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Fischer-Lichte, Ericka, “Returning the Gaze: Between Cultural Performance and Performance Art,” The Show and the Gaze of Theater: A European Perspective, (Iowa City, University of Iowa Press, 1997).

Marrero, Teresa, “Scripting Sexual Tourism: Fusco and Bustamante’s STUFF, Prostitution and Cuba’s Special Period,” Theater Journal, Vol. 55, Number 2, May 2003, pp. 235-249.

Mendieta, Eduardo. “The Coloniality of Embodiment: Coco Fusco’s postcolonial genealogies and semiotic agonistics,” Unmaking Race, (Re)making Soul: The Transformative Aesthetics of Postcolonial Women Artists, Angela Cotton and Christa Davis Acompora, eds., (Albany, SUNY Press, forthcoming).

Muñoz, José Esteban, “Performing the State of Exception: Coco Fusco’s Operation Atropos and A Room of One’s Own,” (forthcoming in The Drama Review).

Murray, Derek Conrad, “Coco Fusco and Steve McQueen, Obscene Jouissance: Aesthetics and the Visual Poetics of Labour Exploitation,” Parachute no. 122, April.May/June 2006, pp. 33-51.

Prieto-Stambaugh, Antonio, “La puesta en escena del Otro: Teatro, turismo y antropofagia en la obra de Coco Fusco y Nao Bustamante”en Alfonso de Toro, ed., El teatro latinoamericano en la condición postmoderna y postcolonial: 1970-1997. Teoría y Práctica. Editorial K.D. Vervuert Verlag (Frankfurt am Main).

Timeto, Federica, “A Situated Feminist Reading of Turista Fronterizo,” forthcoming in Italian in Cultura della differenza. Femminismo, visualita e studi poscoloniali, ed. Federica Timeto, (Turin: Utet Universita).

Vercoe, Caroline. “Agency and Ambivalence: A Reading of Works by Coco Fusco,” The Bodies that Were Not Ours and Other Writings, (London, Routledge and InIVA, 2001).

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Meyer, Richard, “Richard Meyer on Race and Plutocracy,” Bookforum, December/January 2006.

Jefferson, Margo, “On Writers and Writing; Photo Dynamics,” The New York Times, Feb. 15, 2004.

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of Contemporary African Art, Fall/Winter 2002, pp. 112-113.

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Journal, 53. 1, 2001. pp. 172-173.

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Magazine, Vol. 23, Number 3, February, 2001

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The Boston Book Review, Oct. 1995, 10.

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"Summer Reading." Chicago Artist's News, July/August 1995.

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Identity from Colonial History" LA Weekly, 16 June 1995, p. 41.

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Pincus, Robert, “Racial Profiling: ‘Skin Deep’ Shows How Photography has Reflected and Affected how America Views Itself,” The San Diego Union-Tribune, October 16, 2005, p. F1.

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Aletti, Vince, “Examining Photography’s Link to Stereotypes and Identity,” The Village Voice, January 5, 2004.

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Cotter, Holland, “Cameras as Accomplices, Helping Race Divide America Against Itself,” The New York Times, December 19, 2003.


Neil, Jonathan T.D., “Coco Fusco: Buried Pig with Moros,” Artreview, June, 2008.

Princenthal, Nancy, “Coco Fusco at The Project,” Art in America, June/July, 2008.

Valdez, Sarah, “Coco Fusco at MC,” Art in America, November, 2006.

Balaschack, Chris, “Coco Fusco, MC, Los Angeles, USA,” Frieze 101, October, 2006.

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Tisi, Rodrigo, Hybrids of Contemplation, Interaction and Performance: A Display of Abuse and Power on the Internet, Art Nexus, No. 44, Vol. 2, 2002.

Salgado, Gabriela, “Latino Performance Delivered to your Room: Whose watching Whom?,” Mute Beta:Culture and Politics After the Net, December 9, 2001.

Kay, Olivia Lory, “ Stuff: A Performance by Coco Fusco and Nao Bustamante,” The Physics Room, August, 1998.

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Lieberman, Rhonda, “Gender Bender,” Diary, January 30, 2007.

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Ferreira, Adriana, “Performer quer ‘limpiar’ consulado dos EUA,” Folha de S. Paolo (Brazil), September 9, 2005.

Selman, Teka, “Born Identity,” One World Magazine, June/July, 2003.

Nuño, Ana, “How Not to Sing an Anthem: Coco Fusco’s Els Segadors,” Unpacking Europe:Towards a Critical Reading, ed. Salah Hassan and Iftikhar Dadi (Rotterdam: Museum Boijmans Van Beuningen and NAI Publishers, 2001).

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Nuño, Ana, “Coco Fusco derrumba fronteras. Parecer o pertenecer, he allí el dilema.” Papel Literario (Spain), October 31, 1999.

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