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What Does EastCentral European Art History Want? Reflections on the Art History Discourse in the Region since 1989. In Extending the Dialogue. Essays by Igor Zabel Award Laureates, Grant Recipients, and Jury Members, 2008-2014. [editors: Christiane Erharter, Rawley Grau, and Urška Jurman] Archive Books, Berlin, Igor Zabel Association for Culture and Theory, Ljubljana, ERSTE Foundation, Vienna, 2016, 52-77
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Universal Hospitality. In Into the City. Wiener Festwochen 2016. Universal Hospitality [catalog], Wiener Festwochen, 2016, 3-7.
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Zywiolowe naznaczanie w sercu Europy. Ojczyzna Wegrów we wladzy prawicowego rezimu. In (Eds., Tomas Macios, Mariusz Sobczynski), Csaba Nemes: When Politics Enters Daily Life. Gdy polityka wchodzi w codziennosc. MOCAK, Museum of Contemporary Art, Krakow, 2015, 27-39.
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Vigorous Flagging in the Heart of Europe: The Hungarian Homeland under a Right-wing Regime. In (Eds., Tomas Macios, Mariusz Sobczynski), Csaba Nemes: When Politics Enters Daily Life. Gdy polityka wchodzi w codziennosc. MOCAK, Museum of Contemporary Art, Krakow, 2015, 60-72.
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Képzelt közösségek, magánképzetek / Imagined Communities, Personal Imaginations. In Privát Nacionalizmus Budapest / Private Nationalism Budapest. Közelítés Muvészeti Egyesület, Pécs, 2015, 3-6.
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PNP / Private Nationalism Project. In Privát nacionalizmus / Private
Nationalism, Pécs. [catalogue] Approach Art Association, Pécs, 2014, 3.
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Project Súkromný nacionalizmus. / Private Nationalism Project. In Privátny Nacionalizmus PN / SK Košice, Private Nationalism. [catalogue] Košické Kultúrne centrá Kunsthalle – Hala hmenia Košice Kassákovo centrum intermediálnej kreativity / The Approach Art Association, Pécs, 2014, 1‒3.
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The (ex)Eastern Bloc's Position in the New Critical Theories and in the Recent Curatorial Practice. In Exhibiting the “Former East”: Identity Politics and Curatorial Practices after 1989. A Critical Reader. Edited by Cătălin Gheorghe, Cristian Nae. Vector > Critical Research in Context, Universitatea de Arte “George Enescu” Iaşi, 2013, 43‒52.
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Whose Nostalgia is Ostalgia? An Eastern Europe and Former Soviet Republics Survey Exhibition in the New Musem, New York. In Curating ‘Eastern Europe’ and Beyond: Art Histories through the Exhibition. Edited by Maria Orišková. Veda, SAS Publishing House, Slovak Academy of Sciences, Bratislava & Peter Lang International Academic Publishers, Frankfurt am Main, 2013, 165‒171.
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One must keep open the wound. Institutional critique from the sideline, from a woman’s perspective. In Edit András (ed.) Dilemma. Three Central-European Vesrions of Ilona Németh’s exhibition/Németh Ilona kiállításának három közép-európai változata/Tri stredoeurópske varianty vystavy Ilony Németh. Kalligram, Bratislava, 2013, 181-191.
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Ranu treba ponechat’ otvorenú. Inštitucionálna kritika z periférneho pohl’adu, zo ženskej perspektívy. In Edit András (ed.) Dilemma. Three Central-European Vesrions of Ilona Németh’s exhibition/Németh Ilona kiállításának három közép-európai változata/Tri stredoeurópske varianty vystavy Ilony Németh. Kalligram, Bratislava, 2013, 340-348.
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The time of tapestry. In Ibolya Hegyi, Katalin Schulcz (eds.): Európa szövete. A szövött kárpit művészetének átváltozásai/Web of Europe. Metamorphoses of the Art of Woven Tapestry. Dobrányi Ildikó Alapítvány, Budapest, 2013, 54-56.
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Little Warsaw: The battle of inner truth, in Katalin Spengler (ed.by), Contemporary Art in Hungary: The best works of the 21st century so far, Budapest, 2012, 018-025.
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Traume ich frei oder auf Befehl? Imaginierte Mannlichkeit im sozialistischen Ungarn / Do I dream freely or on command? Imagined Masculinity in Socialist Hungary, in Stella Rolling and Barnabás Bencsik (eds. by), Der Nackte Mann / The Naked Man, Nürnberg: Verlag für Moderne Kunst, 2012, 91-100.
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Textiles that aspire to more than decorating houses: Introductory text, in Thomas Cronenberg (ed. by), American Tapestry Biennial 9, [Catalog] 2012, San Jose, California: American Tapestry Alliance
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Nationalism claiming the public space. In: Giuliana Carbi (ed.by.), Continental breakfast. Place of Encounter. Fifth CEI Venice Froum for Contemporary Art Curators. Trieste Contemporanea, 2011, pp. 12-21.
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Monumentele publice în Construirea (şi presentului) istoric. In: Izabella Györgyjakab, Krisztián Kukla (ed.by), Centru şi Periferie: Perspective în Zonele Transfrontaliere Regionalism Cultural Cultură Vizuală, Debrecen: Cepevit, Modem, 2011, pp. 123-149.
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The Dreams Live On. Remakes by Contemporary Artists. In: Hegyi Ibolya - Schulcz Katalin (ed.by), Európa szövete/Web of Europe, Budapest: Dobrányi Ildikó Alapítvány - Iparmuvészeti Múzeum, 2011, p. 31.
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A Painful Farewell to Modernism: Difficulties in the Period of Transition (1997) In.: Gender Check: Reader. Art and Theory in Eastern Europe. (Edited by Bojana Pejic & Erste Foundation & Museum Moderner Kunst Stiftung Ludwig Wien) Verlag der Buchhandlung Walther König, Köln, pp. 115-125.
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Gender Minefield: The Heritage of the Past (1999) In.: Gender Check: Reader. Art and Theory in Eastern Europe. (Edited by Bojana Pejic & Erste Foundation & Museum Moderner Kunst Stiftung Ludwig Wien) Verlag der Buchhandlung Walther König, Köln, 2010, pp. 179-183. [second publication]
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Autobiography and Photography. In.: Gőbölyös Luca. Supergroup Kft. Budapest, 2010, pp. 8-12.
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[Interview with Edit András]. In. Contemporary Art. Edited by Katalin Spengler. Absolut medi Kft, Budapest, 2010, pp. 006-009.
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The Future is behind Us. Flashbacks to the Socialist Past. In Transitland. Video Art from Central and Eastern Europe 1989-2009. Budapest: Ludwig Museum of Contemporary Art, 2009, 209-224.
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Do I Dream Freely or on Command? Imagined Masculinity in Socialist Hungary. In Gender Check. Femininity and masculinity in the Art of Eastern Europe. Ed. Bojana Pejic. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2009, 100-104.
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Interviews with the Researchers. Hungary: Edit András. In Gender Check. Femininity and Masculinity in the Art of Eastern Europe. Edited by Bojana Pejic, Museum Moderner Kunst Stiftunk Ludwig Wien, Verlag de Buchhandlung Walther König, Cologne, 2009, 351-352.
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Czynik, który wciąż działa. Trauma przeszłości socjalistycznej w pamięci zbirowej. In. Magdalena Ziółkowska & Andrzej Leśniak (eds.) Tytul roboczy / Working title: Archive / Archiwum No. 1. Museum Sztuki, Lódz, 2008, 12-16.
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An Agent that is still at Work. The Trauma of Collective memory of the Socialist Past. In.: Writing Central European Art History. Pattern_Travelling Lecture Set 2008/2009. Erste Stiftung Reader # 01. Vienna: Erste Stiftung, 2008, 5-21.
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Transgressing Boundaries (Even those Marked out by the Predecessors) in the New Genre Conceptual Art. In.: Art After Conceptual Art. Ed. by Alexander Alberro and Sabeth Buchmann. Cambridge, Massachusetts, London, England : The MIT Press and Vienna: Generali Foundation, 2006, 163-178
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Blind Spot of the New Critical Theory. Notes on the Theory of Self Colonization. In. La Biennale di Venezia 51. Esposizione Internationale d’Arte. Romanian Pavilion. (Ed. by Marius Babias) 2005, 98-112
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Metamorphoses. Tapestry now. In. Tapestry 2. Metamorphoses. The Art of Woven Tapestry Past and Present. Budapest: Museum of Fine Arts and the Association of Hungarian Tapestry Artists, 2005, 57-59
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Contemporary Hungarian Tapestry Art in an International Context. In. Tapestry Art in Hungary. Budapest: Vince Publishing House and Association of Hungarian Tapestry Artists, 2005, 165-191
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Contemporary Hungarian Tapestry Art in an International Context. In.: By Hand in the Electronic Age. Contemporary Tapestry. [exh.cat.] Washington DC: The Textile Museum, 2004, 24-37
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Blind Spots of the New Critical Theory. Notes on the Theory of Self-colonization. In: The Art and Media of Accession. Transeuropean Picnic. Novi Sad [Serbia] 2004, 38-47
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Who is Afraid of a New Paradigm? The Old Practice of Art Criticism of the East versus the New Critical Theory of the West. In MoneyNations. Constructing the Border – Constructing East-West. (Ed. by: Marion von Osten és Peter Spilmann) Wien: Edition Selene, 2003, 96-105
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Who is Afraid of a New Paradigm? The Old Practice of Art Criticism of the East versus the New Critical Theory of the West. In. Cruising Danubio. At the Cutting edge of contemporary Hungarian Art. Alcalá 31, [exh.cat.] Madrid: Sale de exposiciones de la Consejeria de los Antes, 2003
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The Object of Desire Seizes Desire. In. Orshi Drozdik. / Passion after Appropriation. (Ed. by: Leonida Kovac) Museum of Contemporary Art, [exh.cat.] Zagreb, 2003, 35-47
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Painting at the Crossroads. The Genes of Painting. In. George Peck. Layered Time, Layered Paint. (Ed. by Edit András és Jonathan Goodman) Budapest: Municipal Picture Gallery 117. Budapest, 2002
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Tapestry in the Contemporary Art Scene. In.: Tapestry. International Millennial Contemporary Exhibition. Budapest: Museum of Fine Arts, Association of Hungarian Tapestry Artists, 2001
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Representation of the body in contemporary Hungarian art. In. ***Erotics and Sexuality in Hungarian Art. Budapest: League of Non-Profit Art Spaces. 1999, 49-83
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Cultural Cross-dressing. Emese Benczúr. In. Tackling Techne. Exhibition at the Hungarian Pavilion, 48th International Exhibition of Contemporary Art, Venice, 1999. [exh.cat.] 80-111
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The Painful Farewell to Modernism. Difficulties in the Period of Transition. In. After the Wall. Art and Culture in Post-Communist Europe. Vol. I. [exh.cat.] Moderna Museet, Stockholm, 1999, 125-130
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Water Ordeal on Contemporary (Women) Art and (Women) Artists. In. Water Ordeal. [exh.cat.] (Ed. by: Edit András and Gábor Andrási) Budapest: Óbudai Társaskör, 1996, 25-43
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Excerpts from the Interview Given by Vladimir Yankilevsky to Edit András. In. Vladimir Yankilevsky. Retrospective. [exh.cat.] Moszkva: Tretyakov Gallery, 1995-96, LVII - LXVI
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Death Knocking at Life's Door. The Names Project AIDS Memorial Quilt. In. Everyday Values of American Culture. Budapest, 1994
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