Arte Figurativo. Bogotá: Banco de la República Subgerencia Cultural, 1986. Exh. cat.

Ponce de León, Carolina. “Al margen de una polémica, las instalaciones de Doris Salcedo.” El Tiempo (Bogotá), February 20, 1988.

El Hierro: Escultura. Bogotá: Galería Garcés Velásquez, 1989. Exh. cat.

“Mano de hierro.” Semana (Bogotá), March 13, 1989.

Ospina, Nadin. Nuevos nombres: Seguimiento. Bogotá: Biblioteca Luis Ángel Arango, 1990. Exh. cat.

Ponce de León, Carolina. Imagenes de duelo. Bogotá: Galería Garcés Velásquez, 1990. Exh. cat.

Ponce de León, Carolina. “El Gato Por Libre.” El Tiempo (Bogotá), December 30, 1990, sec. Otros.

Ponce de León, Carolina. “Lineas De Conducta.” El Tiempo (Bogotá), November 11, 1990, sec. Otros.

Bond, Anthony, ed. The Boundary Rider: The 9th Biennale of Sydney. Sydney: Biennale of Sydney, 1992. Exh. cat.

Currents ‘92: The Absent Body. Directed by Branka Bogdanov and Reb Butler. 1992. Boston: Institute for Contemporary Art, 1992. VHS.

Lux, Harm, Edith Krebs, and Ulf Rollof. Ulf Rollof, Doris Salcedo, Cécile Huber, Liliana Moro, Marianna Uutinen. Zurich: Shedhalle, 1992. Exh. cat.

Merewether, Charles. “Doris Salcedo.” In Ante America, 41–42. Bogotá: El Museo de Biblioteca Luis Ángel Arango, 1992. Exh. cat.

Burke, Gregory. “The Boundary Rider: The 9th Biennale of Sydney.” Art New Zealand 67 (Winter 1993): 50–53.

Merewether, Charles. “Community and Continuity: Naming Violence in the Work of Doris Salcedo.” ArtNexus 9 (June–August 1993): 104–09, 183–86.

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Parias Durán, María Claudia. “Doris Salcedo.” Poliester 2, no. 7 (Fall 1993): 28–31.

Salcedo, Doris. “Doris Salcedo.” Flash Art 171 (Summer 1993): 97.

Amor, Monica. “Doris Salcedo.” ArtNexus 13 (August–October 1994): 166–67.

Aukeman, Anastasia. “Doris Salcedo: Privileged Position.” ARTnews 93 (March 1994): 157.

Cameron, Dan. “Absence Makes the Art: Doris Salcedo.” Artforum 33, no. 2 (October 1994): 88–91.

Cotter, Holland. “Art in Review: Doris Salcedo.” New York Times, April 15, 1994, C26.

Hirsch, Faye. “Doris Salcedo at Brooke Alexander.” Art in America 82, no. 10 (October 1994): 136.

Morgan, Stuart. “The Spine: de Appel, Amsterdam.” Frieze 16 (May 1994): 52–53.

van Duyn, Edna, and Victor Joseph. The Spine: Tiong Ang, Janine Antoni, Christine Borland, Willie Doherty, Pepe Espaliú, Doris Salcedo. Amsterdam: de appel, 1994. Exh. cat.

Armstrong, Richard, and Paolo Morsiani. Carnegie International 1995. Pittsburgh: Carnegie Museum of Art, 1995. Exh. cat.

Cubitt, Sean. “Dispersed Visions: ‘About Place’.” Third Text 9, no. 32 (Autumn 1995): 65–74.

Dermota, Ken. “Colombian Protests Violence with Sculpture.” Christian Science Monitor, August 16, 1995, 14.

Grachos, Louis, and Kathryn Kanjo. Sleeper: Katharina Fritsch, Robert Gober, Guillermo Kuitca, Doris Salcedo. San Diego: Museum of Contemporary Art, 1995. Exh. cat.

Grynsztejn, Madeleine. About Place: Recent Art of the Americas. Chicago: Art Institute of Chicago, 1995. Exh. cat.

Gutierrez, Natalia. “Other Directions.” Poliester 4, no. 12 (Summer 1995): 16–25.

Saltz, Jerry, Mar Villaespesa, Gerardo Mosquera, Jean Fisher, and Dan Cameron. Cocido y crudo. Madrid: Museo Nacional Centro de Arte Reina Sofía, 1995. Exh. cat.

Benezra, Neal, and Olga M. Viso. Distemper: Dissonant Themes in the Art of the 1990s. Washington, DC: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1996. Exh. cat.

“Domenico Bianchi: Recent Works; Peter Shelton: Mèreubu; Doris Salcedo: Atrabiliarios.” Venice Beach: L.A. Louver Gallery, 1996. Exh. cat.

Gutierrez, Natalia. “Conversation with Doris Salcedo.” ArtNexus 23 (January–March 1996): 48–50.

Merewether, Charles. “The Anonymity of Violence: Re-Elaborating the Non-Site.” In Propositions, 102–06. Rochechouart, France: Musée départemental de’art contemporain de Rochechouart, 1996. Exh. cat.

Merewether, Charles. “Zones of Marked Instability: Woman and the Space of Emergence.” In Rethinking Borders, edited by John C. Welchman, 101–24. Minneapolis: University of Minnesota Press, 1996.

Pini, Ivonne. “Rodrigo Facundo, Juan F. Herrán y Doris Salcedo: Al rescate de la memoria.” Atlántica: Revista de arte y pensamiento 15 (Winter 1996): 98–104.

Vicario-Heras, Gilbert. Dissonant Wounds: Zones of Display/Metaphors of Atrophy. Annandale-on-Hudson, NY: Center for Curatorial Studies, Bard College, 1996. Exh. broch.

Young, Lisa Jaye. “Spiritual Minimalism.” Performing Arts Journal 18, no. 2 (May 1996): 44–52.

Bradley, Jessica. Doris Salcedo: La Casa Viuda II. Toronto: Art Gallery of Ontario, 1997. Exh. broch.

Cameron, Dan. “Unland: Doris Salcedo.” Grand Street 61 (July 1997): 72–81.

Littman, Robert, Kurt Hol, and Jesús Fu. Así está la cosa: instalación y arte objeto en América Latina. Mexico City: Centro Cultural Arte Contemporáneo, 1997. Exh. cat.

Marcoci, Roxana, Diana Murphy, and Eve Sinaiko. New Art. New York: H. N. Abrams, 1997.

McAllister, Jane, and Nancy Eickel. The Hirshhorn Collects: Recent Acquisitions 1992–1996. Washington, DC: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1997. Exh. cat.

Merewether, Charles. “The Unspeakable Condition of Figuration.” In Body, edited by Anthony Bond, 151–60. Melbourne: Bookman Schwartz, 1997. Exh. cat.

Merewether, Charles, and David Moos. Doris Salcedo: Atrabiliarios. Wichita, KS: Edwin A. Ulrich Museum of Art, 1997. Exh. cat.

Pini, Ivonne. “The Past as Subjective Experience.” ArtNexus 23 (January–March 1997): 52–56.

Villaveces-Izquierdo, Santiago. “Art and Media-tion: Reflections on Violence and Representation.” In Cultural Producers in Perilous States: Editing Events, Documenting Change, 233–54. Chicago: University of Chicago Press, 1997.

Anastas, Rhea. “Doris Salcedo: A Tour of the Borderland of Unland.” ArtNexus 29 (August–October 1998): 104–05.

Arratia, Euridice. “Doris Salcedo.” Flash Art 31, no. 202 (October 1998): 122.

Bradley, Jessica, and Andreas Huyssen. Displacements: Mirosław Bałka, Doris Salcedo, Rachel Whiteread. Toronto: Art Gallery of Ontario, 1998. Exh. cat.

Cameron, Dan. Unland/Doris Salcedo. New York: New Museum of Contemporary Art, 1998. Exh. broch.

Cameron, Dan, Charles Merewether, and Doris Salcedo. Doris Salcedo. New York: New Museum of Contemporary Art, 1998. Exh. cat.

Camhi, Leslie. “Last Supper.” The Village Voice 43, no. 15 (April 1998): 125.

Chin, Daryl. “Beau Geste.” PAJ: A Journal of Performance and Art 20, no. 2 (May 1998): 57–61.

Dault, Gary Michael. “The Deafening Silence of the Past Given Voice in Art.” Globe and Mail (Toronto), April 18, 1998, C16–17.

Doherty, Claire, and Howard Arkley. Claustrophobia. Birmingham, UK: Ikon Gallery, 1998. Exh. cat.

Elliot, David, Marcelo E. Pacheco, and Pier Luigi Tazzi. Wounds: Between Democracy and Redemption in Contemporary Art. Stockholm: Moderna Museet, 1998. Exh. cat.

Gomez, Edward M. “In the Afterlight of Bloodshed, Smoldering Images.” New York Times, March 15, 1998, AR39.

Green, Charles. “Deciphering Multiples: Body and Gaze.” Art and Australia 35, no. 4 (1998): 479–81.

Herkenhoff, Paulo, et al. XXIV Bienal de São Paulo. São Paulo: Fundação Bienal de São Paulo, 1997. Exh. cat.

MacDonnell, Virginia. “Noli me tangere: Displacements at the AGO.” Espace 45 (Autumn 1998): 34–36.

Schwabsky, Barry. “Doris Salcedo.” Artforum 37, no. 1 (September 1998): 153.

Smith, Roberta. “The ‘New’ New Museum, with a Tableau of Wrenching Reality.” New York Times, March 20, 1998, E35.

Bond, Anthony. TRACE: 1st Liverpool Biennial of Contemporary Art. Liverpool: Liverpool Biennial of Contemporary Art in association with Tate Gallery Liverpool, 1999. Exh. cat.

Gigli, Nicoletta Cobolli. “Gran tour d’estate.” Arte 311 (July 1999): 66–77.

Israel, Nico. “XXIV Bienal de São Paulo.” Artforum 37, no. 6 (February 1999): 103.

Mac Giolla Leith, Caoimhin. “Liverpool Biennial of Contemporary Art.” Artforum 38, no. 4 (December 1999): 158.

Merewether, Charles, Doris Salcedo, and Gary Garrels. Unland. San Francisco: San Francisco Museum of Modern Art, 1999. Exh. broch.

Schubert, Karsten. “The 1998 Bienal, São Paulo.” Burlington Magazine 141, no. 1150 (January 1999): 61–62.

Zea de Uribe, Gloria, and Álvaro Medina, eds. Arte y violencia en Colombia desde 1948. Bogotá: Museo de Arte Moderno de Bogotá, 1999. Exh. cat.

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Godfrey, Tony. “Liverpool Biennial.” Burlington Magazine 142, no. 1162 (January 2000): 53–55.

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Morin, France. “The Quiet in the Land: Everyday Life, Contemporary Art, and Projeto Axé.” Art Journal 59, no. 3 (2000): 4–17.

Morin, France, and John Alan Farmer. The Quiet in the Land: Everyday Life, Contemporary Art, and Projeto Axé. Salvador, Brazil: Museu de Arte Moderna da Bahia, 2000. Exh. cat.

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Princenthal, Nancy, Andreas Huyssen, Carlos Basualdo, and Doris Salcedo. Doris Salcedo. London: Phaidon, 2000.

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Varnedoe, Kirk, Paola Antonelli, and Joshua Siegel. Modern Contemporary: Art at MoMA Since 1980. New York: Museum of Modern Art, 2000.

Bal, Mieke. “Sticky Images: The Foreshortening of Time in an Art of Duration.” In Time and the Image, edited by Carolyn Bailey Gill, 79–99. Manchester, UK: Manchester University Press, 2001.

Ballester, María Ángeles Arazo. Lugares de la memoria: Claustros de la comunidad Valenciana. Valencia: Consorci de Museus de la Comunidad Valenciana, 2001. Exh. cat.

Bennet, Jill, and Doris Salcedo. Doris Salcedo. London: Camden Arts Centre, 2001. Exh. broch.

Holmes, Pernilla. “Art in the Shadow of War: Doris Salcedo and Sophie Ristelhueber.” Art Review 53 (November 2001): 88.

Jiménez, Carlos. “Los duelos ocultos del silencio.” Lapiz 20, no. 174 (June 2001): 18–25.

Merewether, Charles. “Abandonment: On the Furniture of Doris Salcedo.” In ARS 01: Unfolding Perspectives, edited by Maria Hirvi, 214–15. Helsinki: Museum of Contemporary Art Kiasma, 2001. Exh. cat.

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Olmo, Santiago B. “Aezthetyks of Dream: The Identity of Shortage.” ArtNexus 41 (August–October 2001): 94–97.

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Träskman, Tomas Ivan. “ARS 01.” Nu: The Nordic Art Review 3, no. 6 (2001): 63.

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Wong, Edlie L. “The Afterlife of Loss: Situating Memory in the Sculptural Art of Doris Salcedo.” Critical Sense 9, no. 1 (Winter 2001): 55–85.

Bennett, Jill. “Art, Affect, and the ‘Bad Death’: Strategies for Communicating the Sense Memory of Loss.” Signs: Journal of Women in Culture and Society 28, no. 1 (September 2002): 333–51.

Birnbaum, Daniel. The Unthought Known: Mirosław Bałka, Doris Salcedo, Clay Ketter, Robert Gober, Luc Tuymans. London: Jay Jopling/White Cube, 2002. Exh. cat.

Carrozzini, Stefania. “Documenta 11: L’arte sotto il segno della propaganda politica.” D’Ars 42, no. 170 (August 2002): 16–25.

Congdon, Kristin G., and Kara Kelley Hallmark. Artists from Latin American Cultures: A Biographical Dictionary. Westport, CT: Greenwood Press, 2002.

de Goede, Jannet, and Boris Groys. Imagine, You Are Standing Here in Front of Me: Caldic Collectie, edited by Jaap Guldemond and Sven Lutticken. Rotterdam: NAi Publishers and Museum Boijmans Van Beuningen, 2002. Exh. cat.

Doherty, Claire. “The Unthought Known.” Art Monthly 255 (April 2002): 25–27.

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Fechter, Isabel. “Ernst ist das Leben - und ernst ist die Kunst.” Weltkunst 72 (2002): 1,110–11.

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Jiménez, Carlos. “The Globalization Documenta.” ArtNexus 46 (October–December 2002): 64–70.

Kamps, Toby. Lateral Thinking: Art of the 1990s. San Diego: Museum of Contemporary Art, 2002. Exh. cat.

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Searle, Adrian. “World of Interiors.” Guardian (London), March 12, 2002, 10–11.

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Calow, Jane. “From Birmingham to Bogotá: Tracing the Metaphor of Submerged Space Through the Architecture of 1960s Birmingham and the Artistic Practice of Doris Salcedo.” In Recoveries and Reclamations: Advances in Art and Urban Futures, Volume 2, edited by Judith Rugg and Daniel Hinchcliffe, 119–27. Bristol, UK: Intellect, 2003.

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de Ory, Jose Antonio. “Callejero—Carta de Bogotá: Doris Salcedo en el Palacio de Justicia.” Cuadernos Hispanoamericanos 633 (March 2003): 107.

Fernández, María. “A Critical Perspective.” NKA: Journal of Contemporary African Art 18, no. 1 (Spring–Summer 2003): 48–55.

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Adams, Beverly, Diane and Bruce Halle, and Laurie J. Rufe. Contemporary Art and Latin America: Selections from the Diane and Bruce Halle Collection. Tucson, AZ: Tucson Museum of Art, 2004. Exh. cat.

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Mengham, Rod, and Carlos Basualdo. Doris Salcedo: Neither. London: Jay Jopling/White Cube, 2004. Exh. cat.

Pérez León, Dermis. “VIII Istanbul Biennial: Poetic Justice for an Ideal Globalized World.” ArtNexus 51 (December 2003–February 2004): 110–14.

Roca, José. “Ana Mendieta’s Nile Born, José Leonilson’s 34 with Scars, and Doris Salcedo’s Untitled.” In Latin American and Caribbean Art: MoMA at El Museo, edited by Miriam Basilio, 148–54. New York: Museum of Modern Art, 2004. Exh. cat.

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Tawadros, Gilane, ed. Changing States: Contemporary Art and Ideas in an Era of Globalisation. London: Institute of International Visual Arts, 2004.

Tiscornia, Ana. “El MoMA at El Museo del Barrio.” ArtNexus 53 (July–September 2004): 92–95.

Ackermann, Franz, Adriano Pedrosa, and Julie Dunn. Farsites: Urban Crisis and Domestic Symptoms in Recent Contemporary Art. San Diego: San Diego Museum of Art, 2005. Exh. cat.

Birbragher, Francine. “Latin American Inclusions in the MoMA Collection: An Interview with Luis Pérez Oramas.” ArtNexus 58 (September–November 2005): 77–83.

Benítez Dueñas, Issa Ma. “ArtBasel 36.” ArtNexus 58 (2005): 120–22.

Bal, Mieke. “The Commitment to Look.” Journal of Visual Culture 4 (2005): 145–62.

Basualdo, Carlos, and Doris Salcedo. “In Conversation.” In Pressplay: Contemporary Artists in Conversation, 527–41. London: Phaidon, 2005.

Bernal, Maria Clara. “Contradicciones y convivencias: Arte de América Latina, 1981–2000.” ArtNexus 57 (July–August 2005): 160–62.

Bonami, Francesco, and Carolyn Christov-Bakargiev. The Pantagruel Syndrome: T1 Turin Triennial. Milan: Skira, 2005. Exh. cat.

Comisso, Francesca. “Una grossa grassa Triennale.” Giornale dell’Arte 23, no. 248 (November 2005): 23, 26.

Falletti, Vittorio. “Torino Triennale tre musei: Giro del mondo in città.” Arte 387 (November 2005): 112–19.

Herbert, Martin. “Beuys and After: The Beuys Continuum.” Modern Painters (February 2005): 61–62, 64–67.

Herzog, Hans-Michael, Fernn Gonzlez, Plinio Apuleyo Mendoza, Alfredo Molano, and William Ospina. Cantos Cuentos Colombianos: Arte Colombiano contemporáneo. Ostfildern, Germany: Hatje Cantz, 2005. Exh. cat.

Herzog, Hans-Michael, Sebastián López, and Eugenio Valdés Figueroa. The Hours: Visual Arts of Contemporary Latin America. Ostfildern, Germany: Hatje Cantz, 2005.

Lamoureux, Johanne. “From Form to Platform: The Politics of Representation and the Representation of Politics.” Art Journal 64, no. 1 (Spring 2005): 64–73.

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Roberts, Angela. “Gargantuan.” Art Review 58 (November 2005): 48–49.

Salgado, Gabriela. “Cantos/Cuentos Colombianos—An Exhibition of Colombian Art from the Collection of Daros-Latinamerica.” ArtNexus 57 (June–August 2005): 64–69.

Schwarze, Dirk. Meilensteine: 50 Jahre Documenta. Berlin: Bostelmann & Siebenhaar, 2005.

Tumlir, Jan. “inSite_05: Various Venues, San Diego and Tijuana.” Artforum 44, no. 3 (November 2005): 248–49, 289.

Diehl, Ute. “Völlerei oder Fasten.” ART: das Kunstmagazin (January 2006): 96–97.

Lequeux, Emmanuelle. “T1, Triennale de Turin: un appetit d’ogre pour l’art contemporain.” Beaux Arts Magazine 260 (February 2006): 126.

Margaroni, Maria, and Effie Yiannopoulou. Metaphoricity and the Politics of Mobility. Amsterdam: Rodopi, 2006.

Ratner, Megan. “Turin Triennial.” Frieze 98 (April 2006): 159–60.

Salgado, Gabriela. “On Hours and Maps: Two Exhibitions of Latin American Art in England and Ireland.” ArtNexus 5, no. 60 (March 2006): 98–100.

Waschek, Matthias, and Camran Mani. Portrait/Homage/Embodiment. St. Louis: Pulitzer Foundation for the Arts, 2006. Exh. broch.

Abrams, Joshua, and Jennifer Parker-Starbuck. “Politics and the Classics.” PAJ: A Journal of Performance and Art 29, no. 1 (January 2007): 88–100.

Adams, Beverly, Juan Ledezma, Mari Carmen Ramirez, Suely Rolnik, Gilbert Vicario, and Sonia Salzstein. Constructing a Poetic Universe: The Diane and Bruce Halle Collection of Latin American Art. Houston: Museum of Fine Arts, 2007. Exh. cat.

Aspden, Peter. “Artist Breaks New Ground at Tate.” Financial Times (London), October 9, 2007.

Bal, Mieke, Achim Borchardt-Hume, Paul Gilroy, Eyal Weizman, and Doris Salcedo. Doris Salcedo: Shibboleth. London: Tate Publishing, 2007. Exh. cat.

Bran, Xosé M. Buxán. “Sexualidade, vida, arte e viceversa.” Grial 45, no. 176 (Winter 2007): 130–37.

de Corral, María, and John R. Lane, eds. Fast Forward: Contemporary Collections for the Dallas Museum of Art. Dallas: Dallas Museum of Art, 2007. Exh. cat.

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Gibbons, Joan. Contemporary Art and Memory: Images of Recollection and Remembrance. London: IB Tauris, 2007.

Grynsztejn, Madeleine. “Voice of the Invisible.” Tate Etc. 11 (Autumn 2007): 46–49.

Guardiola-Rivera, Oscar. “The Image-Space.” Naked Punch 9 (Summer–Fall 2007): 58–65.

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Herbert, Martin. The Unilever Series: Doris Salcedo: Shibboleth. London: Tate Publishing, 2007. Exh. broch.

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Lorza, Juan. “El arte como ausencia.” El Clavo (Calí). December 9, 2007.

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Mengham, Rod. Doris Salcedo. London: Jay Jopling/White Cube, 2007. Exh. cat.

Nicolin, Paola. “Attenzione! Guarda dove metti i piedi.” Abitare 478 (2007): 50–53.

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Wong, Edlie L. “Haunting Absences: Witnessing Loss in Doris Salcedo’s Atrabilarios and Beyond.” In The Image and The Witness: Trauma, Memory, and Visual Culture, edited by Frances Guerin and Roger Hallas, 173–88. London: Wallflower Press, 2007.

Wu, Chin-Tao. “Worlds Apart: Problems of Interpreting Globalised Art.” Third Text 21, no. 6 (November 2007): 719–31.

Birkhofer, Denise. “Trace Memories: Clothing as Metaphor in the Work of Doris Salcedo.” Anamesa 6, no. 1 (Spring 2008): 49–67.

Capdevila, Pol. “Doris Salcedo.” Lapiz 27, no. 239 (January 2008): 84.

Carey-Kent, Paul. “Destroying the Gallery.” Art World 6 (August–September 2008): 48–49.

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Fanta, Andrea. “Narratives of Abandonment: Colombia’s Cultural Production from 1990 to 2007.” PhD diss., University of Michigan, 2008.

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Guglielmino, Giorgio. “Aiuto, mi si è spaccato il museo.” Giornale dell’Arte 26, no. 274 (2008): 36.

Haase, Amine. “Über alle Abgründe hinweg.” Kunstforum International 189 (January–February 2008): 388–90.

Holguín, Beatriz Acevedo. “Shibboleth y otras historias de violencia.” Número 56 (October–December 2008): 76–79.

Jiménez, Carlos Moreno. Exclusiones/Censorship. Madrid: Galería Moisés Pérez de Albaniz, 2008. Exh. cat.

Malagón-Kurka, María Margarita. “Doris Salcedo: Non-Resolution Possibility.” arte al dia 123 (June–July 2008): 24–29.

Malagón-Kurka, María Margarita. “Dos lenguajes contrastantes en el arte colombiano: nueva figuración e indexicalidad, en el contexto de la problemática sociopolítica de las décadas de 1960 y 1980.” Revista de Estudios Sociales 31 (December 2008): 16–33.

Mitchell, Charles Dee. “Faith-Based Initiatives.” Art in America 96, no. 10 (November 2008): 136–41.

Pini, Ivonne. “Doris Salcedo: Schibboleth.” ArtNexus 68 (March–May 2008): 60–63.

Searle, Adam. “Doris Salcedo.” Guardian (London), September 15, 2004, 28.

Sirmans, Franklin, Jen Budney, Arthur C. Danto, Julia P. Herzberg, Greg Tate, Robert Farris Thompson, and Quincy Troupe. NeoHooDoo: Art for a Forgotten Faith. Houston: Menil Collection, 2008. Exh. cat.

Amor, Monica. “Doris Salcedo.” Artforum 47, no. 6 (March 2009): 191.

Amor, Monica. “Doris Salcedo: Alexander and Bonin.” Exhibit 47, no. 6 (February 2009): 191.

Aranda, Beatriz Gonzales. “Cargueros Guardianes De La Memoria.” El Espectador (Bogotá), August 29, 2009.

Escobar, Sol Astrid Giraldo. “Doris Salcedo: Las memorias y las cosas.” Revista Universidad de Antioquia 297 (July–September 2009): 122–27.

Kirking, Clayton. “Doris Salcedo.” ArtNexus 8, no. 73 (June–August 2009): 111.

Lauzon, Claudette. “Precarious Occupations: The Fragile Figure of Home in Contemporary Art.” PhD diss., McGill University, 2009.

McCallum, Pamela. “Thinking through Postcoloniality.” Ariel 40, no. 1 (January 2009): 1–5.

Mullin, Diane. “On Location: Inalienable Rights: ‘Speaking of Home’ in Minneapolis.” Public Art Review 20, no. 2 (Summer 2009): 84–85.

Schwartzman, Allan, Jochen Volz, and Rodrigo Moura. Through: Inhotim. Brumadinho, Brazil: Instituto Inhotim, 2009.

Stone, Anne. “Bearing Partial Witness: Representations of Missing Women.” Review of Education, Pedagogy and Cultural Studies 31, no. 2–3 (2009): 221–36.

Valencia, Luis Fernando. ¿Qué es la experiencia estética?: Hechos artísticos e ideas estéticas en la obra de cuatro artistas Colombianos. Medelliín, Colombia: La Carreta Editores, 2009.

Adan, Elizabeth. “An ‘Imperative to Interrupt’: Radical Aesthetics, Global Contexts and Site-Specificity in the Recent Work of Doris Salcedo.” Third Text 24, no. 5 (September 2010): 583–96.

Adler, Phoebe, Tom Howells, and Nikolaos Kotsopoulos. Contemporary Art in Latin America. London: Black Dog Publishing, 2010.

Bal, Mieke. Of What One Cannot Speak: Doris Salcedo’s Political Art. Chicago: University of Chicago Press, 2010.

Bonilla, Maria. “Catástrofes y Arte.” El Espectador (Bogotá), June 20, 2010.

“Doris Salcedo Gana El Velázquez.” El Espectador (Bogotá), May 5, 2010.

“Doris Salcedo y El Contenido De La Forma.” El Espectador (Bogotá), May 7, 2010.

Drezner, Manuel. “La Labor De Los Museos.” El Espectador (Bogotá), June 9, 2010.

Escobar, Sol Astrid Giraldo. Cuerpo de mujer: Modelo para armar. Medellín, Colombia: La Carreta, Alcaldía de Medellín, 2010.

“Escultora colombiana Doris Salcedo gana Premio Velázquez.” El Universal (Caracas), May 7, 2010.

Harris, Gareth. “Arrivederci nell’utero.” Giornale dell’Arte 28, no. 299 (June 2010): 36.

“La escultura colombiana Doris Salcedo, Premio Velázquez de Artes Plásticas 2010.” El País (Madrid), May 5, 2010.

Lequeux, Emmanuelle, and Bernardo Paz. “Fondation Inhotim: 100 hectares de paradis.” Beaux-Arts Magazine no. 318 (2010): 104–07.

Lubiak, Jarosław, Jacques Derrida, and Monica Bonvicini. Hospitality: Receiving Strangers. Lodz, Poland: Muzeum Sztuki, 2010. Exh. cat.

Malagón-Kurka, María Margarita. Arte como presencia indéxica: La obra de tres artistas Colombianos en tiempos de violencia: Beatriz González, Óscar Muñoz y Doris Salcedo en la década de los noventa. Bogotá: Universidad de Los Andes, Facultad de Artes y Humanidades, 2010.

Miller, Wesley. “Doris Salcedo: Istanbul.” Art21 Blog, July 23, 2010.

Moreno, Laura Garcia. “Troubled Materiality: The Installations of Doris Salcedo.” Mosaic: A Journal for the Interdisciplinary Study of Literature 43, no. 2 (June 2010): 95–111.

Ortega, Luis Genara Munoz. “Aclaración De Doris Salcedo.” El Espectador (Bogotá), May 9, 2010.

Padilla, Nelson Fredy. “El Arte Es El Contrapeso De La Barbarie.” El Espectador (Bogotá), May 8, 2010.

Rugg, Judith. Exploring Site-Specific Art: Issues of Space and Internationalism. London: IB Tauris, 2010.

Rugoff, Ralph. The New Décor. London: Hayward Gallery, 2010. Exh. cat.

Stone, Hannah. “Colombia Artist Doris Salcedo Wins Velazquez Prize.” Colombia Reports (Bogotá), June 14, 2010.

Supelano-Gross, Claudia. “El contrapeso de la barbarie. Benjamin en Colombia.” Constelaciones: Revista de Teoría Crítica 2 (2012): 318–41.

Uribe, Guillermo Gonzales. “Doris Salcedo.” El Espectador (Bogotá), December 11, 2010.

Acevedo, Beatriz. “Memories of Violencia in the Work of the Colombian Artist Doris Salcedo: A Subjective View.” Journal of Arts and Communities 2, no. 2 (July 2011): 153–70.

Araújo, Judit Uzcátegui. El imaginario de la casa en cinco artistas contemporáneas: Remedios Varo, Louise Bourgeois, Marjetica Potrc, Doris Salcedo y Sydia Reyes. Madrid: Eutelequia Editorial, 2011.

Cole, Lori. “At the Site of State Violence: Doris Salcedo’s and Julieta Hanono’s Memorial Aesthetics.” Arizona Journal of Hispanic Cultural Studies 15, no. 1 (2011): 87–94.

Corvalán, Kekena. Artistas Latinoamericanas: Un recorrido de diálogos conceptuales. Havana: Artecubano Ediciones, 2011.

Dahlberg, Isabell. “Doris Salcedo: Plegaria Muda.” Flash Art 44, no. 279 (July–September 2011): 103.

Darbyshire, Ralph. “Activism, Art Practice, and the Vulnerability of Message.” PhD diss., University of Plymouth, 2011.

Ehrmantraut, Paola, and Dianna Niebylski. “Violence and the Latin American Imaginary: Preliminary Reflections.” Arizona Journal of Hispanic Cultural Studies 15, no. 1 (2011): 79–86.

Gaitán, Juan A., Nicolaus Schafhausen, and Monika Szewczyk, eds. Cornerstones. Rotterdam: Witte de With Center for Contemporary Art, 2011.

Goltz, Sophie. “Doris Salcedo: ‘Plegaria muda’.” Springerin 17, no. 4 (Autumn 2011): 68.

Giraldo, Andrés Santacoloma. “Shibboleth de Doris Salcedo: Reflexões sobre a representação do negativo.” Revista Brasileira De Psicanálise 45, no. 1 (2011): 89–94.

Lauzon, Claudette. “Reluctant Nomads: Biennial Culture and Its Discontents.” RACAR: Canadian Art Review 36, no. 2 (2011): 15–30.

Lucero, Jorge R. “Ways of Being: Conceptual Art Modes-of-Operation for Pedagogy as Contemporary Art Practice.” PhD diss., Pennsylvania State University, 2011.

Manninen, Saini. “The Art of Leftovers: Memory, Matter and Decay.” Journal of Media Practice 12, no. 3 (2011): 245–55.

Martínez, Francisco A. Ortega, ed. Trauma, cultura e historia: Reflexiones interdisciplinarias para el nuevo milenio. Bogotá: Universidad Nacional de Colombia, Centro de Estudios Sociales, 2011.

Sáez de Ibarra, María Belén. “Doris Salcedo: Plegaria Muda.” ArtNexus 10, no. 81 (May–June 2011): 66–67.

Salcedo, Doris, Magnus Jensner, Isabel Carlos, Mieke Bal, and Moacir dos Anjos. Doris Salcedo: Plegaria Muda. Munich: Prestel Publishing, 2011. Exh. cat.

Salcedo, Doris. Art: 21: Art in the Twenty-First Century: Compassion. Directed by Susan Sollins and Susan Dowling. 2009. New York: Art21 Inc., 2011. DVD.

Uribe, Guillermo Gonzalez. “Doris Salcedo: Tras la memoria de los vencidos.” Numero 68 (March–May 2011): 22–25.

Wu, Chin-Tao. “Scars and Faultlines: The Art of Doris Salcedo.” New Left Review 69 (June 2011): 61–77.

Albu, Cristina. “Mirror Affect: Interpersonal Spectatorship in Installation Art Since the 1960s.” PhD diss., University of Pittsburgh, 2012.

Allard, Dominique. “From Objects to Animated ‘Things’.” Esse 75 (March–June 2012): 4–11.

Alzate, Óscar Roldán. “Inhotim: The Creation of a Contemporary Myth.” ArtNexus 11, no. 86 (September–November 2012): 50–54.

Esposito, Domenico. “Doris Salcedo, Plegaria Muda.” D’Ars 52, no. 211 (September 2012): 48–50.

Galindo, Dolores. “Doris Salcedo: White Cube Mason’s Yard, London.” arte al día 140 (Fall 2012): 109.

Grønstad, Asbjørn, and Henrik Gustafsson. Ethics and Images of Pain. New York: Routledge, 2012.

Jacobsen, Heidi Zuckerman. The Residue of Memory. Aspen: Aspen Art Museum/Aspen Art Press, 2012. Exh. cat.

Kamps, Toby, Steve Seid, and Jenni Sorkin. Silence. Houston: Menil Collection, 2012. Exh. cat.

Kelly, Michael. A Hunger for Aesthetics. New York: Columbia University Press, 2012.

Luke, Ben. “Quiet Beauty in a Bleak and Bloody Basement.” Evening Standard (London), May 30, 2012, 45.

Masoero, Ada. “Los Angeles della morte.” Giornale dell’Arte 30, no. 318 (March 2012): 42.

Muñoz, Rubén Darío Yepes. La política del arte: Cuatro casos de arte contemporáneo en Colombia. Bogotá: Pontificia Universidad Javeriana, 2012.

Nataf, Natacha. “Doris Salcedo, que vive l’herbe colombienne.”Beaux Arts Magazine 335 (May 2012): 148.

Roca, José, and Sylvia Suárez. Transpolítico: Arte en Colombia, 1992–2012. Madrid: Lunwerg Editores, 2012.

Van Wyck, Steward. “Sê sjibbolet: ‘n intertekstuele lees.” Tydskrif vir Letterkunde 49, no. 1 (Autumn 2012): 82–94.

Adams, Beverly, and Vanessa Davidson, eds. Order, Chaos, and the Space Between: Contemporary Latin American Art from the Diane and Bruce Halle Collection. Phoenix: Phoenix Art Museum, 2013. Exh. cat.

Alzate, Gastón. “Absence and Pain in the Work of Doris Salcedo and Rosemberg Sandoval.” South Central Review 30, no. 3 (Fall 2013): 5–20.

Bianchi, Paolo. “Cantos Cuentos Colombianos.” Kunstforum International 223 (October–December 2013): 367–69.

Grovier, Kelly. 100 Works of Art That Will Define Our Age. New York: Thames and Hudson, 2013.

Herzog, Hans-Michael. Cantos Cuentos Colombianos: Arte contemporánea Colombiana. Rio de Janiero: Cobogo, 2013. Exh. cat.

“La Grieta.” Arcadia (Bogotá), January 22, 2013.

Morley, Simon. The Sublime. London: Whitechapel Gallery, 2013.

Moszynska, Anna. Sculpture Now. New York: Thames and Hudson, 2013.

Supelano-Gross, Claudia. "Una Poética para Unland. La Universalidad del Silencio en Doris Salcedo (1980–2010).” In La Memoria Histórica y sus Configuraciones Temáticas. Una Aproximación Interdisciplinaria, compiled by Juan Andrés Bresciano, 257–76. Montevideo, Ediciones Cruz del Sur, 2013.

Tansini, Laura. “Life Might Prevail: Doris Salcedo’s ‘Plegaria Muda’.” Sculpture 32, no. 5 (June 2013): 44–49.

Wilson, Michael. How to Read Contemporary Art: Experiencing Art of the 21st Century. New York: Abrams, 2013.

Crow, Kelly. “Colombia’s Art Scene Heats Up.” Wall Street Journal (New York), June 26, 2014. “Doris Salcedo: Plegaria muda en Bogotá.” Blouin Art Info, March 6, 2014.

“El Silencio de la violencia.” Semana (Bogotá), March 8, 2014.

Grajales, Daniel. “Doris Salcedo, plegarias nacientes del silencio.” El Mundo (Bogotá), March 12, 2014.

Lubow, Arthur. “Speak, Memory.” W Magazine (December 2014/January 2015): 88–92.

Mateer, John. “War’s Unquiet Eyes.” Art and Australia 51, no. 3 (Autumn 2014): 396–403.

Quintero Restrepo, Mónica. “Doris Salcedo vuelve a decir con silencio.” El Colombiano (Bogotá), March 11, 2014.

Schneider Enriquez, Mary. “Material Witness: Doris Salcedo's Practice as an Address on Political Violence through Materiality.” PhD diss., Harvard University, 2014.

Suhama, Motoko, and Hiromi Kojima, eds. The 9th Hiroshima Art Prize: Doris Salcedo. Hiroshima: Hiroshima City Museum of Contemporary Art, 2014.

Triana, Camilo Chico. “Doris Salcedo: Flora.” arte al día 145 (February–April 2014): 120–21.

“El año de Doris Salcedo.” Semana (Bogotá), February 7, 2015.

Finkel, Jori. “Honoring Lives Lost to Violence.” New York Times, February 15, 2015, AR24.

H. S. “Doris Salcedo.” Art Newspaper 24, no. 256 (February 2015): 31.

Johnson, Steve. “Politics, Poetry: Colombian Sculptor Doris Salcedo Carves Deep into Soul in MCA Retrospective.” Chicago Tribune, February 19, 2015, 4-1, 3.

Sullivan, Megan. “Doris Salcedo.” Artforum 53, no. 5 (January 2015): 129.

Wilkin, Karen. “An Exhibit for the Forgotten.” Wall Street Journal, April 2, 2015, D5.