writings
- Peter Anderson, “95% of artists leave Brisbane. Why don’t you?”, Ephemeral Traces: Brisbane’s artist-run scene in the 1980s, Brisbane: University of Queensland, 2016, passim
- Jennifer Barrett and Jacqueline Millner, “Institutional practices and artists’ critiques”, Australian Artists in the Contemporary Museum, Farnham, Surrey England and Burlington, VT, USA: Ashgate Publishing, 2014, p 21-23
- Sonia Barron, “Intentions none too clear, 17 years on”, Canberra Times, 1998, p 13
- Anne Brennan, “Life, Still: Sécateur”, Flesh Winnow: Barbara Campbell, Sydney: Power Publications and Dept of Performance Studies, University of Sydney, 2002, p 21-27
- Gordon Bull, “Archives and the Everyday” review, Like art magazine, #6, Melbourne, 1998, p 54-55
- Barbara Campbell (contributor) and Nick Waterlow (curator), “Fleas or The Menses of Lizzie Borden”, 25 Years of Performance Art in Australia catalogue, Sydney: Ivan Dougherty Gallery, University of New South Wales, 1994, p 23
- Barbara Campbell (ed.) and Laura Ginters (ed.), Flesh Winnow: Barbara Campbell, Sydney: Power Publications and Dept of Performance Studies, University of Sydney, 2002
- Barbara Campbell, Daniel Brine (ed) and Emma Minton (ed), “Travels Through 1001 nights cast”, The Live Art Almanac, London: Live Art Development Agency, 2008, p 79-83
- Barbara Campbell, “the movement of ghosts”, Provocation, TDR: The Drama Review, Vol 53, No 1, New York: Cambridge University Press, 2009, p 2-3
- Barbara Campbell, “The Body in Question: Kaldor Public Art Projects, 13 Rooms”, RealTime, #115, Sydney, 2013, p 6
- Barbara Campbell, Ann Stephen and Luke Parker, “Barbara Campbell” catalogue entry, Kent State: Four Decades Later catalogue, Sydney: University Art Museum, University of Sydney, 2010
- Barbara Campbell, “Piscator Press Print Residency Proposal”, unpublished, unpublished., 2019
- Simon Castles, “Grim ways”, Bulletin with Newsweek, Vol 121, Melbourne, 2003, p 11
- Simon Crosbie and Steven Ball, “Degrees of Compliance”, “Checking in at Hotel Experimenta”, Agenda, #30/31, Melbourne, 1993, p 17 (supplement p 5)
- Shaun Davies and Annemarie Jonson, “Nonetheless, TISEA”, Photofile, #38, Paddington: Australian Centre for Photography, 1993, p 19
- Kelly Gellatly, “There’s no time”, Metis time:04 catalogue, Canberra: Canberra Contemporary Art Space, 2004, p 12-15
- Anna Gibbs, ”Art in the Aftermath: The Work of Repair”, Sturgeon, #2, Sydney: Artbank, 2014, p 80-87
- Jane Goodall, “Revenge of the plotted novel”, The Australian, Australia: News Limited, 2008
- Jane Goodall, “The Virus and the Oracle”, Artlink, Vol 27, No 1, Adelaide, Australia, 2007, p 22-25
- Clare Grant, “What’s Left: Cloche”, Flesh Winnow: Barbara Campbell, Sydney: Power Publications and Dept of Performance Studies, University of Sydney, 2002, p 39-43
- Joan Grounds, “Retelling: Remanence”, Flesh Winnow: Barbara Campbell, Sydney: Power Publications and Dept of Performance Studies, University of Sydney, 2002, p 28-32
- Adrian Heathfield (author), Beatrice von Bismarck, Benjamin Meyer-Krahmer, Jörn Schafaff and Thomas Weski (eds), “Durational Aesthetics”, Timing: On the Temporal Dimension of Exhibiting, Berlin: Sternberg Press, 2014, p 135-149
- Michele Helmrich, “The Diamond Necklace Affair”, Broadsheet, Vol 40, No 4, 1991, p 27
- Michele Helmrich, “Return to Sender: The exhibition / the artists / the state of Queensland”, Return to Sender, catalogue, Brisbane: University of Queensland Art Museum, 2012, p 27-59