Mike Bouchetselected works from 1993-2006

Hijacked by Mike Bouchet

The American-born, Frankfurt-based artist Mike Bouchet is a provocateur whose keeneye is ever turned on contemporary society, scanning the panorama for the farce of our culturaland societal obsessions and possessions. While his events and actions often result in the pro-duction of objects-whether paintings, sculptures or installations-at the root of his practice he isa director, a stager, even a social sculptor in the Beuysian tradition. As such, Bouchet's work isnever as simple as it might appear on its misleadingly comedic surface. Just as Dante's DivineComedy leads through several circles of hell, peel off a layer-or two or three-and the laughtrack stops, or at least is paused indefinitely.

An early show in his then-home base of Los Angeles in 1993, for example, consisted ofplastic or fiberglass household objects-paper trays, fishing lures, coffee-cup lids-that were castfrom the artist's own body parts: a sink from his buttocks, ice trays from his testicles and, in anearly manifestation of his interest in the cult of celebrity, another set of ice trays taken in partfrom a nose cast of the actor who played Dr. Beverly Crusher on Star Trek: The NextGeneration. While the prankster quality of the exhibition might first be read as a kind of sopho-moric undertaking, its meaning shifted gear when one considered the now defunct gallery'slocation in the Beverly Hills Design District, packed with luxury furnishing shops selling opulenthome accessories, and opposite the infamous Ivy restaurant, de rigeur meeting place of thestars, where nose model Gates McFadden may have lunched at the height of her fame.

Bouchet analyzed an entirely different facet of California life with 1995's 17.5-meter-long, bright pink Commune Futon, which became the centerpiece of an event entitled MyToothbrush Is Your Toothbrush (1995-98). For the three-year happening, the artist extended anopen invitation for anybody to come and live in his studio, provided the guest would sleep onthe giant futon (Bouchet provided free bathrobes, food and marijuana). In its prosociety/antiso-ciety performative aspect, the work referenced Viennese Actionism in the particular personageof Otto Mühl, whose self-proclaimed "transition from art to life" resulted in a commune and hiseventual imprisonment for child abuse. Read through this lens, the event moves beyond a liter-

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al study of the West Coast hippie myth of blissful communal living: the bed's enormous weightmetaphorically suggests the psychological burden of "free love" and the movement's question-able methods, including group awareness seminars such as "est." While the image of 40guests lounging around stoned in matching robes might be humorous, the project concluded inanguish and shattered several friendships. The performance ended publicly at the University ofSan Diego, where Bouchet gave a lecture about the commune in his bathrobe, then changedinto his street clothes and announced the conclusion of the project.

The last work Bouchet produced in his California studio, which ultimately ended with hiseviction, was a process piece entitled Eagle Rock Shit Rock (1997-2000), for which the artistmanufactured his own sheetrock out of cow manure. The entire space became a productionline-with shelves for drying and stacks of the completed sheetrock gathered or laid out-as wellas the legendary artist's studio: he dubbed the space Giverny and produced water lily paintingson the drywall itself using incongruous materials such as toothpaste, transmission fluid andplaster. The paintings were not sold but rather cut down into smaller sizes and arranged withinthe studio. Before leaving the premises, Bouchet had his factory documented by a professionalfashion photographer and reproduced the images large-scale as a kind of unique wallpaper,which he has used to create murals in museums and private homes. The disparity betweenthese glimpses of the disordered studio and the pristine spaces once again underscored boththe myth of the creatively chaotic artist as well as society's general disengagement from anyproduction process, while living comfortably within the fruit of industry.

Having moved to New York, Bouchet again converted his studio into functioning artworkwith Warsaw Travel/Travel Warsaw (2001). Here the artist grafted an operative travel agencyonto his raw studio space, installing Sabre computer terminals for flight bookings, travel postersof his own design, a couch and several travel magazines. Though open to the general public,the office was marketed as catering to an art clientele and could book flights anywhere in theworld with only one restriction: all travel had to use Warsaw as a stopover. At the Polish airporta photographer kept on retainer would take a picture of the client as he changed planes.Besides asking travelers to completely reconsider their approach to time, Bouchet was alsoquestioning geographical power structures, creating a hub out of a country that is otherwisegenerally neglected on an international level.

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He expanded on the idea of the impossible or improbable journey in his next majorwork, Overhead Baggage Treatment (2003), a three-floor installation at Maccarone, Inc., inNew York. The project's main focus was an anti-space publicity campaign that argued the dis-comfort of intergalactic travel and the unfeasibility of extraterrestrial settlement, and therebytangentially questioned society's throwaway treatment of our planet. In addition to paintingsthat mimicked advertising posters, there was a lounge area for video viewing, an office whosewalls were the color of Mars (as sampled from NASA's Voyager photographs), a "space simula-tor" (a chilled, lightproof room) and various other environments designed to disorient, thrill andgenerally provide different physical, visual and mental experiences.

The fulcrum of travel-of living a new experience and of changing one's perspective-thatruns through Bouchet's practice might be traced back to his own experiences as a young boy.Though born in America, the artist spent several years of his youth living in a very simple com-munity in Spain; he has described his return to the United States as a shock that turned himinto a bit of an outsider. Unable to relate to his peers uniformly, Bouchet became aware that hisperception of the world had little in common with the general mind frame of his teenage coun-terparts. His tightly focused, analytical view is that of a foreigner evaluating the very Americanissues of image, manufacturing and distribution of wealth, all of which reappear in his later,more well-known pieces, such as 2004's Carpe Denim, in which he outsourced-à la AlighieroBoetti-the manufacture of his own label of jeans to a textile production firm in Cali, Colombia,only to return them to the production source by throwing most of them out of a plane over thecity where they were made (he distributed the remaining pairs in later actions in New York,Antwerp and Frankfurt). Other examples include 2004's my cola LITE, which involved theartist's production of his own recipe for ink-black cola, bottled with custom-designed labels andput into a shipping container that was to be sent to China for free distribution; Top Cruise(2005), for which a thousand unique hand-painted ceramic busts of Tom Cruise were producedin Mexico; and what is perhaps his signature piece, The New York Dirty Room (2005), animportant commentary on Walter De Maria's 1977 New York Earth Room that Bouchet recon-figured as The Berlin Dirty Room for the 2006 Berlin Biennale.

While De Maria's "interior earth sculpture"-commissioned by the Dia Center and main-tained at a SoHo location-is all purity and order, maniacally raked over daily to avoid growth

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and thus present the vision of an idealized planet, Bouchet's room is anarchy itself. His prede-cessor's piece emits a clean organic smell that might conjure up Nature in all her beauty, butBouchet's work has different olfactory associations because it's really dirty indeed: his 800square feet of dirt spread at a depth of 30 inches is not just 50,000 pounds of pure topsoilbought from Home Depot (the greatest of American DIY chains and thus a product in itself),but also 25,000 pounds of compost produced at Rikers Island, New York City's largest prison.Unpure by association and replete with human refuse from the refuse of humanity, the roommight be literally filthy, but it is also fertile and allowed to be so. Penitentiary is blended withcorporate America-drugs, murder and money-while the smell alone certainly transports you toanother place.

This transferal, in all of Bouchet's work, conveys the viewer from a known place-wherethe exchange is recognized and accepted-to a position where this point of view radicallychanges. While the impetus of the artist's practice and the direction of his gaze might appear tobe concentrated on the U.S., Bouchet's work operates by way of perspectival shifts, drawingthe viewer's awareness outside of the work and confronting him with wider socio-economic andcultural issues. Works which at first seem to simply draw from American pop culture in factengage with wider issues, from outsourcing to the transmission and diffusion of commercialmass media products, to much larger general questions about what may be really lurkingunder our everyday desires and consumption.

At a moment in time when the idea of being taken hostage is not to be trivialized, I amloathe to talk about hijacking in jocular terms, yet I can only describe Mike Bouchet as a playfulkidnapper, abducting his audience to the new standpoint. Bouchet might metaphorically throwa bag over your head and bundle you into the trunk of his car, but the arrival at your strangedestination is never frightening-his mischievousness manages to walk the line between gravityand absurdity.

Amanda Coulson

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Mike Bouchet: Celebrity Artist

"The film actor's feeling of estrangement in the face of the apparatus… is basically of the same kindas the estrangement felt before one's appearance in a mirror.But now the mirror image has become detach-able from the person mirrored, and is transportable.And where is it transported? To a site in front of the pub-lic… This market, where he offers not only his labor but his entire self, his heart and soul, is beyond hisreach.During the shooting, he has as little contact with it as would an article being made in a factory.Doesthis not contribute to that oppression, that new anxiety, which, according to Pirandello, grips the actor beforethe camera? Films responds to the shriveling of the aura by artificially building up the "personality" outsidethe studio.The cult of the movie star, fostered by the money of the movie industry, preserves that magic ofthe personality which has long been no more than the putrid magic of its own commodity character."

["Das Befremden des Darstellers vor der Apparatur.. ist von Haus aus von der gleichen wie dasBefremden des Menschen vor seiner Erschienung im Spiegel. Nun aber ist das Spiegelbild von ihm ablös-bar, es ist transportabel geworden. Und wohin es transportiert? Vor das Publikum… Dieser Markt, auf dener sich nicht nur mit seiner Arbeitskraft, sondern mit Haut und Harren, mit Herz und Nieren begibt, ist ihm imAugenblick seiner für ihm bestimmen Leistung ebensowenig greifbar, wie irgendeinem Artikel, der in einerFabrik gemacht wird. Sollte dieser Umstand nicht seinen Anteil an der Beklemmung, der neuen Angsthaben, die, nach Pirandello, den Darsteller vor der Apparatur befällt? Der Film antwortet auf dasEinschrumpfen der Aura mit einem künstlichen Aufbau der "personality" außerhalb des Ateliers. Der vomFilmkapitel geförderte Starkultus konserviert jenen Zauber, der schon langst nur noch im fauligen Zauberihres Warencharaketsr besteht."]

Walter Benjamin

Mike Bouchet has been making his jacuzzis for several years, developing both a product identityand a signature style in the process.The jacuzzis are formed out of sheets of cardboard, which Bouchetcuts and assembles to make complex jagged shapes, reminiscent of expressionist film sets or crystal forma-tions.He then fibreglasses the interior, leaving the exterior untouched.The interplay between the smooth,colorful, fiberglass interior, and the rough cardboard exterior, decked with logos and pieces of packing tape,is characteristic of Bouchet's work as a whole.There is certain pragmaticism to his work process, a way oftreating objects as means to an end, combining both polished and rough elements with varying degrees ofcare and disdain.

It is with a similar looseness of touch that Bouchet pairs each tub with a celebrity name, and addsdistinctive details to each: floating salami in the water of his Kofi Annan jacuzzi, placing a vase of flowers inthe center of his Lagerfeld tub, or simply painting the interior white for the Jude Law piece.Bouchetdescribes these decisions as being "purely formal," in other words asking that they not be read for content ina direct manner.He uses celebrity names like a material, never delving into the specific history of the personthey reference, but instead tacking them onto the work like a coat of color. If one surrenders to the pieceinstead of looking for easy connections between form and content, and, in keeping with the artist's instruc-tions, simply imagines oneself reclining in the jacuzzi, connections inevitably emerge between the form ofthe tub and the celebrity it is dedicated to.These have the fragile consistency of subjective impressions.Theyare not the direct associations of a symbol or an analogy, but rather elliptical connections which resonate inthe interplay between the viewer's perception of the tub, and his projection of himself within it. In looking athis recent series of jacuzzis, things like the narrowing length of the Jack Welch tub, the confining depth, andjagged outcroppings of the Carmen Electra piece, and the association of the vanilla-colored carpet, plywoodtabletop, and yellow fiberglass in the Tatjana Gsell jacuzzi were strangely evocative of their respectivecelebrities.There was something about the position one would have to adopt to fit in the Mugabe tub, andthe color and confining shape of the Lagerfeld tub that I can only describe as appropriate.These subtle tac-tile or visual connections are difficult to translate into words, and may vary with each viewer or even witheach viewing.

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In this and other works, Bouchet mimics marketing strategies at a parodic remove, creating a line ofexclusive, handmade objects that, in keeping with the logic of luxury goods, are both tied together in a seriesand differentiated by their singular touches.The jacuzzi pieces relate to his other "entrepreneurial" ventures,pieces like my cola LITE, for which he made his own brand of sugar-free cola, or Carpe Denim, whichinvolved the production of several thousand jeans, designed by the artist, in a clothing factory in Colombia.What Bouchet has made in each case is a distinctive product, one that references existing manufacturedgoods and yet demarcates itself from them by way of certain characteristic traits, such as the sugar-free nat-ural formula of his Cola, the long side pocket of his jeans, or the indelible stink of the salami-water colognehe made in conjunction with the Kofi Annan jacuzzi.These products are obviously not designed to succeedin a real-market situation, and their design aesthetic often evokes the ersatz articles and failed product-ven-tures that crowd the aisles of discount stores.

The modalities of manufacture and distribution shift with each piece.For example, the Carpe Denimjeans were dropped by airplane onto the small town in Colombia where they had been manufactured, turn-ing the logic of outsourcing on its head.With the jacuzzis, what Bouchet is doing is creating a line of signa-ture artworks, a specific object that he can keep on producing indefinitely, like Carl Andre's floor pieces orSol le Witt's wall drawings.Yet what sets Bouchet's jacuzzis apart from other such "art products" is their par-ticular brand of humor: not only that of the objects themselves, but also of how he uses them to engage withthe institutions and exhibition spaces in which they are shown.A recent example of this was the literal stinkraised by his Kofi Annan jacuzzi at the PSI's "2005 Greater New York" exhibition, one that ended up clingingto the institution itself.Bouchet's pieces also slyly poke fun at the way in which artists have adapted to thedemands of the art market, as can be seen in the seamless way in which much contemporary work fits intothe trade-show format of art fairs. If anything, Bouchet might be that rare artist who would rather place hiswork in a trade show than an art fair, standing out equally in both contexts with the deliberate awkwardnessof an uninvited guest.

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The power of any comedic work lies in its ability to rattle its audience and interrupt the inexorablepull of habits and expectations. In its more profound instantiations, Bouchet's work being one of them, come-dy is neither entertainment nor a frivolous respite from reality. It is instead a disruptive burst that echoes out-wards, reflecting less its own absurdity than that of its surroundings.Yet humor can also expose somethingelse altogether, something like the repressed vitality that inhabits even the most oppressive of realities, if onlyin the ephemeral spark of a burst of laughter. It is towards such ends that Bouchet appropriates and altersthe rules of his different trades, projecting them through the warped lens of comedy to expose both thetruths belied by their "putrid magic" and the possibility of other, more fulfilling transactions between artist, art-work, and viewer.

Julien Bismuth

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IMAGES

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Untitled exhibition, 1993AB Gallery, Beverly Hills, California

Untitled exhibition, 1993Installation view

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Cube, 1995365 x 420 x 400 cmCardboard, aluminium foil, wood, motor

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Commune Futon (Couch), 199580 x 200 x 1700 cm

Wood, fabric, foam, metal hardware

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My Toothbrush is your Toothbrush, action at artists studio, Los Angeles, California, 1995

Commune Futon (Bed), 199530 x 200 x1700 cmWood, fabric, foam, metal hardware

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Eagle Rock ShitRock, 1998Paper, steer manure, acrylic adhesive

Detail

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Eagle Rock ShitRock, 1999Installation view, artists studio,Los Angeles, California

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Eagle Rock ShitRock, 1999Residency studio, Los Angeles, California

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Eagle Rock Shitrock Sheet, 2000Wallpaper (ink jet print on canvas) Dimensions variableInstallation viewAnton Kern Gallery, New York City

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Travel Warsaw, 2001Installation view, artists studio, New York City

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Overhead Baggage Treatment, 2003Installation view, Maccarone, Inc., New York City

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Overhead Baggage Treatment, 2003Detail

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Overhead Baggage Treatment(Master and Commander), 2003Desk, motorized rotating chair, video projectorInstallation view, Maccarone, Inc., New York City

Overhead Baggage Treatment(The Other Europa Coffee Table), 2003Inkjet print, table, coffee machine, cups, trashbag

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Overhead Baggage Treatment (Space Simulator), 2003Padlock, air conditioners, fabricInstallation view, Maccarone, Inc., New York City

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Overhead Baggage Treatment, 2003Detail

Overhead Baggage Treatment (Space Bag), 2003

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Carpe Denim, Colombia, 2004Jeans action, Cali, Colombia

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Carpe Denim, Colombia, 2004Production facility, Cali, Colombia

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World Determination, 2004Installation view, New Langton Arts Center, San Francisco

Mortar Ammunition Crate, 2004Wooden crate, 6 Carpe Denim jeans, 2 Redbull cans

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Carpe DenimFall Winter Spring Summer, 2004

Carpe DenimSierra Leone Boxes, 2004

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Carpe Denim, jeans action, Frankfurt, Germany, 2004

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Cola Container, 2004Painted Sea Container, Extra City Center for Contemporary Art, Antwerp, Belgium

My Cola Lite, 2004, detail

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My Cola Lite, 20042000 liters diet cola

Extra City Center for Contemporary Art, Antwerp, Belgium

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Cola Painting Stack, 2005Installation view, Top, Back and Bottom ofMind Awareness, Maccarone, Inc., New York City

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My Arabic Cola Lite, 2005Diet cola on cotton

180 x 200 cm

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Americas Next Top Cruise, 2005Glass aquarium, diet cola, ceramic bust, air pump160 x 80 x 30cm

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Kofi Annan Jacuzzi, 2003Cardboard, fiberglass polyester resin, water, salami

Greater New York 2005, P. S. 1, New York City

Kofi Annan Sweet Coppacola Water, 2005Glass, atomizer, jacuzzi water, paper

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New York Dirty Room, 2005Detail

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Peter Jennings Hollywood Film Series, 2005Detail

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Top Cruise, 2005Astrup Fearnley Museum of Modern Art, Oslo, Norway,

Detail

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Almost Every City In The World (Screeenplay), 2005Detail

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Berlin Dirty Room, 2006Berlin-Tegel Penal Colony compost

Dimensions variableInstallation view, Of Mice and Men, BB04, Berlin, Germany

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New Jacuzzis, Installation view, Kunstraum Innsbruck, Austria, 2005

Robert Mugabe Jacuzzi, 2005Detail

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Carmen Elektra Jacuzzi, 2005Cardboard, fiberglass polyester resin, water, carrot

Karl Lagerfeld Jacuzzi, 2005Cardboard, fiberglass polyester resin,

Electric water jets, water, flower vase, flowers

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Jack Welch Jacuzzi, 2005

Jude Law Jacuzzi, 2005Detail

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Bad Bad Boys, 2006Oil on canvas200 x 140 cm

Cold Kids, 2006Oil on canvas, 200 x 140 cm

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Extended Bad Hours, 2006Oil on canvas200 x 140 cm

Team Coach, 2006Oil on canvas200 x 140 cm

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Untitled Exhibition, 1993This exhibition consisted of various plastic products that were created using Bouchet’s own body as a template.Sinks were cast from his buttocks, disposable plastic plates were cast from his stomach, ice cube trays were castfrom his testicles, and to-go coffee cup lids, disposable champagne glasses, and fishing lures were made from otherbody parts.

Cube, 1995A motor driven sculpture that rotates at approximately 10 RPM. It is constructed out of wood and cardboard, andcovered in aluminum foil. It is designed to fit tightly in a room, leaving a narrow space between the walls of the

room and the sculpture itself. The sculpture was filmed in motion for a video titled “Dooky Booty “

Your Toothbrush is our Toothbrush, 1995-1999 For this body of work, the artist invited various friends and acquaintances to come and live in his studio for threedays: January 19 -21, 1996. However, during the event, the participants were then invited to stay as long as theywanted. The artist provided food, marijuana, and bathrobes for approximately 40 people in an attempt to convincethem to move into the studio and live in and around aa 17 meter long, fully-functioning futon sofa sculpture, titled“Commune Futon”. Over the next 3 years, various people from around the world lived on the “Commune Futon”.At a lecture entitled “Art and Community,” given at the University of California at San Diego on November 15,1999 Bouchet publicly ended the commune.

space, a convincing illusion of the original installation is created in another context. Each print is chosen andinstalled according to the specific character of the designated location.

WarsawTravel/TravelWarsaw, 2001 In 2001 the artist converted his art studio into a functional travel agency. The object of this agency was to bookinternational flights, routing any and all itineraries through Warsaw, Poland. This agency was open to the generalpublic. With a SABRE reservation system connection in place, Bouchet was able to make reservations and generatetickets for air travel to any international destination via Warsaw. Travelers who purchased their tickets throughWarsawTravel/TravelWarsaw would have their photograph taken upon arrival in Warsaw. The piece was designedto cater to the needs of an art clientele, as well as to those of other clients looking for flight tickets and/or photoportraits.

The Warsaw Travel Agency was marked off from the rest of the studio by a 48” high oak capped wall, often usedin offices to define work areas. The travel agency had a SABRE computer terminal for directly booking flights, acustom couch, several travel magazine subscriptions and various travel posters that Bouchet had designed. Bybuilding the travel office in his art studio, a contrast was created, as if the office had been ‘collaged’ onto a rawindustrial work space.

JacuzzisJacuzzis are first built cardboard and then spray-coated with fiberglass. The shapes and sizes of the Jacuzzis arederived from crude sketches of shapes designed to hold a human form, though often in eccentric or uncomfortablepositions. They function as small scale architectural forms, in which the person can imagine onesself literally float-ing. Though these Jacuzzis are sculptural, they can hold water and be outfitted to function like a commercial jet-water Jacuzzi. The first Jacuzzis were made in 1998, and Bouchet continues to design and produce them for vari-ous celebrities around the world.

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My Cola Lite, 2004For this exhibition in Antwerp, Belgium, the artist executed the following proposal:“I want to produce my own diet cola. I will make my own diet cola formula, and then I would like to produce andbottle enough cola to fill a sea shipping container. I would like to bottle the cola in large bottles. They will beprinted with labeling that I will design. The sea container will also be painted like the cola logo. I will leave thesea container in the exhibition space for half the time of the show, and then ship the sea container to a destinationin China. Once My Cola Light reaches China, it will be available for people there to drink for free.”

The final artwork resulted in a sculpture composed of 2000 one liter bottles of diet cola and a 5 meter long paintedshipping container. the artist produced the cola with no sweetener or sugar, hence the “Lite” or diet moniker. Theartist wanted the cola to be black, like oil, and had the cola produced with the maximum amount of caramel color-ing possible.

Bouchet also continues to use the resulting “Black American Water” as a pigment for paintings. The paintings,more properly referred to as stainings, are created by staining white cotton with this cola.

New York Dirty Room, 2005A recreation of Walter De Maria’s “Earth Room”, it is identical in depth to the original, but the soil is composed ofcompost from Rykers Island penal colony, the world’s largest prison. In addition to using different soil, the room isleft undisturbed and vegetation and fungi are allowed to grow in the soil, as opposed to the Earth Room, which isturned every few days to stop any growth.

Top Cruise, 2005Consisting of 1,000 unique hand painted ceramic busts of Tom Cruise, cast from an original bust of the actor madeby the artist. Historically, busts of political leaders were distributed all over the empire to inform the population of

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"Off Key", Kunsthalle Bern"La Vista Hermosa" Liste, Basel"Do You Like Stuff?", Swiss Institute, New York"Greater New York 2005", PS1, New York"Situational Prosthetics", New Langston Art Center, San Francisco"E-flux Video Rental", KunstWerke Berlin Germany, Frankfurt German

2004 "Dedicated to a Proposition", Extra City, Center for Contemporary Art, Antwerpen"Sculpture now", Galerie Michael Neff, Frankfurt"Kotzrohr and Popular Ceramics" Video program, Wilkinson Gallery, LondonE-flux Video Rental, E-flux New York"High Desert Test Sites", Los Angeles, CA

2003 "Hands up, baby, hands up!" Oldenburger Kunstverein

2002 "Out of True", Santa Barbara University Art Museum, CA

2001 "Casino", SMAK, Gent,BE

2000 "Sebastian Clough and Mike Bouchet", Anton Kern Gallery, New York"Life After The Squirrel", Location One, New York

1997 "SnowBall", Collaboration with Jason Rhoades and Peter Bonde, Venice Biennale

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Articles / Reviews

-"Jeansregen auf der Zeil: Kunstaktion von Mike Bouchet", by: kcd, in: F. A.Z., May 21, 2004, p.52.-"Mike Bouchet", by Holland Cotter, in: New York Times, May 30, 2005-"‚Link Stink' Art", by Howard Stier, in: New York Post, 2005, June 2nd, 2005 -"Mike Bouchet", by Martha Schwendener, in: Artforum, July 15, 2005-"Painting the Town", in: Time Out New York, August 4-10, 2005-"An absolute need to haphazard and brutally casual", by Michael Glover, September 11, 2005-"Mike Bouchet", by Emily Hall, in: Art Forum, October 2005-"Mike Bouchet: Celebrity Artist", by Julien Bismuth, unpublished, 2005-"End Station, Lever Labyrinth, and Mike Bouchet", by Robert Smithson, 2005-"Mike Bouchet", by JE, in: Modern Painters, 2005-"Mike Bouchet", by Benjamin Carlson, in: Time Out Magazine, 2005-"Top, Back and Bottom of Mind Awareness", in: Brooklyn Rail, 2005-"Getting Ourselves Back to the Garden", by Betsy Andrews, in: Gay City, 2005-"Space Boomerang", by Elwyn Palmerton, in: Frieze Magazine, 2006

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