| 1954 | born in Galesburg, Illinois |
| lives and works in Los Angeles | |
| 1980 | M.F.A., California Institute of the Arts, Valencia, CA |
| 1977 | B.F.A., Northern Illinois University, DeKalb, Illinois |
| 1974 | A.A., Carl Sandburg College, Galesburg, Illinois |
| 2012 | Maureen Paley, London |
| Galerie Mezzanin, Vienna | |
| 2011 | Stephen Prina. Carve Out a Space of Intimacy, Capitain Petzel, Berlin |
| Again. Stephen Prina (in collaboration with Wade Guyton), Friedrich Petzel, | |
| New York | |
| Stehen Prina. As he remembered it, Wiener Secession, Vienna | |
| Stephen Prina. He was but a bad translation, Kölnischer Kunstverein, Cologne | |
| 2010 | Contemporary Art Museum St. Louis, St. Louis, USA |
| 2009 | Stephen Prina, Barbara Krakow Gallery, Boston Stephen Prina, Bergen Kunsthall, Bergen The Second Sentence of Everything I Read is You, Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla, S Friedrich Petzel Gallery, New York |
| 2008 | The Way He Always Wanted It II, film screening, Cineplex Filmcollier Baden-Baden, Baden-Baden The Second Sentence of Everything I Read is You Staatliche Kunstsammlung Baden-Baden, Baden-Baden Sammlung Haubrok, Berlin |
| 2007 | The Second Sentence of Everything I Read is You, Galerie Gisela Capitain, Cologne |
| 2006 | The Second Sentence of Everything I Read is You, Friedrich Petzel Gallery, New York |
| 2004 | Retrospection Under Duress, Reprise, Carpenter Center for the Visual Arts, Cambridge, MA |
| Homo Faber and Exquisite Corpse, Friedrich Petzel Gallery, New York | |
| Vinyl II, Cubitt, London | |
| 2002 | Galerie Gisela Capitain, Cologne |
| Friedrich Petzel Gallery, New York | |
| Gaylen Gerber with Stephen Prina, The Art Institute of Chicago | |
| 2001 | Stephen Prina, PMK Gallery, Seoul |
| Galerie Max Hetzler, 1991 (Ten Years After), Friedrich Petzel, Gallery, New York | |
| Galerie Ghislane Hussenot, Paris | |
| Northern Illinois University Art Gallery, Dekalb, Illinois | |
| Stephen Prina (with Gaylen Gerber): Backdrop/We Represent Ourselves to the World, The Art Institute of Chicago, Chicago | |
| 2000 | To the People of Berlin, performance, Museum für Gegenwart, Berlin |
| To the People of Frankfurt am Main - At Least Three Types of Inaccessibility, performance, Frankfurter Kunstverein, Frankfurt/M. | |
| It was the best he could do at the moment, reprise, Art Pace, A foundation for Contemporary Art, San Antonio | |
| 1999 | Push Comes to Love, Margo Leavin Gallery, Los Angeles |
| Push Comes to Love, Friedrich Petzel Gallery, New York | |
| Push Comes to Love, Galerie Gisela Capitain, Cologne | |
| 1998 | 2 or 3 Things I Know About Her (Second Investigation): |
| Stephen Prina's Monochrome Painting, Musée d'art Moderne et Contemporain (MAMCO), Geneva | |
| Acropolis: Thanksgiving Day, 1989, (with Allen Ruppersberg) | |
| Margo Leavin Gallery, Los Angeles | |
| Stephen Prina (with Tobias Rehberger), Friedrich Petzel Gallery, New York | |
| 1996 | Retrospection Under Duress – L.O.V.E. Installation (Ivory/Mahogany), Margo Leavin Gallery, Los Angeles |
| Retrospection Under Duress – H.O.P.E.-Installation (White/American Maple), Luhring Augustine, New York | |
| Retrospection Under Duress – E.H.E.-Installation (Clear/Ramin),Galerie Gisela Capitain, Cologne | |
| Retrospection Under Duress, Reprise, DAAD Galerie, Berlin (cat.) | |
| 1994 | Dom-Hotel, Room 101, Cologne/Dom Hotel, Zimmer 101, Cologne |
| American Fine Arts/Colin de Land, Inc., New York | |
| Galerie Gisela Capitain, Cologne | |
| 1993 | Luhring Augustine, New York |
| Galerie Gisela Capitain, Cologne | |
| Margo Leavin Gallery, Los Angeles | |
| 1992 | Luhring Augustine Hetzler |
| It was the best he could do at the moment, Museum Boijmans-van Beuningen, Rotterdam (cat.) | |
| Beat of the Traps, performance with Mike Kelley and Anita Pace, The Remise, Vienna | |
| 1991 | Gordon Lebredt/Stephen Prina: Comedies of Objecthood, The Power Plant, Toronto (cat.) |
| Galerie Peter Pakesch, Vienna | |
| Galerie Max Hetzler, Cologne | |
| Galerie Fricke, Düsseldorf | |
| 1990 | Galerie Gisela Capitain, Cologne |
| Luhring Augustine Gallery, New York | |
| Robbin Lockett Gallery, Chicago | |
| 1989 | Galerie Crousel-Robelin, Paris |
| Monochrome Painting, The Renaissance Society, Chicago, travelled to Los Angeles Municipal Art Gallery and P.S.1, New York (cat.) | |
| Luhring Augustine Hetzler, Los Angeles | |
| Karsten Schubert, Ltd., London (cat.) | |
| 1988 | Luhring Augustine & Hodes Gallery, New York |
| University Art Museum, University of California at Santa Barbara | |
| 1980 | An Observation of Musical Function, California Institute of the Arts, Gallery D301 |
| 1979 | The Development of a Planar Standard, performance, California Insitute of the Arts, Mezzanine Gallery |
| 1978 | Duet for Metronome and Frequency Analyzer, 1978, Carl Sandburg College |
| Related Projects, Galesburg Civic Center, Galesburg | |
| 1976 | A Planar Delineation, Northern Illinois University, Gallery 214, Visual Arts Building |
| 2012 | This Will Have Been: Art, Love and Politics in the 1980s (curated by Helen Molesworth), MCA, Chicago (travelled to The Walker, Minneapolis; The ICA, Boston) |
| 2011 | Museum of Desires /museum der Wünsche, MUMOK Stiftung Ludwig, Vienna |
| I hate Paul Klee, Leopold-Hoesch-Museum & Papiermuseum Düren, Düren | |
| The boy who robbed you a few minutes before arriving at the ball (curated by Regina Fiorito and Kelley Walker), Galerie Gisela Capitain, Cologne | |
| Shapes, haubrokshows, Berlin | |
| 2010 | The Artist’s Museum, MOCA, Los Angeles |
| The space between reference and regret, Friedrich Petzel Gallery, New York | |
| Von realer Gegenwart, Kunsthalle Düsseldorf, Düsseldorf | |
| Wunschzettel, im Rahmen der Ausstellung: Nur Papier, und doch die ganze Welt, Staatsgalerie Stuttgart, Stuttgart | |
| Twennty Five, Luhring Augustine, New York | |
| Wade Guyton und Stephen Prina, Friedrich Petzel Gallery, New York | |
| Krieg/Individuum, Ausstellungshalle zeitgenössischer Kunst Münster, Münster | |
| Vertically Integrated Manufacturing, Murray Guy, New York | |
| 2009 | An Unruly History of the Readymade, Fundación/Colección Jumex, Mexico City |
| Feedbackstage, Georg Kargl Fine Arts, Vienna | |
| The Way He Always Wanted It II, Architecture Film Festival, Rotterdam | |
| The Way He Always Wanted It II, KunstFilmBiennale, Cologne Feedbackstage, Georg Kargl Fine Arts, Vienna |
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| 2008 | Painting: Now and Forever, Part II, Greene Naftali Gallery, New York Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles Not So Subtle Subtitle, Casey Caplan, New York Zuordnungsprobleme, Galerie Johann König, Berlin Whitney Biennial, New York 54. Internationale Kurzfilmtage Oberhausen Kavalierstart, 1978 – 1982 Aufbruch in die Kunst der 80er, Museum Morsbroich Leverkusen Stephen Prina, James Welling, B. Wurtz, Richard Telles Fine Art, Boston |
| 2007 | Make Your Own Life: Artists in and Out of Cologne, Henry Art Gallery, Seattle, Museum of Contemporary Art, North Miami Michel Würthle and his Companions, Too far for Binoculars, NYE Haus, New York on paper, Amerikanische Zeichnung ab 1960, Gesellschaft für Gegenwartskunst e.V., Augsburg Oh Girl, it´s a Boy!, Kunstverein München, Munich Who´s afraid of Red Yellow and Blue? Positionen der Farbfeldmalerei, Staatliche Kunsthalle Baden-Baden |
| 2006 | Eldorado, Musee d´Art Moderne Grand-Duc Jean, Luxemburg |
| Entangled Tongues, Nunnery Gallery, London | |
| Kunst aus Los Angeles der 60er bis 90er Jahre, Kunstverein Braunschweig | |
| Los Angeles, 1955-1985, Centre Pompidou, Paris | |
| Make Your Own Life: Artists In and Out of Cologne, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, The Power Plant, Toronto | |
| 2005 | 29 x 52-54 Bell Street, Lisson Gallery, London |
| Critical Celebration, Galerie Karin Günther Nina Borgmann, Hamburg | |
| I really should..., Lisson Gallery, London | |
| it takes some time to open an oyster, curated by Yilmaz Dziewior, Center Cultural Andratx, Mallorca | |
| Long Playing, Barbara Krakow Gallery, Boston | |
| Merlin Carpenter, Galerie Christian Nagel, Cologne | |
| Off Key, Kunsthalle Bern | |
| Minimalist Kitsch, Haus Konstruktiv, Zurich | |
| Present Perfect, Friedrich Petzel Gallery, New York | |
| The Lisson Gallery Summer Show, Lisson Gallery, London | |
| 2004 | Stephen Prina „Vinyl II“, Cubitt Gallery and Studios, London |
| Support 2 – Die neue Galerie als Sammlung, Neue Galerie, Graz | |
| Ilya & Emilia Kavakov – The Empty Museum, Sculpture Center, Long Island | |
| Support 1 – Die neue Galerie als Sammlung, Neue Galerie, Graz | |
| 2003 | Re-Production 2, Galerie Christine König, Kerstin Engholm Galerie, Gabriele Senn Galerie, Vienna, cureated by Stepahn Lochner |
| Adorno. Die Möglichkeit des Unmöglichen, Frankfurter Kunstverein, Frankfurt/M. | |
| Extended Play: art remixing music, Brewster Art Gallery, New Plymouth, New Zealand | |
| Charline van Heyl, Jorge Pardo, Stephen Prina, Friedrich Petzel Gallery, New York | |
| 2002 | Eingang links, Kunstverein Düsseldorf |
| iconoclash, ZKM, Karlsruhe | |
| in capital letters, Kunsthalle Basel, Basel | |
| Heaven Knows I'm Miserable Now, Low gallery, Los Angeles | |
| Keine Kleinigkeit, Kunsthalle Basel, Basel | |
| Reproduktion, Galerie Bernhard Knaus, Mannheim | |
| SITE Sante Fe Biennial 2001, Santa Fe | |
| 2001 | Wert Wechsel Zum Wert des Kunstwerks, Museum für Angewandte Kunst, Cologne |
| ART/MUSIC. rock, pop, techno, Museum of Contemporary Art, Sidney | |
| Beau Monde: Toward a Redeemed Cosmopolitanism, SITE Santa Fe Fourth International Biennial | |
| In Between: Art and Architecture, MAK Center for Art and Architecture, Los Angeles | |
| Neue Welt, Kunstverein Hamburg | |
| 2000 | Departures: 11 Artists at the Getty, The J. Paul Getty Museum, Los Angeles |
| Library, Margo Leavin Gallery, Los Angeles | |
| Project #0004, Friedrich Petzel Gallery, New York, | |
| Too Early Too Late, Margo Leavin Gallery, Los Angeles | |
| The 21st Annual Benefit Art Auction, Los Angeles Contemporary Exhibitions (cat.) | |
| Pure de(Sign), Otis Gallery, Otis College of Art and Design, Los Angeles | |
| Fashion Show, George’s, Los Angeles | |
| 1999 | Malerei, INIT-Kunst-Halle, Berlin |
| Painter Editions, Patrick Painter, Inc., Santa Monica | |
| Weg aus dem Bild, Curators: Martin Prinzhorn, Georg Kargl, Vienna | |
| The Great Drawing Show 1550 to 1999, Kohn Turner Gallery, Los Angeles | |
| Duration and Whenever, Angles Gallery, Santa Monica | |
| Art/Journalism, Rosamund Felsen Gallery, Santa Monica, CA | |
| 1998 | Crossings: art to see and to hear, Kunsthalle Vienna (cat.) |
| 2 or 3 Things I Know About Her (First Investigation): | |
| The Hypothesis of the Stolen Painting, Musée d'art Moderne et Contemporain (MAMCO), Geneva | |
| TransFiction I: Point Blank, Charim Klocker, Vienna | |
| Recycling Art History, Pittsburgh Center for the Arts, Pittsburgh (cat.) | |
| 90069, Margo Leavin Gallery, Los Angeles | |
| Freeze Frame, Galerie Douyon, Miami | |
| Works on Paper, Friedrich Petzel Gallery, New York | |
| 1997 | One of You, Among You, With You: For Martin Kippenberger, |
| Galeria Juana de Aizpuru, Madrid | |
| Sunshine & Noir: Art in Los Angeles 1960-1997, | |
| Louisiana Museum of Modern Art, Humlebaek, Denmark | |
| Travelling to Kunstmuseum Wolfsburg, Wolfsburg, Germany; Castello di Rivoli, Turin, Italy, August 1998; UCLA at the Armand Hammer Museum of Art, Los Angeles | |
| Sequence, Richard Salmon, London | |
| Heaven, Curated by Joshua Decter, P.S. 1 Museum, New York | |
| 1996 | a/drift, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY, curated by Josh Decter (cat.) |
| Multiple Pleasure, Tanya Bonakdar Gallery, New York | |
| Classifications, La Maitrise des sciences et Techniques, Rennes, École nationale supérieure des beaux-arts, Paris (cat.) | |
| Sammlung Speck, Museum Ludwig Köln, Cologne (cat.) | |
| Exposure, Luhring Augustine, New York | |
| Found footage, Gasser & Grunert GmbH, Cologne | |
| NIU Collected, Northern Illinois University, Chicago | |
| 1995 | The Compulsion to Repeat: Repetition and Difference in Works, from the Permanent Collection, Museum of Contemporary Art, Los Angeles |
| Untitled (Reading Room), Margo Leavin Gallery, Los Angeles, American Fine Arts Co., New York | |
| Pittura Immedia, Künstlerhaus Graz | |
| 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles (cat.) | |
| Installation 95 (with Luka Lasareishvili and Wolfgang Stiller), Ursula Blickle, Stiftung, Kraichtal, Germany (cat.) | |
| As I Remember It: Stephen Prina, Dokorder® 7140, 4 Track 4/2 Channel Stereo/Mono Tape Deck, (with Cosima Von Bonin and Christopher Williams) | |
| The Museum of Modern Art Syros, Syros-Cyclades, Greece | |
| The Big Night, The Bradburry Building, Los Angeles | |
| 1994 | In the Field: Landscape in Recent Photography, Margo Leavin Gallery, Los Angeles |
| The First Fundraising Event to Benefit American Fine Arts, Co., American Fine Arts, Co., New York | |
| Rodney Graham, Stephen Prina, Jeff Wall, Angles Gallery, Los Angeles | |
| Die Orte der Kunst, Sprengel Museum Hannover, Hannover (cat.) | |
| Daniel Buren, Ken Lum, Stephen Prina, Rudolph Stingel | |
| Curated by Colin de Land at Home for Contemporary Theatre and Art | |
| Don’t Look Now, Thread Waxing Space, New York, Curated by Joshua Dector (cat.) | |
| MOCA Art Auction '94, Musseum of Contemporary Art, Los Angeles (cat.) | |
| After and Before, The Renaissance Society at the University of Chicago | |
| 1993 | A Complete Hand of One Suit, Donna Beam Fine Art Gallery,University of Nevada, Las Vegas |
| Works by Younger Artists from the Collection of Richard Brown Baker, The Century Association, | |
| Fragments and Form: Selections from the Permanent Collection, | |
| Museum of Contemporary Art, Los Angeles | |
| Other Places, Margo Leavin Gallery, Los Angeles | |
| Kontextualismus, Neue Galerie, Graz (cat.) | |
| From the Hand to the Head, the Theoretical Object, Centre d’Art Contemporain, Kerguehennec | |
| Drawing the line Against AIDS, Guggenheim Museum SoHo, New York | |
| Domaine: L'ordre du Temps des Choses, L'ordre des Idee, L'ordre du Sujet, Domaine de Kerguehennec, organized by Denys Zachropoulos | |
| 1992 | Knowledge: Aspects of Conceptual Art, University Art Museum, |
| Santa Barbara, Santa Monica Art Museum (cat.) | |
| Dirty Data: The Collection of Wilhelm Schurmann, Ludwig Forum für Internationale Kunst, Aachen | |
| Allegories of Modernism: Contemporary Drawing, Museum of Modern Art, New York | |
| Documenta IX, Kassel (cat.) | |
| Fifth Anniversary Show, Karsten Schubert, Ltd., London | |
| Works on Paper, Jim Schmidt Contemporary Art, St. Louis | |
| American Fine Arts, Co., New York | |
| Art by Numbers, Angles Gallery, Los Angeles | |
| Greatest Hits, Galerie Daniel Buchholz, Cologne | |
| Not Working in LA/Good Design, Nomadic Site, Pasadena | |
| Locher, Prina, Williams, Wurm, Zobernig, Jack Hanley Gallery, San Francisco | |
| 1991 | Beyond the Frame: American Art 1960-1990, Setagaya Art Museum, Tokyo, travelling to: National Museum of Art, Osaka,Fukuoko Art Museum (cat.) |
| Vanitas, Galerie Crousel-Robelin, Paris | |
| Gulliver's Travels, Galerie Sophia Ungers, Cologne (cat.) | |
| Graham, Prina, Williams, S.L. Simpson Gallery, Toronto | |
| 51st Carnegie International, Carnegie Museum of Art, Pittsburgh (cat.) | |
| Hybrid Abstract, Usdan Art Gallery, Bennington College, Bennington, Vermont | |
| The Continuous Past, Pence Gallery, Santa Monica | |
| Selections from the Permanent Collection: 1975-90, Museum of Contemporary Art, Los Angeles | |
| The 1991 Benefit Auction, The New Museum of Contemporary Art, New York (cat.) | |
| Feux pales, Musee d'Art Contemporain, Bordeaux | |
| In the Beginning..., Cleveland Center for Contemporary Art, Cleveland, OH | |
| Sophie Calle, Tim Rollins, and K.O.S., Stephen Prina, Trans Avant-Garde Gallery, San Francisco | |
| 1990 | Prints and Multiples, Luhring Augustine Hetzler, Santa Monica |
| Stephen Prina, Christopher Wool and Sam Samore, Galerie Ursula Schurr, Stuttgart | |
| The Readymade Boomerang: The Sydney Biennale, Sydney (cat.) | |
| Aperto: The Venice Biennale, Venice (cat.) | |
| Drawings, Luhring Augustine Hetzler, Santa Monica | |
| Prints and Related Works, Tomoko Liguori Gallery, New York | |
| The Children's AIDS Project: A Benefit Exhibition, Daniel Weinberg Gallery, Santa Monica | |
| Sophie Calle, Tim Rollins & K.O.S., Stephen Prina, Trans Avant-Garde Gallery, San Francisco | |
| In the Beginning..., Cleveland Center for Contemporary Art, Cleveland | |
| Feux Pales, Musée d'Art Contemporain, Bordeaux (cat.) | |
| Marcia Hafif, Stephen Prina: Monochrome Painting,P.S. 1 Museum, New York | |
| 1989 | 300 Years of Still Life Painting, Michael Kohn Gallery, Los Angeles |
| Mediated Knot, Robbin Lockett Gallery, Chicago (cat.) | |
| Group Show, Richard Kuhlenschmidt Gallery, Santa Monica | |
| A Brave New World, Karsten Schubert, London (cat.) | |
| Prospect 89, Schirn Kunsthalle, Frankfurter Kunstverein, Frankfurt/M. (cat.) | |
| Group Show, Luhring Augustine Gallery, New York | |
| A Forest of Signs: Art in the Crisis of Representation, MOCA, Los Angeles (cat.) | |
| Group Show, Schmidt/Markow Gallery 1709, St. Louis | |
| Oppningsutstallning,Galleri Nordenstad-Skarstedt, Stockholm | |
| Media Influences, The Forum, St. Louis | |
| Recent Acquisitions at MOMA, Museum of Modern Art, New York | |
| Constructing a History: A Focus on MOCA's Permanent Collection, Museum of Contemporary Art, Los Angeles | |
| Une Autre Affaire, Salle de Flore, Dijon (cat.) | |
| Jon Kessler, Stephen Prina, Thomas Struth, Luhring Augustine Gallery, New York | |
| American Art of the Late 80's, Würtembergiscer Kunstverein, Stuttgart; Art Museum of the Ateneum, Helsinki | |
| 1988 | Material Ethics, Milford Gallery, New York |
| Extended Play, Emily Harvey Gallery, New York (cat.) | |
| MOCArt Auction '88, Jan Turner Gallery, Tamara Bane Gallery & The Temporary Contemporary, Los Angeles | |
| James Casebere, Stephen Prina, Christopher Wool, Robbin Lockett Gallery, Chicago | |
| Striking Distance, Museum of Contemporary Art/The Temporary Contemporary, Los Angeles (cat.) | |
| The BiNational: American Art of the Late 80's, Institute of Contemporary Art and The Museum of Fine Arts, Boston, travelling to: Städtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen, Kunstverein NRW, Düsseldorf; Kunsthalle, Bremen, 1989, Athens National Art Gallery, Athens. Exhibition continues as: American Art of the Late 80's at: Württembergischer Kunstverein, Stuttgart, 1989; | |
| Art Museum of the Ateneum, Helsinki, 1990 (cat.) | |
| Galerie Crousel-Robelin, Paris | |
| Carecen 4th Annual Art Auction, Turske/Whitney Gallery, Los Angeles | |
| Luhring Augustine & Hodes Gallery, New York | |
| An evening of 19th and 20th Century Piano Music,Ahmanson Auditorium, The Museum of Contemporary Art, Los Angeles | |
| 1987 | 2nd Annual Night of Erotica, Beyond Baroque Literary Arts Center, Venice, CA |
| Projections in Public: A Storefront Window Projection Project, Bloomsbury City Flower Mart, Los Angeles, Archimatics, San Diego | |
| Tenth Anniversary Benefit Auction 1987, The New Museum of Contemporary Art, New York | |
| Cal Arts: Skeptical Belief(s), The Renaissance Society at the University of Chicago, Newport Harbor Art Museum, Newport Beach (cat.) | |
| Nothing Sacred, Margo Leavin Gallery, Los Angeles | |
| Tim Ebner, John L. Graham, Stephen Prina, Christopher Williams, Kuhlenschmidt/Simon Gallery, Los Angeles | |
| LA: Hot and Cool: The Eighties, MIT, List Visual Arts Center, Cambridge (cat.) | |
| 1986 | TV Generations, LACE, Los Angeles (cat.) |
| The World-Wide Sound Sculpture, De Appel, Amsterdam | |
| Rooted Rhetoric, Una Tradizione nell'Arte Americana, Castel dell'Ovo, Naples (cat.) | |
| Mandelzomm, Castello di Vulci/Montalto di Castro, Rome (cat.) | |
| 1985 | Stephen Prina, Mark Stahl, Christopher Williams, Galerie Crousel-Hussenot, Paris |
| Stephen Prina, Mark Stahl, Christopher Williams, Marian Goodman Gallery, New York | |
| Earsight: Visual Scores and Musical Images, Nexus, Philadelphia and Southern Alleghenies Museum, Johnstown | |
| The Public Art Show, Nexus Contemporary Arts Center, Atlanta and University of South Carolina, Columbia, | |
| travelling to: Austin Pea State University, Clarkville; Valencia Community College, Orlando; North Carolina Museum of Art, Raleigh; University of the South, Sewanee (cat.) | |
| The Art of Memory/The Loss of History, The New Museum, New York (cat.) | |
| 1984 | Jenny Holzer, Stephen Prina, Mark Stahl, Christopher Williams, De Appel, Amsterdam and Gewad, Ghent (cat.) |
| 1982 | 74th American Exhibition, The Art Institute of Chicago (cat.) |
| 1980 | Investigations: Probe-Structure-Analysis, The New Museum, New York (cat.) |
| 1979 | Group Exhibition of Some CalArts Works and Works by Other People Who Have Passed Through, Vancouver School of Art, Vancouver, B.C., travelling to: Addison Gallery of American Art, Phillips Academy, Andover Claremont College, Claremont, |
| Ryder Gallery, Kroeber Hall, University of California, Berkeley, University of Hartford, Hartford/CT, The Otis Art Institute of Parsons School of Design, Los Angeles | |
| 1978 | University of California, Irvine |
| 1976 | 5 Artists, Galesburg Civic Center, Galleries I & II, performance |