited by Kornelia Imesch-Ochslin, 52-58. Beijing: Today Art Museum Beijing.2014 “Seeking the Authentic Moment: De- and Re-Materializations in Paik’s Video and Multimedia Installations.” Journal of the Australian Institute for the Conservation of Cultural Materials, 34 (AICCM): 85-92.2014 “Dal recupero alla ri-medizione; pratiche di restauro per l’arte basate sull’utilizzo del computer nel caso di I/Eye (1993) di Bill Spinhoven van Oosten.” (From Recovery to Remediation: Conservation Practices in Computer-based Art on the Example of I/Eye (1993) by Bill Spinhoven van Oosten) In Tra memoria e oblio: percosi nella conservazione dell’arte contemporanea, edited by Paolo Martore, 229-250. Rome: Castelvecchi Publishers.2013 “What’s Next? Translating Time, Transforming Objects in the Conservation of Multimedia,” in WHAT’S NEXT? Kunst nach der Krise—Ein Reader (What’s Next? Art after Crisis—A Reader). Edited by Johannes M. Hedinger and Torsten Meyer, 251-258. Berlin: Kulturverlag Kadmos.2013 “On the Identity of Nam June Paik’s Changeable Multimedia Installations in the Context of Their Conservation.” In Hanna Hoelling, Bernhard Serexhe, Glenn Wharton, Nam June Paik Art Center Interviews, edited by Manu Park, Seong Eun Kim, and Sang Ae Park, 119-134  (34-50 in Korean). Seoul: Nam June Paik Art Center.2013  Conversation: Hanna Hoelling, Bernhard Serexhe, Glenn Wharton—Nam June Paik Art Center Interviews. Edited by Manu Park, Seong Eun Kim, and Sang Ae Park, 90-118 (5-34 in Korean). Seoul: Nam June Paik Art Center.2013 “Transcending Obsolescence in Technological Ruins? Questions of Conservation and Presentation in Nam June Paik’s Multimedia Installations.” In Waste, edited by Alexandra Schneider and Wanda Strauven. Necsus European Journal of Media Studies 4 (Autumn).2013 “Versions, Variations, and Variability: Ethical Considerations and Conservation Options for Computer-Based Art.” Electronic Media Reviewof the American Institute for Conservation of Historic &#38; Artistic Works, 2, Washington DC.2012 “Monitor’s Matters.” In: Simon Denny: Full Participation, edited by Jacob Proctor, Pablo Larios, and Hanna Hölling,185-187. Aspen: Aspen Art Press.2011 “Reflections on a Biographical Approach to Contemporary Art Conservation.” Conference preprints, co-authored with Tatja Scholte, Sanneke Stigter, and Renee van de Vall. Lisbon: International Council of Museums, Conservation Committee ICOM CC.2011 “Virtualization as a Preservation Strategy for Computer-based Art: An (Empirical) Study into the Installation I/Eye (1993) by Bill Spinhoven van Oosten.” Research report. Amsterdam: Netherlands Media Art Institute NIMk, PACKED and DNart.2011 “On the Afterlife of Performance.” Review of the conference The Manifold (After) Lives of Performance, 12 – 13 November 2010 (Part 2). Amsterdam and Leuven: de Appel arts centre in Amsterdam and STUK Kunstcentrum in Leuven.2010  “Konservierung.” In Lexikon zur zeitgenössischen Kunst von Com&#38;Com (lexicon of contemporary art by Com&#38;Com), edited by Johannes M. Hedinger and Marcus Gossolt, 83-84.  Zürich: Niggli Publishers.2009 “On the Afterlife of Performance–The Manifold Afterlife of Performance, November 13-15, 2009:” Review of the conference The Manifold (After) Lives of Performance (Part 1). Amsterdam and Leuven: De appel Arts Centre Amsterdam and STUK Kunstencentrum Leuven. http://www.deappel.nl/exhibitions/e/678.2005 “Zur Konservierung des Environments The Portable War Memorialvon Edward Kienholz” (On Conservation of the Environment The Portable War Memorial by Edward Kienholz). Kölner Museums-Bulletin 3: 39 – 48.