Sarah Lucas

Elizabeth Burke, Dan Franklin, John and Mary James (eds.), A New Suffolk Garland: An Anthology of Suffolk Writing and Art (Woodbridge: The Boydell Press, 2022), Colour Illus. (p.133)

Sofie Van de Velde, Expeditie Kunst: Start Je Eigen Kunstcollectie met, (Antwerp/Amsterdam: Houtekiet, 2021) Colour Illus. (p.153)

Charlie Porter, What Artists Wear (London: Penguin Books, 2021), Colour Illus. (p. 89)

Anne-Mariken Raukema (ed.), Art Zuid: Amsterdam Sculpture Biennale 2021 (Amsterdam: Stichting Art Zuid foundation, 2021), Colour Illus. (p. 96)

Thomas D. Trummer, Bilder in der Pandemie (Bregenz: Kunsthaus Bregenz, 2020), colour illus., (p. 61-63)

Uta Ruhkamp, On Everyone's Lips: The Oral Cavity in Art an Culture, (Berlin: Hatje Cantz, 2020)

Hattie Spires, Summer, (London: Tate Publishing, 2020) Colour Illus, (p.92)

William S Burroughs, Reason Gives No Answers, Selected Works From The Collection, Newport Street Gallery (London: Other Criteria Books, 2020) Colour Illus. (p. 21, 123, 127)

Julia Kelly, Jon Wood, Contemporary Sculpture - Artists Writings and Interviews (Berlin: Hatje Cantz Verlag GmbH, 2019), b&w illus., (pp. 94-100)

Amy Corry and Jason Beard (eds.), Reason Gives No Answers (London: Other Criteria Books, 2019) (exh. cat.), colour illus., (pp. 20-23, 121, 123, 126-127, back cover)

Charlotte Mullins, A Little Feminist History of Art (London: Tate Publishing, 2019) colour illus., (pp. 14-15, 96-97 back cover)

Erlend G. Hoyersten, Pernille Taagaard Dinesen, Daniel Slater, Lise Skyte Jakobsen and Kjeld Fredens, Object of Wonder – from Pedestal to Interaction (Aarhus: ARoS Aarhus Kunstmuseum, 2019), colour illus., (pp. 101,141)

Louisa Lee, ‘Sarah Lucas’, Rebecca Morrill et. al. (eds.), Great Women Artists, (London/New York: Phaidon Press Limited, 2019), colour illus., (p. 250)

René Lüchinger, ‘II. Vier Köpfe und ein ausbruch’, Ringen um Ringier: über die kunst der digitalisierung in einem schweizer medienkonzern, (Göttingen: Steidl, 2019), illus. (p.IX) 

Caroline Collier, ‘YBAs and Beyond’, Objects of Wonder: British Sculpture from the Tate Collection 1950s–Present, (exh. cat.) (Berlin: PalaisPopulaire, 2019), colour illus., (pp. 101-119)

Cristina Garrido, ‘Andrea Rossetti’, The (Invisible) Art of Documenting Art (Madrid: Caniche Editorial, 2019), (p. 140, 149)

Erlend G. Hoyersten (ed.), Art and Porn (Aarhus: ARoS Aarhus Kunstmuseum, 2019), (pp. 126-127)

Mathieu Cenac, Pierre-Edouard Couton and Lea Lamy (eds.), La Source (Paris: David Desrimais Editeur, 2019), colour illus., (pp.42, 176-179, 182-193, 198-205)

Katerina Panterlides, SARTORIAL: The Art of Looking Like an Artist (London: Laurence King Publishing, 2018), colour illus., (pp. 86-87) back cover

Massimiliano Gioni and Margot Norton (eds.), Au Naturel (London/New York: Phaidon Press Limited, 2018)

Jonathan Jones, ‘Memo from Turner’, Sensations: The Story of British Art from Hogarth to Banksy (London: Laurence King Publishing, 2018), (p. 341)

Emily Yih-Wen Lin, Fangling Tseng, Nita Lo, Yuan-Shuen Chang, Sofia Chen, Lyn-Lee Ren, Meifen Chu and Tsyng-you Kuo (eds.), Nude: Masterpieces from Tate (Kaohsiung City: Kaohsiung Museum of Fine Arts, 2018), (pp.182-187, 202-203)

Martha Gnyp, YOU ME AND ART: Artists in the 21st Century, (Milan: Skira editore, 2018, Colour Illus. (p.193)

Judith Blackall (ed.) EuroVisions: Contemporary Art from the Goldberg Collection, (Sydney: National Art School, 2017), colour illus. (p. 2, 66)

Karen Gron (ed.), Eat Me, (Kolding: Trapholt, 2017), (pp. 130–131) (exh. cat.)

Leigh Robb, Versus Rodin: bodies across space and time (Adelaide: Art Gallery of South Australia), pp. 196–204

Marta Herford, Die innere Haut – Kunst und Scham: The Inner Skin – Art and Shame (Bonn: Druckverlag Kettler, 2017) (exh. cat.)

Jonathan Anderson and Andrew Bonacina (eds.), Disobedient Bodies: JW Anderson at The Hepworth Wakefield (London/Wakefield: InOtherWords/The Hepworth Wakefield, 2017), colour illus., (pp. 3, 6-7) (exh. cat.)

Andrew Marr, Short Book About Painting, (London: Quadrille, 2017) Colour illus., (p.127)

Sophie Orlando, ‘Artistic Tactics and New Internationalism’, British Black Art: Debates on Western Art History (Paris: Dis Voir, 2016), pp. 65–93

Bruce Boucher, ‘A Memoir and a Monument’, Thomas Pongsathorn (ed.), Sir John Soane’s Museum, Annual Review 2015 / 16 (London: Cultureshock Media, 2016), pp. 68–75

Justine Moeckli and Merel van Tilburg (eds.), Nightfall – Gothic Imagination Since Frankenstein (Los Angeles (CA): DoPe Press, 2016)

Sarah Lucas and Julian Simmons, I SCREAM DADDIO. Venice Biennale (London: British Council, 2015)

Denyse Beaulieu, Marco Constantini, Susanna Kumschick, Luca Marchetti and Joel Vacheron, Nirvana. (Gollion Courvoisier, INFOLIO, 2015) Colour Illus. (p.25)

Deborah Aaronson, Body of Art (London: Phaidon Press Limited, 2015)

Sarah Lucas, Jeanette Pacher, Julian Simmons, András Pálffy, Sarah Lucas, Julian Simmons: NOB, Sadie Coles HQ, London, Secession, Vienna

Marek Goździewski and Tom Morton, BRITISH BRITISH POLISH POLISH: Art from Europe's Edges in the Long '90s and Today, exh. cat. (Warsaw: Centre of Contemporary Art Ujazdowski Zamek / British Council, 2013)

Various authors, Situation Absolute Beach Man Rubble, exh. cat. (London: Whitechapel Gallery 2013)

Manuela Ribadeneira, Sarah Lucas Drawing Room Confessions Issue 8, (Milan: Mousse Publishing, 2013)

Julian Simmons, TITTIPUSSIDAD (London: Sadie Coles HQ, 2013)

Quinn Latimer, Sarah Lucas: Describe this Distance (Milan: Mousse Publishing, 2013)

Sarah Lucas, Angus Cook, Angus Fairhurst, Sarah Lucas: After 2005 Before 2012. (Cologne: Walther Konig, 2013)

Massimiliano Gioni, Natalie Bell (eds.), Il Palazzo Enciclopedico (The Encyclopedic Palace) – 55th International Art Exhibition (Milan: Skira, 2013)

Dobrila Denegri, Dreams of Reason: Highlights of the Sandretto Re Rebaudengo Collection, (Torun: Centre of Contemporary Art, Torun / Sandretto Re Rebaudengo Collection, 2013)(exh. cat.)

Joanna Mykowska, In the Heart of the Country, (Warsaw: Museum of Modern Art, 2013) (exh. cat.)

Daniel Baumann, Dan Byers, Tina Kukielski, 2013 Carnegie International (Pittsburgh: Carnegie Museum of Art, 2013) (exh. cat.)

Kathleen Bühler and Amy Klement, The Weak Sex—How Art Pictures the New Male, (Bern: Kunstmuseum Bern, 2013) (exh. cat.)

Clarissa Dalrymple, Group Exhibition, (St-Jorisstraat: Xavier Hufkens, 2013) (exh. cat.)

Massimiliano Gioni, Gary Carrion-Murayari, Jenny Moore and Margot Norton (eds.), NYC 1993: Experimental Jet Set, Trash and No Star, (New York: Museum of Modern Art, 2013) (exh. cat.)

Anna Moszynska, World of Art: Sculpture Now (London: Thames and Hudson, 2013)

Michael Petry, Nature Morte, (London: Thames & Hudson, London, 2013)

Sadie Coles HQ, SITUATION, (London: Sadie Coles HQ, 2013) Colour Illus. (p.52-56)

Sarah Lucas and Angus Fairhurst, After 2005, Before 2012, (London: Sadie Coles HQ; Cologne: Koenig)

Lisa Le Feuvre, Deborah Orr, Anne Wagner, Gilda Williams, Ordinary Things, (Leeds: Henry Moore Institute, 2012) (exh. cat.)

Jeremy Cooper, Growing Up: The Young British Artists at 50, (London: Prestel, 2012)

Nuno Crespo, Riso, (Lisbon: Fundacao EDP, 2012) b&w illus. (p.170) 

Miguel Amado and Sara Matson, The Far and the Near: St Ives and International Art (St Ives: Tate Publishing, 2012)

Caroline Smulders, UNLIMITED BODIES, Palais D'Iena (Paris: Corlet a Conde-sur-Noireau, 2012) Colour Illus. (p.28)

Michelle Cotton (ed.), Camulodunum (Colchester: Firstsite, 2011) (exh. cat.)

Brigitte Borchhardt-Birbaumer, Hans-Peter Wipplinger, LUCAS, BOSCH, GELATIN, (Krems: Kunsthalle Krems / Verlag Der Buchhandlung Walther Koenig, 2011), colour illus., (pp. 20) (exh. cat.)

Gallery Pangolin, Women Make Sculpture (London: Pangolin, 2011), colour illus., (p.6, 40-41)

Sala de Exposiciones de la Pedrera, El Arte de Comer, (Barcelona: Fundacio Caixa Catalunya, 2011)

Michael Spens, Studio International: Yearbook Special, Issue 2007, Volume 206, Number 1029 (New York: The Studio Trust, 2010) (pp.58-61)

Achim Borchardt-Hume, ‘The Corporeal Act 1’, Dimitris Daskalopoulos and Iwona Blazwick (eds), Keeping it Real: An Exhibition in Four Actsfrom the D. Daskalopoulos Collection (London: Whitechapel Gallery, 2010), colour illus., (p.23, p.49)

Lisa Le Feuvre and Tom Morton, British Art Show 7: In the Days of the Comet (London: Hayward Gallery, 2010)

Gallery Pangolin, Crucible (Chalford: Pangolin Editions, 2010)

Ralph Rugoff and Kirsty Bell, The New Décor (London: Hayward Gallery, 2010)

Jane Alison (ed.), The Surreal House: Architecture of Desire (London: Yale University Press, 2010)

Stephen Chambers (ed.), The Royal Academy Illustrated 2010 (London: Royal Academy of Arts, 2010)

Martin Myrone (ed.), Rude Britannia (London: Tate Publishing, 2010)

Michael Craig-Martin, Art (Berlin: Galerie Haas & Fuchs, 2010)

Gill Saunders, Walls Are Talking: Wallpaper, Art and Culture, (Manchester: Whitworth Art Gallery; London/Chicago: KWS Publishers, 2010) 

Araki Natsumi, The Kaleidoscopic Eye: Thyssen-Bornemisza Art Contemporary Collection (Tokyo: Mori Art Museum, 2009)

Charlotte Bonham-Carter and David Hodge, The Contemporary Art Book, (London: Goodman Books, 2009)

Christian Rattemeyer, The Judith Rothschild Foundation Contemporary Drawings Collection, Catalogue Raisonné (New York: The Museum of Modern Art, 2009)

Chris Harrald and Fletcher Watkins, The Cigarette Book (London: Quartet, 2009)

Amna Malik, Sarah Lucas, Au Naturel (London: Afterall, 2009)

Sommer Contemporary Art Ten, 1999-2009 (Tel-Aviv: Sommer Contemporary Art, 2009)

Hans Werner Holzwarth ed., 100 Contemporary Artists (Cologne: Taschen, 2009)

David Lamas and Anna Dezeuze, Subversive Spaces: Surrealism and Contemporary Art (Manchester: The Whitworth Art Gallery, 2009)

Sarah Lucas and Olivier Garbay, The Mug (London: Other Criteria, 2009)

Gabriele Knapstein, “I can’t just slice off an ear every day”: Deconstructing the Myth of the Artist (cat.) (Berlin: Hamburger Bahnhof Museum für Gegenwart, 2008)

Andrew Renton, Cranford Collection 01 (Guernsey: Cranford Collection, 2008)

Mary-Kay Lombino, Excerpt: Selections from the Jeanne Greenberg Rohatyn Collection (Poughskeepie (NY): The Frances Lehman Loeb Art Center, 2008)

Jörg Heiser, ‘Sarah Lucas: Kebabs and Corny Puns’, All of a Sudden: Things That Matter in Contemporary Art (Berlin: Sternberg Press, 2008)

Beate Söntegen, ‘Oh Boy it’s a Girl’, Female Trouble, Die Kamera als Spiegel und Bühne weiblicher Inszenierungen (Ostfildern: Hatje Cantz, 2008) (exh. cat.)

Francesco Bonami, Arte Contemporanea, Volume Sei. Duemila (Milan: La Biblioteca di Repubblica-l’Espresso; Electa, 2008)

Francesco Bonami (ed.), God & Goods: Spirituality and Mass Confusion (Udine: Villa Manin Centro d’Arte Contemporanea, 2008)

Silke Hohmann, Stations: 100 Meisterwerke Zeitgenössischer Kunst (Cologne: Dumont Buchverlag, 2008)

Tiddy Rowan, ‘Sarah Lucas’, Tiddy Rowan, London: a guide to modern + contemporary ART in the city (London:Quadrille, 2008), colour illus. (p.66)

Beatrix Ruf, Blasted Allegories: Works from the Ringier Collection (Zurich: JRP Ringier, Zurich, 2008)

Francesco Bonami (ed.), Michele Robecchi, Supercontemporary: Sarah Lucas (Milan: Electa, 2007)

Emily Butler, Aftershock: Contemporary British Art 1990-2006 (London: The British Council, 2007)

Gabriele Schor, Held Together With Water: Art from the Sammlung Verbund (Ostifildern: Hatje Cantz, 2007)

Franz West (cur.), Stefan Bidner, Veit Loers (eds), Soufflé, eine Massenausstellung, (Austria: Kunstraum Innsbruck, Kunsterlnnen und Autoren; Verlag der Buchhandlung Walther Konig), colour illus., (p.48) 

Damien Hirst, In the darkest hour there may be light: Works from Damien Hirst’s murderme collection (London: Serpentine Gallery; Other Criteria, 2006)

S Brent Plate, Blasphemy Art That Offends, (London: Black Dog Publishing, 2006)

David Hopkins, Dada’s Boys, (Edinburgh: The Fruitmarket Gallery, 2006)

Elisabeth Leopold, Body Face Soul: The Female Image from the 16^th to the 21^st Century, (Wien: Leopold Museum-Privatstiftung, 2006)

Luigi Settembrini, Claudia Gian Ferrari & Francesca Sorace, Il diavolo del focolare: The Devil of Hearth and Home, (Milan: La Triennale di Milano, 2006)

Adam Lindeman, Collecting Contemporary, (Cologne: Taschen, 2006)

Shaun O’L. Higgins, Colleen Striegel (eds.), Press Gallery (Spokane (WA): New Media Ventures, 2005)

Phillipe Segalot, Empreinte Moi (Paris: Galerie Emmanuel Perrotin, 2005)

Marijke Cieraad, Theo Lenders, Ying-Fu Li and Pascalle Mansvelders, LAT (Venray: Odapark, 2005)

Alyce Mahon, Eroticism & Art (Oxford: Oxford University Press, 2005)

Markus Mittringer, Sculpture (Innsbruck:Galerie Elisabeth & Klaus Thoman, 2005)

Yilmaz Dziewior & Beatrix Ruf (eds.), Sarah Lucas: Exhibitions and Catalogue Raisonné 1989 – 2005 (Osfildern: Hatje Cantz Verlag / London: Tate Publishing, 2005)

Mario Testino, Stephen Gan, Cecilia Dean, James Kaliardos, Visionaire 46: Uncensored by Mario Testino (New York: Visionaire Publishing, 2005)

Nicholas Thornton, Breaking the Mould: 20^th Century British Sculpture from Tate (Norwich: Norwich Castle Museum and Art Gallery; London: Tate Publishing, 2005)

Sarah Lucas and Olivier Garbay, God is Dad (New York: Barbara Gladstone Gallery; London: Sadie Coles HQ and Koenig Books, 2005)

Bruce Grenville, Body: New art from the UK (Vancouver: Vancouver Art Gallery / London: British Council, 2005) (exh. cat.)

Sarah Kent, Ina Johannesen and Marianne Holtermann, Y[oung] B[ritish] A[rtists] Criss-Crossed (Oslo: Kaare Bernsten Galleri, 2005)  

Laurence Dreyfus, Central Station: la collection Harold Falckenberg (Paris: la maison rouge et Fage editions, 2004) (exh. cat.)

Florian Illies, Silke Immenga, Werke Aus Der Sammlung Boros (Karlsruhe: Museum für Neue Kunst, 2004)

Charlotte Cotton, The Photograph as Contemporary Art (London: Thames and Hudson, 2004)

Centre Rhenan d’art contemporain d’Alsace, The Place To Be (Alsace: Crac Alsace, 2004)

Briony Fer, The Infinite Line (New Haven/London: Yale University Press, 2004)

Sabine Folie, Skulptur. Prekarer Realismus zwischen Melancholie und Komik (Vienna: Kunstalle Wien, 2004)

Marianne Karabelnik, Stripped Bare: The Body Revealed in Contemporary Art (London: Merrell Publishers, 2004)

Arts Council Collection, Gifted (London: University of the Arts, The Arts Gallery, 2004) (exh. cat.)

Sarah Lucas, In-A-Gadda-Da-Vida (London:Tate Publishing, 2004) (exh. cat)

Rainald Schumacher and Matthew Barney, Just Love Me. Post-Feminist Art of the 1990’s from the Goetz Collection (Bergen:Bergen Art Museum, 2004)

Fabrice Bousteau, Sexes: images- pratiques et pensées contemporaines (Paris: Beaux-Arts Magazine, 2004)

Antje Majewski et al., Atomkrieg (New York: Lukas and Sternberg, 2004)

Benno Tempel, Roken in de kunst (Rotterdam: Kunsthal Rotterdam/ Amsterdam: Ludion, 2003)

Robert Outeiro, A Bigger Splash: Uma Seleção de Arte Britânica da Coleção da Tate 1960-2003 / A Bigger Splash: A Selection of British Art from Tate Collection 1960-2003 (São Paulo: Connects, 2003)

Arts Council Collection, Bad Behaviour (London: Hayward Gallery Publishing, 2003)

Manuela Barrero, BIDA 2003 – Bienal Internacional del Deporte en el Arte (Salamanca: BIDA, 2003)

Francesco Bonami and Maria Luisa Frisa, La Biennale di Venezia 50^th International Art Exhibition “Dreams and conflicts: The Dictatorship of the Viewer” (Venice: Giardini della Biennale – Arsenale, 2003) 

M Falconer, Face Off: A Portrait of the Artist (Cambridge: Kettle’s Yard, 2002)

Bice Curiger, Kunst Expansiv – Zwischen Gegenkultur und Museum (Regensburg: Lindinger + Schmid Verlag GdbR, 2002)

Gill Saunders, Wallpaper in Interior Decoration (London: V&A Publications, 2002)

Tim Marlow, Tim Marlow on Tate Modern (London: Spafax Publishing, 2002)

Matthew Collings, Sarah Lucas (London: Tate Publishing, 2002)

Burkhardt Riemschneider, Art Now (Cologne: Taschen, 2002)

Stefan Schmidt-Wulffen, Perfektimperfekt (Freiburg: Modo, 2002)

Virginia Button, The Rowan Collection – Contemporary British and Irish Art (Dublin: Irish Museum of Modern Art, 2002)

Stephen Feeke, Second Skin (Leeds: Henry Moore Institute, 2002)

Louisa Buck, Art Work of the Month – February (London: Arts Tate, London, 2002)

Alice Dewey (ed.), New – Recent Acquisitions of Contemporary British Art (Edinburgh: National Galleries of Scotland, 2002)

Andrew Renton, No World Without You – Reflections of Identity in New British Art (Tel Aviv: Herzliya Museum of Art, 2002)

Marcos Farinha and Erika Verzutti, PoT: The Liverpool Biennial of Contemporary Art – The Independent Die Wohltat der Kunst: Post\Feministiche Positionen der neunziger Jahre aus der Sammlung Goetz (Cologne: Walther König, 2002)

Centro de Arte de Salamanca, Comer o no Comer o las relaciones del arte con la comida en el siglo XX (Salamanca: Centro de Arte Salamanca, 2002)

Mónica Amor, Carlos Basualdo and Charles Merewether, Archivio Alfonso Pons (Donostia San Sebastian: Koldo Mitxelena Kulturunea, 2002)

Chris Townsend, Rapture: Art’s Seduction by Fashion since 1970 (London: Thames and Hudson / Barbican Centre Art Galleries, 2002) 

Dr Thomas Kellein, The Surreal Woman: Femaleness and the Uncanny in Surrealism (Bielefeld: Kunsthalle Bielefeld, 2001)

Louisa Buck, The Colony Room Club - 2001 A Space Oddity (London: The Colony Room Club / A22 Projects, 2001)

Nechama Gottlib and Andrew Renton, British Artists in Israel (Tel Aviv: Hertzliya Museum of Art, 2001)

Lewis Biggs and Fang-wei Chang, Field Day Sculpture from Britain (Taipei: Taipei Fine Arts Museum / London: British Council, 2001)

Martin Maloney, I am a Camera (London: Saatchi Gallery / Booth Clibborn Editions, 2001)

Peter Friese, Ohne Zögern – Without Hesitation: views of the Olbricht Collection (Bremen: Neues Museum Weserburg, 2001)

Dr Gerhard Finckh, Freestyle: Werke aus der Sammlung Boros (Leverkusen: Museum Morsbroich, 2001)

Paul Schimmel, Public Offerings (Los Angeles (CA): Museum of Contemporary Art, Los Angeles (CA) / London: Thames and Hudson, 2001)

Fiona Carson and Claire Pajaczkowska, Feminist Visual Culture (Edinburgh: Edinburgh University Press, 2001)

Matthew Higgs, City Racing 1988-1998: a partial account (London: I.C.A, 2001)

Francesco Bonami, Uniform: Order and Disorder (Florence: Stazione Leopolda, 2001)

Rachel Lowther, Aline Duriaud and James Dawson-Hollis, Death Race 2000 (New York: Thread Waxing Space, 2001) (video cat.)

Sarah Kent, ‘YBA Woman’, Thames & Hudson World of Art: 45^th Birthday Issue (London: Thames and Hudson, 2001)

Uta Grosenick, Women Artists in the 20^th and 21^st Century (Cologne: Taschen, 2001)

Nicholas Thornton, Breaking the Mould: 20^th Century British Sculpture from Tate, A Tate Partnership Exhibition (Norwich: Norwich Castle Museum and Art Gallery, 2001)

Virginia Button, Charles Esche, Intelligence: New British Art (London: Tate Publishing, 2000)

Victoria Combalia and Angus Cook, Sarah Lucas: Autoretrats I mess exe (Barcelona: Tecla Sala, 2000)

Eva Meyer-Hermann, The Oldest Possible Memory (St Gallen: Hauser & Wirth, 2000)

Bice Curiger, Hypermental (Zurich: Kunsthaus Zurich, 2000)

Bice Curiger (ed.) Cream 2 (London: Phaidon Press, 2000)

Richard Shone, Puerile 69: Angus Fairhurst, Michael Landy, Sarah Lucas, Gillian Wearing (Reykjavik: The Living Art Museum, 2000)

Norman Rosenthal, Sex and the British (Salzburg: Thaddeaus Ropac Galerie, 2000) David Ross, Nicholas Serota, Ida Giannelli, Giorgio Verzotti, and Jonathan Watkins, Quotidiana: Immagini della viat di ogni giorno nell’arte del xx secolo/The Continuity of the Everyday in 20^th Century Art (Turin: Castello di Rivoli; Milan: Charta, 2000)

Helena Cabello and Ana Carceller, Zona F (Castello: Espai d’Art Contemporani de Castello, 2000)

Julian Stallabrass, High Art Life (London: Verso Books, 2000)

Matthew Higgs, Pippa Coles and Jacqui Poncelet, The British Art Show 5 (London: Hayward Gallery, 2000)

Anne Faggianato, Psycho, Art and Anatomy (London: Anne Faggianato, 2000)

Burkhard Riemschneider, Uta Grosenick and Lars Bang Larsen, Art at the Turn of the Millennium (Cologne: Taschen, 1999)

Matthew Collings, This Is Modern Art (London: Weidenfeld & Nicholson, 1999)

Michel van der Mast, Me Myself I, Contemporary Self Images (The Hague: Hagues Historisch Museum, 1999)

Peter Weibel, The Anagrammatical Body (Graz: Neu Galerie am Landesmuseum Joanneum, 1999)

Tochigi Kenritsu Hakubutsukan, REAL/LIFE: New British Art (Tochigi: Tochigi Prefectural Museum of Fine Arts, Tochigi, 1998) (exh. cat.)

Nelleke Noordervlie, Self Portraits - A Collection (Rotterdam: Caldic Collection, 1998)

Renate Wiehager, Photography As Concept-4 Internationale Foto-Triennale Esslingen (Esslingen: Galerien der Stadt Esslingen Villa Merkel, 1998)

Caoimhin Mac Giolla Leith, Hungry Ghosts (Dublin: Douglas Hyde Gallery, 1998)

Kungnip Hyŏndae Misulgwan, Contemporary British Art (Seoul: National Museum of Contemporary Art, 1998)

Gregor Muir (ed.), ‘Sarah Lucas’, New Art From Britain (Innsbruck: Kunstraum Innsbruck, Innsbruck, 1998)

Elizabeth Janus(ed.), Die Rache der Veronika: Fotosammlung Lambert (Zurich: Scalo / Hamburg: Deichtorhallen Hamburg, 1998)

Zdenek Felix(ed.) Emotion: Young British and American Art from the Goetz Collection (Hamburg: Deichtorhallen Hamburg, 1998)

Jerry Saltz(ed.), An Ideal Syllabus: Artists, Critics and Curators Choose the Books We Need to Read (London: Frieze, 1998)

Johnnie Shand Kydd, Spitfire: Young British Artists (London: Thames and Hudson, 1997)

Brigitte Kolle (ed.), Sarah Lucas (Frankfurt-am-Main: Portikus,1997)

Yilmaz Dwiezior (ed.), Car Park (Cologne: Museum Ludwig, 1997)

The Hydra Collection, Package Holiday – works from the Ophiuchus Collection (London: Sadie Coles HQ, 1997)

Gilda Williams (ed.), Strange Days (Milan: Claudia Gian Ferrari Arte Contemporanea, 1997)

Matthew Collings, Blimey!: From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst (London: 21, 1997)

Ingvild Goetz (ed.), Artists form the UK (Munich: Sammlung Goetz, 1997)

Louisa Buck (ed.), Moving Targets: A User’s Guide to British Art Now (London: Tate Publishing, 1997)

Norman Rosenthal & Simonetta Fracquelli (eds.) Sensation (London: Royal Academy of Art, 1997)

Kate Bush and Gregor Muir (eds.), Assuming Positions (London: ICA, 1997)

Jan van Adrichem, ‘Things That Have To Come About’ & Angus Fairhurst, ‘Concrete Dreams’, Karel Schampers (eds.), Sarah Lucas (Rotterdam: Museum Boymans-van Beuningen, 1996)

Neville Wakefield, ‘Pretty Vavancy’, Stuart Mogan, ‘Briller A Tawdry Flickwort!’, Richard Flood (ed.), Brilliant! New Art from London (Minneapolis (MI): Walker Art Centre, Minneapolis (MI), 1996)

Godfrey Worsdale, ‘Lucas & Emin’ artists’ statement, Godfrey Worsdale (ed.), Co-operators (Southampton: Southampton City Art Gallery, 1996)

Karsten Schubert, From Figure to Object: A Century of Sculptors’ Drawings (London: Frith Street Gallery / Karsten Schubert Gallery, 1996)

Hans Ulrich Obrist and Gregor Muir (ed.), Live/Life (Paris: ARC Musee de la Ville de Paris, 1996) 

Carl Freedman (ed.), Minky Manky (London: South London Gallery, 1995)

Helle Behrndt. Torben Christensen and Søren Houmann, Corpus Delicti: London in the 1990’s (Copenhagen: Kunstforeningen, 1995) (exh. cat.)

Marie-Laure Bernadac, Masculin/Feminine (Paris: Musée National d’Art Moderne, Centre Pompidou, 1995)

Sarah Kent, ‘Sarah Lucas’, Shark Infested Waters: The Saatchi Collection of British Art in the 90’s (London: Zwemmers, 1994)

Chris Dercon, ‘Watt’, Chris Dercon (ed.). Cahier #2 (Rotterdam: Witte de With / Dusseldorf: Richter Verlag, 1994)

Portikus, Football Karaoke (Frankfurt-am-Main: Portikus, 1994)

Christian Jungersen, ‘Rumble in the Jungle’, N +1, No.39 Winter 2021
Olivia Gavoyannis, ‘How to Collect Works by the Young British Artists’, Artsy, 29 March 2021
Marianne Wie, ‘Med blicket på seg selv’, ALTSÅ magazine, No. 07, Vår 2021, pp. 100-103
Claudia Campaña, ‘La crucifixion en la mirada del arte contemporaneo’, Artes y Letras, El Mercurio, 28 March 2021, e. 5
Jackie Wullschläger, ‘The women redefining sculpture’, Financial Times, 10 March 2021
Christina-Marie-Lümen, ‘Bunny, concrete, barber chair, Sarah Lucas at Contemporary Fine Arts’, Gallerytalk, 29 January 2021

Maximiliane Leuschner, ‘The Many Face(t)s of Michael Clark The Cosmic Dancer retrospective on Scottish choreographer and dancer Michael Clark explores his screen, set, and stage collaboration with fellow artists.’, The Brooklyn Rail, December 2020

‘Museum Previews’, Art In America Guide 2020-2021, December 2020. pp. 29 – 3
Steve McQueen, ‘Black People are Weirdly Missing from the Narrative’, The New Review, The Observer, 15 November 2020, p. 11
Anna Brady, ‘Prison is Boring as Hell’: Sarah Lucas on Isolation and Judging Art by Inmates’, The Art Newspaper, 09 November 2020
Eric Troncy, ‘The provocative and scandalous works of Sarah Lucas', Numéro, 27 October 2020 [English Translated]
Jerome Sans, ‘The erotic sculptures by British feminist artist Sarah Lucas resemble cartoon couples composed of a chair and bendy, hypersexualized body parts like high-heeled legs, explosive breasts and the occasional supersized phallus’, Purple Magazine, issue ‘Purple Love’, October 2020, pp. 86-91
‘Sculpture by Sarah Lucas: Hunger for Art’, Monopol Magazine, 07 October 2020
Naomi Rea, ‘See the Playful Sculptures on View at Frieze London’s Sculpture Park, From an Enormous Braid to an Art Star’s Sandwich’, Artnet News, 05 October 2020
Matthew McClean, ‘Small is Beautiful with Alex Petalas’, Frieze Week London, 05 – 16 October 2020, pp. 29 – 32
Lyndsey Winship, 'He came out of the womb dancing!' Stars relive their wild times with Michael Clark’, The Guardian, 30 September 2020
Mark Westall, ‘Michael Clark: Cosmic Dancer, FAD Magazine, 25 September 2020
Joey Lloyd, ‘Sarah Lucas: Honey Pie’, Studio International, 05 August 2020
Gabriella Angeleti and Gareth Harris, ‘Three exhibitions to see in New York, London and online this weekend’, The Art Newspaper, 24 July 2020
Federico Florian, ‘Review: Sarah Lucas HONEY PIE’, FLASH ART, April-May 2020, pp. 119-120
Jethro Turner, ‘Sarah Lucas “Honey Pie” Exhibition at Sadie Coles HQ, London’, Purple Diary, 30 March 2020
Osman Can Yerebakan, ‘Sarah Lucas’ new sculptures have us on the edge of our seats’, Wallpaper*, 28 March 2020
Andrew Gilchrist, ‘Hard-partying ex-YBA Sarah Luas: ‘I was pretty wild’, The Guardian, 24 March 2020 [published in print 24 March 2020]
Lynn Barber, ‘Sarah Lucas interview: ‘I finally feel like I’m getting old … Now, let’s go to the pub”, The Telegraph, 16 March 2020
Michaël Amy, ‘Sarah Lucas: Naked Honesty’, Sculpture, March-April 2020, pp. 64-75

Annie Armstrong, ‘A Guide to the Banana In (Feminist) Art History’, GARAGE, 15 December 2019
Louisa Buck, ‘Sarah Lucas eggs women on at Red Brick Museum’, The Art Newspaper, 19 December 2019

‘Sarah Lucas at Red Brick Art Museum: Exhibition Walkthrough’, Ocula, 20 December 2019
‘UK 'cultural hurricane' Sarah Lucas takes Beijing by storm’, China Daily, 26 November 2019
Sue Wang, ‘Sarah Lucas: Humorous Subversion from “Feminism” to a “Social Context”’, CAFA Art Info, 13 November 2019
Charlotte Jansen, Sarah Lucas takes a bite out of Beijing in major exhibition at Red Brick Art Museum’, Wallpaper*, 17 November 2019
Edward Goldman, ‘The Provocative and Explicit Art of Sarah Lucas’, KCRW, 30 July 2019
Leslie Cozzi, ‘Sod You Gits: Sarah Lucas’s Fleet Street Surrealism’, X-TRA, Summer 2019
Avery Wheless, ‘Sarah Lucas | Murphy beds and a lot of yolk’, FLAUNT, 10 July 2019
Deborah Vankin, ‘Eggs are being fried as art at the Hammer Museum. Let's see what's cooking’, Los Angeles Times, 09 July 2019
Hunter Drohojowska-Philp, ‘Sarah Lucas at the Hammer’, Art Talk: KCRW, 13 June 2019
Olu Odukoya, ‘Talking Tit’, Modern Matter, 02 June 2019
Lorissa Rinehart, ‘Why Splattering Eggs on a Museum’s Walls with Other Women Was So Satisfying’, Hyperallergic, 28 May 2019
Lainey R. Sidell, ‘On View: "Sarah Lucas: Au Naturel" at Hammer Museum’, Surface, 21 May 2019
Dayna Mahannah, 'Is Sarah Lucas the indispensable artist of the #MeToo Movement? Is her work even more important in this epic feminist uprising? Are we projecting our feelings into her art?', Adbusters, Vol. 27 No. 2, March – April 2019
Margot Henderson and Sarah Lucas, ‘Margot Henderson and Sarah Lucas Over Lunch at the Rochelle Canteen’, Luncheon, Issue No. 7, Spring Summer 2019, pp. 240 – 244
Louisa Buck, ‘Sarah Lucas puts egg, cement and breezeblocks on the face of Tate Modern's Franz West show’, The Art Newspaper, 20 February 2019
Francesca Gavin, ‘How YBA Art Legend Sarah Lucas Helped Design the Tate’s Franz West Show’, AnOther, 20 February 2019
Eleanor Heartney, ‘Art in the Age of Sexual Disruption’, Art in America, January 2019, pp. 19-22
Adam Milner, ‘An Artwork by Sarah Lucas Hung Above My Bed for a Month’, Hyperallergic, 03 January 2019

Sasha Grishin, ‘’EuroVisions’ a ‘curious exhibition’ that lacks depth’, The Canberra Times, 03 December 2018
Mengna Da, ‘Sarah Lucas: Au Naturel’, Brooklyn Rail, 11 December 2018
Kaitlin Phillips, ‘Sarah Lucas | New Museum, New York’, Artforum, December 2018, p.203
Larissa Pham, ‘In Bed: The Mattress as Art’, The Paris Review, 20 November 2018
Tess Thackara, ‘Sarah Lucas’s Tired Feminism Is No Match for Our Current Reality’, Artsy, 26 November 2018

Kate Menard, ‘” Sarah Lucas: Au Naturel” at the New Museum’, Arte Fuse, 15 November 2018
Digby Warde-Aldam, ‘The shock value of Sarah Lucas still hasn’t worn off’, Apollo, 23 November 2018
Mark Westall, ‘The Quick & the Dead: Hambling, Horsley, Lucas, Simmons, Teller’, FAD, 21 October 2018
Zsofia Paulikovics, “A guide to the controversial works of YBA Sarah Lucas”, Dazed, 8 October 2018
Connor Goodwin, ‘Sarah Lucas, With Lots of Attitude, at New Museum’, Blouin Artinfo, 09 October 2018
Ilka Sobie, ‘Sarah Lucas: A Walk on NY’s Wild Side’, Artlyst, 14 October 2018
Johanna Fateman, ‘Sarah Lucas’, 4 Columns, 05 October 2018
‘A Veteran’s Struggle, ‘Sarah Lucas: Au Naturel,’ New Ways to Fight Sepsis’, WNYC, 25 September 2018
Louisa Buck, ‘Change Artist’, W Magazine, September 2018
The New Museum Presents Sarah Lucas’s “Au Naturel”, The Untitled Magazine, 26 September 2018
Rebecca Mead, ‘The Animal and the Edible in Sarah Lucas’s Self-Portraits’, The New Yorker, 16 September 2018
Roberta Smith, ‘Sarah Lucas, Unmasked: From Perverse to Profound’, The New York Times, 05 September 2018
Linda Yablonsky, ‘The Rude Genius of Sarah Lucas at the New Museum’, The Art Newspaper, 27 September 2018
Tia Glista, ‘Au Naturel’, Office, 26 September 2018
Hazel Cills, ‘Artist Sarah Lucas on Revelations, Genitalia, and the Potential of Eggs’, Jezebel, 26 September 2018
Sarah Lucas, Matthew Barney, ‘Sarah Lucas and Matthew Barney on Wreaking Havoc with Their Art’, Interview, 10 September 2018
Andrew Russeth, ‘You’ve Got to Crack a Few Eggs to Make an Omelette: Sarah Lucas and Company Shatter 1,000 Shells for New Museum Show’, ARTNEWS, September 2018
Eileen Kinsella, ‘‘Deeper Meanings Tend to Slip In’: Sarah Lucas, Edgy Feminist Id of the YBA Generation, on Her Fearless New Museum Survey’, Artnet News, 28 September 2018
Massimiliano Gioni & Sarah Lucas, ‘Sarah Lucas to Massimiliano Gioni: “I Didn’t Want a Boring Life”, 032c, 26 September 2018
Mark Westall, ‘New Museum to present the first major survey exhibition of Sarah Lucas in the U.S.A.’, FAD Magazine, 15 June 2018
‘New Museum to Host the First Major Survey Exhibition of Sarah Lucas in the United States’, BLOUIN ARTINFO, 21 June 2018
Gaby Cepeda, ‘Stranger Things: A Ghostly Fog of Mysticism Hangs Over Exhibitions Around Mexico City’, Artnews, 27 June 2018

Richard Holledge, ‘Mexico: An intoxicating place for artists’, Financial Times, 08 May 2018
Francesco Scasciamacchia, ‘Sarah Lucas: Dame Zero’, Mousse Magazine, No. 63, April-May 2018, pp. 212-213

Will Furtado, ‘Rebel Youth Springs Eternal’, Sleek Magazine, Summer 2017, pp. 102–105

Charles Desmarais, ‘Rude Amid the Rodins: Sarah Lucas’ Send Up of Portentous Works’, San Francisco Gate, 18 August 2017

Clayton Shuster, ‘Sarah Lucas Squashes Rodin’s Idealism’, Hyperallergic, 1 August

Bean Gilsdorth, ‘Sarah Lucas’, ArtForum, 21 August 2017

Charlotte Jansen, ‘Body talk: YBA Sarah Lucas meets modern master Auguste Rodin’, Wallpaper*, 18 July 2017

Will Furtado ‘Sarah Lucas: A Strong United Europe Makes Sense’, Sleek, 13 July 2017

Peter Lawrence Kane ‘Sarah Lucas Gets Naughty at the Legion of Honor’ SF Weekly, 13 July 2017

‘Fine Arts Museums of San Francisco’, e-flux, 14 July 2017

‘‘Sarah Lucas: Good Muse’ at Legion of Honor, San Francisco’, Blouin Artinfo, 19 July 2017

John Neylon, ‘Genius Loves Company in Versus Rodin: Bodies Across Space and Time’, The Adelaide Review, 20 April 2017

Caroline Elbaor, 'Sarah Lucas is Taking over Berlin this Easter Weekend with Eggy Happenings', Artnet News, 13 April 2017

Louisa Buck, 'Wonderfully Idiosyncratic: JW Anderson's Disobedient Bodies at Hepworth Wakefield', The Telegraph, 24 March 2017

Sarah Lucas and Olu Odukoya, 'Sarah Lucas: Liberty, Curated by Olu Odukoya', Modern Matter, No. 11, December 2016 [pull-out feature]

Diane Solway, 'The Escape Artist', W Magazine, August 2016, pp. 108-111

Gianluigi Colin, ‘La Calze di Sarah’, La Lettura (Corriere della Serra), no. 227, 03 April, cover, p. 47
Cristiana Campanini, ‘Bellezza al Bagno: Una Bad Girl “British” ai Bagni Pubblici’, La Repubblica, 06 April, pp. 1, 15
Natalie Rigg, ‘Power in Woman: Sarah Lucas and the Female Gaze’, AnOther, 06 April
Alessandra Mammi, ‘Bad Girl Sarah’, D Magazine, La Repubblica, 02 April, pp. 80 – 82
Chiara Gatti, ‘E Sarah Lucas Mette in Scena il suo Psychothriller’, La Repubblica, 30 March, p.47
Alexander Hawkins,’“I’m Totally on the Side of Accident in Art”: Sarah Lucas, Playful and Plain-speaking’, It’s Nice That, blog, 29 March
Louisa Buck, ‘The Buck Stopped Here: Sarah Lucas’ Powerful Women Light up John Soane’s Yellow Drawing Room’, The Art Newspaper, 24 March
Martin Coomer, ‘Time Out Meets Sarah Lucas’, Time Out London, 22 – 28 March 2016, pp. 86 – 87
Jessica Klingelfuss, ‘'Power in Woman': Sarah Lucas' Female Figures Arrive at London's Soane Museum’, Wallpaper*, 16 March