| 1956 | born in Los Angeles |
| 1979 | California Institute of Arts, Valencia, B.F.A. |
| 1981 | California Institute of Arts, Valencia, M.F.A. |
| 2011 | Christopher Williams. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 15), Museum Schloss Morsbroich, Leverkusen |
| Christopher Williams. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 14), House of Art, Budweis | |
| Christopher Williams. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 13), Museum Dhondt-Dhaenens, Deurle | |
| Christopher Williams. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 12), David Zwirner, New York | |
| 2010 | Andrea Fraser und Christopher Williams, Galerie Christian Nagel, Antwerpen |
| For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 11), | |
| Kunsthalle Baden-Baden, Baden-Baden | |
| For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 10), Bergen Kunsthall, Bergen | |
| 2009 | For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 9), Galerie Gisela Capitain, Cologne For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 8) Capitain Petzel, Berlin Kunstverein Bonn with Mathias Poledna |
| 2008 | Christopher Williams: For Example: Dix Huits Leçons Sur La Société Industrielle (Revision 7),David Zwirner Gallery, New York |
| 2007 | For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 6), Kunsthalle Zürich |
| For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 5), Galleria d'Arte Moderna, Bologna | |
| Christopher Williams, Haubrokshows, Collection Axel Haubrok, Berlin | |
| 2006 | For Example: Dix-Huit Leçons Sur La Société Industrielle |
| (Revision 4), Museu Serralves, Porto, Portugal | |
| For Example: Dix-Huit Leçons Sur La Société Industrielle | |
| (Revision 3), Galerie David Zwirner, New York | |
| 2005 | Christopher Williams. De Rijke/De Rooij, Wiener Secession, Wien |
| For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 2), Galerie Gisela Capitain, Köln | |
| Program. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision I) Kunstverein Braunschweig | |
| For Example: Dix-Huit Leçons Sur La Société Industrielle | |
| Archéologie, Beaux-Arts, Ethnographie, Théatre-Vérité, | |
| Couleur Europeénne, Couleur Soviétique, Couleur Chinoise Variétés | |
| Contemporary Art Gallery, Vancouver, Canada | |
| Christopher Williams Supplement 04 332´17“, DVD (2004), Paula Cooper Gallery, New York | |
| 2004 | 332 Min 17 Sec, Galerie Gisela Capitain, Köln |
| Wako Works of Art, Tokyo | |
| 2003 | Wako Works of Art, Tokyo |
| 2002 | Christopher Williams Théâtre-Vérité, Galerie David Zwirner, New York |
| Galerie Gisela Capitain, Köln | |
| 2001 | For Example: Die Welt ist schön (Revision 24) |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise | |
| Govett-Brewater Art Gallery, New Plymouth, New Zealand | |
| 2000 | For Example: Die Welt ist schön (Revision 23) |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise | |
| For Example: Die Welt ist schön (Revision 22) | |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise | |
| Museum Haus Lange - Haus Esthers, Krefeld | |
| For Example: Die Welt ist schön (Revision 21) | |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise | |
| Galerie Gisela Capitain, Köln | |
| For Example: Die Welt ist schön (Revision 20) | |
| Christopher Williams, Magasin, Centre National d’art contemporain, Grenoble | |
| For Example: Die Welt ist schön (Revision 19) | |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise Galerie Kienzle & Gmeiner, Berlin | |
| For Example: Die Welt ist schön (Revision 18) | |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise Galerie Ester Freund, Wien | |
| Wako Works of Art, Tokyo | |
| Couleur Européenne, Couleur Soviétique, Couleur Chinoise | |
| David Zwirner Gallery, New York | |
| 1999 | For Example: Die Welt ist schön (Revision 16) |
| Archéologie, Beaux-Arts, Ethnographie, Théatre-Vérité, Variétés | |
| Couleur Européene, Couleur Soviétique, Couleur Chinoise | |
| Galerie Marian Goodman, Paris | |
| 1998 | For Example: Die Welt ist schön (Revision 15) |
| Transform the world! Poetry must be made by all | |
| Margo Leavin Gallery, Los Angeles | |
| For Example: Die Welt ist schön (Revision 14) | |
| Transform the world! Poetry must be made by all | |
| Galerie Gisela Capitain, Köln | |
| For Example: Die Welt ist schön (Revision 13) | |
| Luhring Augustine Gallery, New York | |
| 1997 | For Example: Die Welt ist schön (Revision 12) |
| A retrospective from first draft to final draft | |
| Kunstverein Hamburg | |
| For Example: Die Welt ist schön (Revision 11), Galleria Lia Rumma, Neapel | |
| For Example: Die Welt ist schön (Revision 10) | |
| A retrospective from first draft to final draft | |
| Kunsthalle Basel, Basel | |
| For Example: Die Welt ist schön (Revision 9) | |
| A retrospective from first draft to final draft | |
| Museum Boijmans Van Beuningen, Rotterdam | |
| 1996 | For Example: Die Welt ist schön (Revision 8), Galerie Gisela Capitain, Köln |
| For Example: Die Welt ist schön (Revision 7), Margo Leavin Gallery, Los Angeles | |
| For Example: Die Welt ist schön (Revision 6), Painter Editions, Vancouver | |
| 1995 | Oehlen Williams 95 / For Example: Die Welt ist schön (Revision 5), Wexner Center for the Arts, Ohio, Columbus (mit Albert Oehlen) |
| Film Screening by Christopher Williams, The Museum of Modern Art Syros, Greece | |
| 1994 | For Example: Die Welt ist schön (Revision 3), Margo Leavin Gallery, Los Angeles |
| For Example: Die Welt ist schön (Revision 4), Galerie Borgmann Capitain, Köln | |
| 1993 | For Example: Die Welt ist schön (Revision 2), Luhring Augustine Gallery, New York |
| For Example: Die Welt ist schön (First Draft), Kunstverein München | |
| Person's Weekend Museum, Tokyo | |
| Room Tomoyo Kawai, Room 401, Casa de Verde, Tokyo | |
| 1992 | Archäologie, Beaux Arts, Ethnographie, Varietes, Galerie Gisela Capitain, Köln |
| Luhring Augustine (mit Sophie Calle), New York | |
| Two Evenings of Film, Film Festival Köln (mit Albert Oehlen), Köln | |
| Felix Gonzales-Torres and Albert Oehlen, (kuratiert von Christopher Williams), Margo Leavin Gallery, New York | |
| Luhring Augustine (Viewing Room), New York | |
| 1991 | Galerie Max Hetzler, Köln |
| Galerie Crousel-Robelin/BAMA, Paris | |
| Galerie Nelson, Lyon | |
| 1990 | Luhring Augustine Hetzler, Santa Monica |
| 1989 | Christopher Williams, Shedhalle Zürich, Zürich |
| Galerie Crousel-Robelin/BAMA, Paris | |
| Luhring Augustine, New York | |
| 1985 | Selections from ADWEEK: Western Advertising News, |
| Vol XXXIV, No. 20, April 30, 1984, Programmed | |
| with Herbert Gold, Beyond Baroque Literary Arts Center, Venice, CA | |
| 1982 | Source, The Photographic Archive, John F. Kennedy Library, |
| Jancar/Kuhlenschmidt Gallery, Los Angeles | |
| 1981 | M.F.A. Exhibition, California Institute of the Arts, Valencia |
| 1980 | Mezzanine Gallery, California Institue of the Arts, Valencia |
| 1979 | One Film (Approximately 3,5 minutes in length) will be shown, rewound, and shown again, Bijou Theatre, California Institute of the Arts, Valencia |
| 3 Films, California Institute of the Arts, Valencia | |
| 2011 | Moshe Ninio, Haim Steinbach and Christopher Williams, Dvir Gallery, Tel Aviv |
| Under the Big Black Sun: California Art 1974-1981, The Museum of Contemporary Art, Los Angeles | |
| The boy who robbed you a few minutes before arriving at the ball (curated by Regina Fiorito and Kelley Walker), Galerie Gisela Capitain, Cologne | |
| Heterotopien und Wissensräume in der Kunst, Kunsthaus Graz, Graz | |
| After images, Musee Juif De Belgique, Brussels | |
| Buchumschläge von Hannes Jähn (display window arranged by Christopher Williams), Antiquariat Buchholz, Cologne | |
| Shapes, haubrokshows, Berlin | |
| 2010 | Filmschönheit curated by_Albert Oehlen, Galerie Gisela Capitain, Köln |
| Endless Bummer / Surf Elsewhere (curated by Drew Heitzler), Blum & Poe, Los Angeles | |
| Wunschzettel, im Rahmen der Ausstellung: Nur Papier, und doch die ganze Welt, Staatsgalerie Stuttgart, Stuttgart | |
| Swagger, Drag, Fit Together, Wallspace Gallery, New York | |
| Exhibition, Exhibition, curated by Adam Carr, Castello di Rivoli, Turin | |
| Filmschönheit, curated by Albert Oehlen, Galerie Mezzanin, Vienna | |
| Twennty Five, Luhring Augustine, New York | |
| Eight Gwangju Biennale, Gwangju, South Korea | |
| 2009 | Männer und Frauen, Kunstraum Grässlin, St. Georgen Das Gespinst, Museum Abteiberg, Mönchengladbach Modernologies. Contemporary artists researching modernity and modernism (curated by Sabine Breitwieser), Museu d’Art Contemporani de Barcelona, Barcelona Then the work takes place. Zum Paradigma des Konzeptuellen in der zeitgenössischen Fotografie, Camera Austria, Kunsthaus Graz, Graz Connected things collected, Sammlung Haubrok, Berlin China Art Objects Galleries, Los Angeles (with Walead Beshty, Kelly Walker) |
| 2008 | Galerie Catherine Bastide & dépendance, Brussels Kunst im Heim, Capitain Petzel, Berlin Choosing (curated by Robert Barry), Galerie Sfeir-Semler, Hamburg The Gallery, Davis Zwirner, New York Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles Not So Subtle Subtitle, Casey Caplan, New York Re-Designed, Galleria Lia Rumma, Milan Color Chart, The Museum of Modern Art, New York Kavalierstart, 1978 – 1982 Aufbruch in die Kunst der 80er, Museum Morsbroich Leverkusen Photography on Photography: Reflections on the Medium since 1960, Metropolitain Museum of Art, New York 15 Years, Part III, Wako Works of Art, Tokyo |
| 2007 | Been Up So Long it Looks Like Down to Me, Presentation House Gallery, Vancouver |
| Yäg, La Planta, Arte Contemporáneo Omnilife, Guadalajara | |
| Brasil: desFocos [o olho de fora], Centro Cultural Banco Do Brasil Artes, Rio de Janeiro, Brazil; Paço des Artes, Sao Paolo, Brazil | |
| Ten Years, Emily Tsingou Gallery, London | |
| 15 Years, Early and New Works Part XX, Wako Works of Art, Tokyo | |
| Angelegenheiten, die sich daraus ergeben, Künstlerhaus Bremen, Bremen | |
| L.A. Desire, Galerie Dennis Kimmerich, Düsseldorf (curated by Wilhelm Schürmann) | |
| Conditions of Display, The Moore Space, Miami | |
| Cross-border. Fotografie und Videokunst aus dem MUMOK Wien, Kunstmuseum Stuttgart, Stuttgart | |
| What does the jellyfish want? Museum Ludwig Köln | |
| Die Wörter, Die Dinge, Kunstverein für die Rheinlande und Westfalen, Düsseldorf | |
| Les Temps moderne – Collection du Frac Bretagne, Centre d´Art Contemporain, Bignan | |
| Tomorrowland: CalArts in Moving Pictures, Centre Pompidou, Paris | |
| 2006 | Motore Immobile, Greene Naftali Gallery, New York |
| Los Angeles – Paris, The Los Angeles Art Scene, 1955-1985, Centre Georges Pompidou, Paris (kuratiert von Catherine Grenier) | |
| Whitney Biennial 2006: Day for Night, Whitney Museum of American Art, New York | |
| staged/unstaged, Emily Tsingou Gallery, London | |
| Make your own life: Artists in & out of Cologne, Institute of Contemporary Art University of Pennsylvania, Pennsylvania | |
| Why Pictures Now, MUMOK Stiftung Ludwig, Wien. | |
| The Swan is very peaceful..., Richard Telles Fine Art, Los Angeles | |
| Surprise, Surprise, ICA London. | |
| 1,82 – Haubrokshows, Berlin | |
| Make Your Own Life: Artists In & Out of Cologne, Institute of Contemporary Art, University of Pennsylvania, The Power Plant, Toronto, Canada. | |
| Strange Drugs, Galerie Rodolphe Janssen, Brüssel | |
| Into a Journey, Meyer-Riegger Galerie, Karlsruhe | |
| Kunst aus Los Angeles der 60er bis 90er Jahre, Kunstverein Braunschweig, Braunschweig | |
| 2005 | bildwechsel/01, Sammlung F.C. Gundlach, Deichtorhallen Hamburg, Hamburg |
| L`estasi delle cose / The Ecstasy of Things / Im Rausch der Dinge, Spazio Oberdan, Mailand; travelled to: Museo di Fotografia Contemporanea, Cinisello Balsamo | |
| It takes some time to open an oyster, Centro Cultural Andraxt, Mallorca (kuratiert von Yilmaz Dziewior) | |
| I really should..., Lisson Gallery, London (kuratiert von Stefan Kalmár) | |
| Roe Etheridge, Zoe Leonard, Christopher Williams, Mai 36 Galerie, Zürich | |
| 2004 | Before the End, Le Consortium, Dijon |
| Playing with Nature: Flowers Observed, Flowers Transformed, Andy Warhol Museum, Pittsburg | |
| Quodlibet (Teil 1), Galerie Daniel Buchholz, Köln | |
| Documentary Evidence, Galerie Chez Valentin, Paris (kuratiert von Sophie Berrebi) | |
| Artists` Favourites Act I, Institute of Contemporary Arts, London | |
| Das Kreuz der Venus- Feuer, Tod und Schönheit, Maximilianmuseum, Augsburg, (kuratiert vom Doris Kettner) | |
| Garten Eden, Galerie Bärbel Grässlin, Frankfurt | |
| Quodlibet (Teil 2), Galerie Daniel Buchholz, Köln | |
| Biennial Lodz, Lodz, Polen | |
| Last One On is a Soft Jimmy, Paula Cooper Gallery, New York | |
| 100 Artists See God, The Jewish Museum of San Francisco, San Francisco, travelled to: Contemporary Arts Center of Virginia, Virginia Beach; ICA Institute of Contemporary Art, London | |
| Im Rausch der Dinge, Fotomuseum Winterthur, Winterthur | |
| 2003 | Re-Production 2, Georg Kargl, Wien |
| 100 Artists See God, Independent Curators International, New York | |
| Unreal Estate Opportunities, PKM Gallery, Seoul, Korea | |
| Raid the Icebox, Margo Leavin Gallery, Los Angeles | |
| Society for Contemporary Art Acquisition Sellections, Art Institute of Chicago, Chicago II | |
| Adorno. Die Möglichkeit des Unmöglichen, Frankfurter Kunstverein, Frankfurt | |
| fast forward – Media Art. Sammlung Goetz, ZKM, Karlsruhe | |
| 2002 | Prophets of boom, Werke aus der Sammlung Schürmann, Staatliche |
| Kunsthalle Baden-Baden | |
| Transform the World 2002, Wako Works of Art, Tokyo, Japan | |
| Solitudes, Galerie Michel Rein, Paris | |
| Rethinking Photography, Forum Stadtpark, Graz | |
| Portrait Photography, Mai 36 Galerie, Zürich | |
| La Chinoise, Baumgartner Gallery, New York | |
| ReProduktion, Galerie Bernhard Knaus, Mannheim | |
| 2001 | Vom Eindruck zum Ausdruck, Sammlung Grässlin, Deichtorhallen Hamburg |
| "W" Musée des Beaux Arts, Dole, Frankreich (kuratiert von Robert Nickas) | |
| mezzanin, Wien | |
| Detourism, The Renaissance Society, University of Chicago, Chicago | |
| Take Two/Reprise, The Ottawa Art Gallery, Ottowa | |
| In Between: Art and Architecture, MAK Center, West Hollywood | |
| Alterning Current (Teil 2), Sammlung Hauser und Wirth, St. Gallen | |
| Mobile Wall Systems, Museum Boijmans Van Beuningen, Rotterdam | |
| I LOVE NY, David Zwirner, New York | |
| 1999 | The work shown in this space is a response to the existing |
| conditions and/or work previously shown within the space III, | |
| neugerriemschneider, Berlin | |
| Gallery Artists Summer Show, David Zwirner, New York | |
| Summer Group Show, Margo Leavin Gallery, Los Angeles | |
| The Museum as Muse, Museum of Modern Art, New York | |
| Rotterdam Foto – Biennale, Rotterdam | |
| 1998 | Places that are elsewhere, David Zwirner Gallery, New York |
| TransFiction I: Point Blank, Charim Klocker, Wien | |
| Travel & Leisure, Paula Cooper Gallery, New York | |
| At the End of the Century: One Hundred Years of Contemporary Architecture, Museum of Contemporary Art, Tokyo, Japan; Colegio de San Ildefonso, Mexico City; Museum Ludwig, Cologne; Museum of Contemporary Art, Los Angeles | |
| 90069, Margo Leavin Gallery, Los Angeles | |
| 1997 | Someone else with my fingerprints, Galerie David Zwirner, New York; travelled to: Die Photographische Sammlung, SK Stiftung Kultur Köln, Köln; Kunstverein München; Kunsthaus Hamburg (kuratiert von Wilhelm Schürmann) |
| Das Ende der Avantgarde: Kunst als Dienstleistung, Kunsthalle der Hypo-Kulturstiftung, München | |
| Sunshine & Noir, Kunst in L.A. 1960-1997, Kunstmuseum Wolfsburg, Wolfsburg, travelled to: Louisiana Museum, Humblebaek (Kopenhagen); Castello di Rivoli, Turin; UCLA at the Armand Hammer Museum and Cultural Center, Los Angeles | |
| Wechselstrom, Galerie Ulrich Fiedler, Köln | |
| At One Remove, Henry Moore Institute, Leeds | |
| Nature Redux: Photographs by Ten Artists, Harris Art Gallery, University of La Verne | |
| 1996 | Roy Arden, Dan Graham, Edward Ruscha, Christopher Williams, Galerie Blum & Poe, Santa Monica |
| Nobuyoshi Araki, Larry Clark, Thomas Struth, Christopher Williams, Kunsthalle Basel, Basel | |
| Nature Redux: Photographs by Ten Artists, Santa Barbara Country Arts Commission at Channing Peake Gallery, Santa Barbara | |
| 1995 | Dark Memories Hovering Below the Transparent Screen of the Present will |
| Project Images of Reality in Sharp Silhouette to Create the Pleasurable | |
| Effect of a Double World, Marc Foxx Gallery, Santa Monica | |
| 25 Years: An exhibition of selcted works, Margo Leavin Gallery, Los Angeles | |
| People, Stephan Balkenhol, Marlene Dumas, Thomas Ruff, Thomas Struth, Christopher Williams, Monica de Cardenas Gallery, Milano | |
| Untitled (Reading Room), Margo Leavin Gallery, Los Angeles | |
| Das Ende der Avantgarde, Kunst als Dienstleistung, Hypo-Kulturstiftung, München | |
| 1994 | Radical Scavenger(s): The Conceptual Vernacular in Recent American Art, Museum of Contemporary Art, Chicago |
| Die Orte der Kunst, Sprengel Museum, Hannover | |
| In the Field. Landscape in Recent Photographie, Margo Leavin Gallery, Los Angeles | |
| notational photographs, Metro Pictures + Petzel Borgmann Gallery, New York | |
| Temporary Translation(s), Sammlung Schürmann, Kunst der Gegenwart und Fotografie, Deichtorhallen Hamburg, Hamburg | |
| 25 years: An exhibition of Selected Works, Margo Leavin Gallery, Los Angeles | |
| The Archive, Forum Stadtpark, Graz | |
| Labor and Leisure, John Michael Kohler Arts Center, Sheboygan | |
| Installations: Selections from the Permanent Collection, Part One, The Museum of Contemporary Art, Los Angeles | |
| 1993 | A Complete Hand of One Suit, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas |
| Fragments and Form: Selections from the Permanent Collection, Museum of Contemporary Art, Los Angeles | |
| Other Places, Margo Leavin Gallery, Los Angeles | |
| Konstruktion Zitat: Kollektive Bilder in der Fotografie, Sprengel Museum, Hannover | |
| Utopian Art - Artificial Utopia, Friedrichshof, Austria | |
| Kontextualismus, Neue Galerie, Graz | |
| L.A. Stories, Jack Rutberg Fine Arts, Los Angeles | |
| 1992 | American Fine Arts, New York |
| Margo Leavin Gallery (with Felix Gonzalez-Torres and Albert Oehlen) curated by Williams, Los Angeles | |
| Knowledge: Aspects of Conceptual Art, University Art Museum, Santa Barbara, Santa Monica Art Museum | |
| Dirty Data: The Collection of Wilhelm Schürmann, Ludwig Forum für Internationale Kunst, Aachen | |
| Jack Hanley Gallery, San Francisco | |
| Hollywood, Hollywood, Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena | |
| Mehr Licht, Galerie Crousel-Robelin, Paris | |
| Autoren von Texte zur Kunst halten Reden u. a. auf der documenta 9, Hörsaal der Gesamthochschule Kassel, Kassel | |
| 1991 | Vanitas, Galerie Crousel-Robelin, Paris |
| Enclosure, Los Angeles Municipal Art Gallery | |
| Gulliver's Travels, Galerie Sophia Ungers, Köln | |
| Rodney Graham, Stephen Prina, Christopher Williams, S.L. Simpson Gallery, Toronto | |
| Fassbinder-Oehlen-Prina, Slide presentation, Castello di Riviera, Torino | |
| Facing the Finish: Some Recent California Art, San Francisco MOMA, San Francisco | |
| The Legacy of Karl Blossfeldt, Jan Turner Gallery, Los Angeles | |
| Carnegie International 1991, The Carnegie Museum of Art, Pittsburgh | |
| Lynn Cohen, Thomas Struth, Christopher Williams, Galerie Samia Samouma, Paris | |
| The Museum Of Natural History, Galerie Barbara Farber, Amsterdam | |
| 1990 | Prints and Multiples, Luhring Augustine Hetzler, Santa Monica |
| Galerie Ursula Schurr, Stuttgart | |
| Drawings, Luhring Augustine Hetzler, Santa Monica | |
| Arte domani: 1990/Point of View, Musei di Spoleto, Rom | |
| De Afstand (Distance), Witte de With Center for Contemporary Art, Rotterdam | |
| 1989 | Robin Lockett Gallery, Chicago |
| Materiality, CEPA, Buffalo, NY | |
| A Forest of SIGNS, The Museum of Contemporary Art, Los Angeles | |
| Schmidt/Markow Gallery 1709, St.Louis, MO | |
| Wittgenstein and the Art of the 20th Century, Wiener Secession, Wien; Palais des Beaux-Arts, Brüssel | |
| Galerie Ursula Schurr, Stuttgart | |
| Une Autre Affaire, Espace Frac, Dijon | |
| Constructing a History: A Focus on MOCA's Permanent Collection, Museum of Contemporary Art, Los Angeles | |
| 1988 | Material Ethics, Milford Gallery, New York |
| Galerie Crousel-Robelin Bama, Paris | |
| 1987 | TV Generations, Los Angeles Contemporary Exhibitions, Los Angeles |
| Tim Ebner, John L. Grahm, Stephen Prina, Christopher Williams, Kuhlenschmidt/Simon, Los Angeles | |
| Nothing Sacred, Margo Leavin Gallery, Los Angeles | |
| The Castle, Documenta 8, Kassel (Curated by Group Material) | |
| CalArts: Skeptical Belief(s), The Renaissance Society at the University of Chicago, Chicago | |
| L.A.: Hot & Cool: The Eighties, List Visual Arts Center, MIT, Cambridge | |
| 1986 | Foundation De Appel, Amsterdam |
| Mandelzomm, Castello di Vulci, Rom | |
| Rooted Rhetoric, Una Tradizione nell' Arte Americana Castel dell Ovo, Naples | |
| 1985 | Prina, Stahl, Williams, Marian Goodman Gallery, New York |
| The Art of Memory, The Loss of History, The New Museum of Contemporary Art, New York | |
| 1984 | Jenny Holzer, Stephen Prina, Mark Stahl, Christopher Williams |
| Galerie Crousel-Hussenot, Paris; Gewad, Gent; Foundation De Appel, Amsterdam | |
| 1983 | Unclaimed: 1 Pkg. Photos, 88 lbs., Identification Number 085-65950006 (in association with Mark Stahl), U.S. Customs, Terminal Island, CA |
| 1982 | 74th American Exhibition, The Art Institute of Chicago, Chicago |
| Jancar/Kuhlenschmidt Gallery, Los Angeles | |
| 1981 | 5. International Biennale, Erweiterte Fotografie, Wiener Secession, Wien |
| Public Speaking Work (in association with Mark Stahl), California Institute of the Arts, Valencia | |
| 1979 | Addison Gallery of American Art, Phillips Academy, Andover; University of Hartford, Hartford, CT |
| Group Exhibition of Some CalArts Works and Other People Who Have Passed Through, Vancouver School of Art, Vancouver, B.C. | |
| 1978 | Approximately One-Half Hour of Dance Activity (An Unrehearsed Situation) |
| California Institute of the Arts, Valencia | |