| “Mental Geography and Imaginary Time Travel in East-Central Europe.” In Ilona Németh Eastern Sugar, edited by Maja and Reuben Fowkes, 238–51. Berlin: Stenberg Press, Bratislava: Slovenska národná galéria, 2021. | ||
| “’Yes’ for General amd Social Issues,‘No’ for Anything Private: Matrix P (the Public, the Private, the Personal, and the Political) in Zofia Kulik’s Art. / “’Áno’ všeobecným a sociálnym problémom, ‘nie’ čomukolvek súkromnému. Matrica P (the Public, the Private, the Personal, and the Political– verejné, súkromné, osobné a politické) v diele Zofie Kulik.” In Subjective Histories: Self-Historicisation as Artyistic Practice in Central-East Europe. / Subjektívne histórie: Seba-historizácia ako emelecká prax v stredovýchodnej Európe, edited by Daniel Grúň, 133–64, 147–71. Bratislava: VEDA Publishing House of the Slovak Academy of Sciences, 2020. | ||
| “’ Yes’ for General and Social Issues, ‘No’ for Anything Private: Matrix P (the Public, the Private, the Personal, and the Political) in Zofia Kulik’s Art.” In Zofia Kulik: Methodology, My Love, edited by Agata Jakubowska, 77–98. Warsaw: Museum of Modern Art, 2019. | ||
| “The Ex-Eastern Bloc’s Position in New Critical Theories and Recent Curatorial Practice.” In Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, edited by Ana Janevski and Roxana Marcoci with Ksenia Nouril, 86–91. New York: MoMA, 2018. | ||
| “Out of Private Public Opinion into Shared Personal Opinion: The Public, the Private and the Political.” In Art in Hungary 1956–1980: Doublespeak and Beyond, edited by Edit Sasvári, Sándor Hornyik, Hedvig Turai, 229–50. London: Thames and Hudson, 2018. | ||
| “Tisztelgés a féligazság előtt / Homage to the Half-Truth / Hommage an die Halbwahrheit.” In A műhegyektől a politikai vallásig: Magyar trilógia / From Fake Mountains to Faith: Hungarian Trilogy / Vom falschen Gebirge zum Glauben: Ungarische Trilogie. KissPál Szabolcs, edited by Zoltán Kékesi, Szabolcs KissPál, Edit Molnár, Marcel Schwierin, 192–205. 250. Oldenburg: Edith-Russ/Haus für Medienkunst, 2017. | ||
| „Homage to the Half-Truth: Renationalization and Artistic Imagination in Hungary. A Case Study.” In Former West: Art and the Contemporary after 1989, edited by Maria Hlavajova, Simon Sheikh, 191–202. Utrecht: BAK, basis voor actuele kunst and Massachusetts Institute of Technology Cambridge: MIT Press, 2016. | ||
| “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, edited by Christiane Erharter, Rawley Grau, and Urška Jurman, 52–77. Archive Books, Berlin, Igor Zabel Association for Culture and Theory, Ljubljana, ERSTE Foundation, Vienna, 2016. | ||
| “Universal Hospitality.” In Into the City. Wiener Festwochen 2016. Universal Hospitality [catalog], 3–7.Vienna: Wiener Festwochen. 2016. | ||
| “Zywiolowe naznaczanie w sercu Europy. Ojczyzna Wegrów we wladzy prawicowego rezimu. / Vigorous Flagging in the Heart of Europe: The Hungarian.” In Csaba Nemes: Gdy polityka wchodzi w codziennosc. When Politics Enters Daily Life, edited by Tomas Macios, Mariusz Sobczynski. 27–39; 60–72. [catalogue] MOCAK, Museum of Contemporary Art, Krakow, 2015. | ||
| “Képzelt közösségek, magánképzetek / Imagined Communities, Personal Imaginations.” In Privát Nacionalizmus Budapest / Private Nationalism, Budapest, 3-6. Pécs: Közelítés Művészeti Egyesület, 2015. | ||
| “PNP / Private Nationalism Project.” In Privát Nacionalism / Private Nationalism, 3. [catalog] Pécs: Approach Art Association, 2014, | ||
| Project Súkromný nacionalizmus. / Private Nationalism Project. In Privátny Nacionalizmus PN / SK Košice, Private Nationalism. 1-3. [catalog] Košické Kultúrne centrá Kunsthalle – Hala hmenia Košice Kassákovo centrum intermediálnej kreativity / The Approach Art Association, Pécs, 2014. | ||
| “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, 43‒52. Vector > Critical Research in Context, Universitatea de Arte “George Enescu” Iaşi, 2013. | ||
| “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,165‒71. Veda, SAS Publishing House, Slovak Academy of Sciences, Bratislava & Peter Lang International Academic Publishers, Frankfurt am Main, 2013. | ||
| “One must keep open the wound. Institutional critique from the sideline, from a woman’s perspective. / Ranu treba ponechat’ otvorenú. Inštitucionálna kritika z periférneho pohl’adu, zo ženskej perspektívy.” In Dilemma. Three Central-European Vesrions of Ilona Németh’s exhibition / Németh Ilona kiállításának három közép-európai változata / Tri stredoeurópske varianty vystavy Ilony Németh, edited byEdit András, 181–91; 340–48. Bratislava: Kalligram, 2013. | ||
| “The time of tapestry. In Európa szövete. A szövött kárpit művészetének átváltozásai/Web of Europe. Metamorphoses of the Art of Woven Tapestry, edited by Ibolya Hegyi, Katalin Schulcz, 54–6. Budapest: Dobrányi Ildikó Alapítvány, 2013. | ||
| “Little Warsaw: The battle of inner truth.” In Contemporary Art in Hungary: The best works of the 21st century so far. Ed. Katalin Spengler. Budapest, 2012, 018-025. | ||
| “Traume ich frei oder auf Befehl? Imaginierte Mannlichkeit im sozialistischen Ungarn / Do I dream freely or on command? Imagined Masculinity in Socialist Hungary.” In Der Nackte Mann / The Naked Man, edited by Stella Rolling and Barnabás Bencsik, 91–100. Nürnberg: Verlag für Moderne Kunst, 2012. | ||
| “Textiles that aspire to more than decorating houses: Introductory text.” In American Tapestry Biennial 9, edited by Thomas Cronenberg. [catalog] San Jose, California: American Tapestry Alliance, 2012. | ||
| “Nationalism claiming the public space.” In Continental breakfast. Place of Encounter. Fifth CEI Venice Forum for Contemporary Art Curators, edited by Giuliana Carbi, 12–21. Triest: Trieste Contemporanea, 2011. | ||
| “Monumentele publice în Construirea (şi presentului) istoric.” In Centru şi Periferie: Perspective în Zonele Transfrontaliere Regionalism Cultural Cultură Vizuală, edited by, Izabella Györgyjakab, Krisztián Kukla, 123–149. Debrecen: Cepevit, Modem, 2011. | ||
| “The Dreams Live On: Remakes by Contemporary Artists.” In Európa szövete/Web of Europe, edited by Hegyi Ibolya, Schulcz Katalin, 31. Budapest: Dobrányi Ildikó Alapítvány–Iparművészeti Múzeum, 2011. | ||
| “A Painful Farewell to Modernism: Difficulties in the Period of Transition.” In Gender Check: Reader. Art and Theory in Eastern Europe, edited by Bojana Pejic & Erste Foundation & Museum Moderner Kunst Stiftung Ludwig Wien, 115–25. Verlag der Buchhandlung Walther König, Köln, 2010. | ||
| “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, 179–183. [second publication] Cologne: Verlag der Buchhandlung Walther König, 2010. | ||
| Autobiography and Photography. In Gőbölyös Luca, 8–12. Budapest: Supergroup Kft. 2010. | ||
| [Interview with Edit András]. In. Contemporary Art. Edited by Katalin Spengler. Absolut medi Kft, Budapest, 2010, pp. 006-009. | ||
| “The Future is Behind Us. Flashbacks to the Socialist Past.” In Transitland. Video Art from Central and Eastern Europe 1989–2009, edited by Edit András, 209–224. Budapest: Ludwig Museum of Contemporary Art, 2009. | ||
| “Do I Dream Freely or on Command? Imagined Masculinity in Socialist Hungary.” In Gender Check. Femininity and masculinity in the Art of Eastern Europe, edited by Bojana Pejic, 100–104. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2009. | ||
| “Interviews with the Researchers. Hungary: Edit András.” In Gender Check. Femininity and Masculinity in the Art of Eastern Europe, edited by, Bojana Pejic, 351–352. Vienna –Cologne: Museum Moderner Kunst Stiftunk Ludwig Wien, Verlag de Buchhandlung Walther König, 2009. http://gender-check.erstestiftung.net/hungary-edit-andras/ | ||
| “Czynik, który wciąż działa. Trauma przeszłości socjalistycznej w pamięci zbirowej”. In Tytul roboczy / Working title: Archive / Archiwum No. 1, edited by Magdalena Ziółkowska & Andrzej Leśniak, 12–16. Lódz: Museum Sztuki, 2008. | ||
| “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. 5–21.Vienna: Erste Stiftung, 2008. | ||
| “Transgressing Boundaries (Even those Marked out by the Predecessors) in the New Genre Conceptual Art.” In Art After Conceptual Art, edited by Alexander Alberro and Sabeth Buchmann, 163-178. Cambridge, Massachusetts, London, England: The MIT Press and Vienna: Generali Foundation, 2006. | ||
| “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, edited by Marius Babias, 98-112. 2005. | ||
| Metamorphoses. Tapestry now. In. Tapestry 2. Metamorphoses. The Art of Woven Tapestry Past and Present, 57-59. [catalog] Budapest: Museum of Fine Arts and the Association of Hungarian Tapestry Artists, 2005. | ||
| “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 | ||
| “Contemporary Hungarian Tapestry Art in an International Context.” In By Hand in the Electronic Age: Contemporary Tapestry, 24–37. [catalog] Washington DC: The Textile Museum, 2004. | ||
| “Blind Spots of the New Critical Theory: Notes on the Theory of Self-colonization.” In The Art and Media of Accession: Transeuropean Picnic, edited by Nat Müller, Stephen Kovats, 38-47. Novi Sad Serbia: Futura publikacije, 2004, | ||
| “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, edited by Marion von Osten, Peter Spielmann, 96–105. Wien: Edition Selene, 2003. | ||
| “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, [catalogue] Madrid: Sale de exposiciones de la Consejeria de los Antes, 2003. | ||
| “The Object of Desire Seizes Desire.” In Orshi Drozdik: Passion after Appropriation, edited by Leonida Kovac, 35–47. Zagreb: Museum of Contemporary Art, 2003. | ||
| “Painting at the Crossroads: The Genes of Painting.” In George Peck: Layered Time, Layered Paint, edited by Edit András, Jonathan Goodman. Budapest: Municipal Picture Gallery 117. 2002. | ||
| “Tapestry in the Contemporary Art Scene.” In Tapestry. International Millennial Contemporary Exhibition, edited by Edit András, 45–50. Budapest: Museum of Fine Arts, Association of Hungarian Tapestry Artists, 2001. | ||
| “Representation of the Body in Contemporary Hungarian Art. In ***Erotics and Sexuality in Hungarian Art, edited by Gábor Andrási, 49–82. Budapest: League of Non-Profit Art Spaces, 1999. | ||
| “Cultural Cross-dressing: Emese Benczúr.” In Tackling Techne. Exhibition at the Hungarian Pavilion, 48th International Exhibition of Contemporary Art, edited by János Sturcz, Anna Bálványos, Gábor Andrási, 80–111. [catalog] Budapest: Ludwig Museum, 1999. | ||
| “The Painful Farewell to Modernism: Difficulties in the Period of Transition.” In After the Wall. Art and Culture in Post-Communist Europe, edited by Bojana Pejić, David Elliott, Vol. I., 125–30. [catalog] Stockholm: Moderna Museet, 1999, 125-130. | ||
| “Water Ordeal on Contemporary (Women) Art and (Women) Artists.” In Water Ordeal, edited by Edit András and Gábor Andrási, 25-43. [catalog] Budapest: Óbudai Társaskör, 1996. | ||
| “Excerpts from the Interview Given by Vladimir Yankilevsky to Edit András.” In Vladimir Yankilevsky. Retrospective. [catalog.] Moszkva: Tretyakov Gallery, 1995-96, LVII – LXVI. | ||
| “Death Knocking at Life’s Door: The Names Project AIDS Memorial Quilt.” In Everyday Values of American Culture. Budapest, 1994. |