Aqua’s Aquarium (1997): Millennial Listening & the Queerness of Bubblegum Eurodance, 33 1/3 Europe. New York: Bloomsbury Academic, 2024. (Under Contract)
co-authored with Alexis White, ““The Epitome of Black Self-Regard”: Vodou and African Diasporic Modernity in Prodigal Prince,” in Geoffrey Holder: Prismatic Blackness. Durham: Duke University Press, 2024. (in press)
co-authored with Jamison Edgar, “Propagated in Obscurity: Bermuda Grass and Rhizomatic Queerness,” in Flora Fantastic: From Orchidelirium to Eco-Critical Contemporary Botanical Art, Corina Apostol and Tashima Thomas eds. London: Routledge, 2022. (in press)
“Bare Feet, or, the Ambivalence of Emancipation: Camille Pissarro and the Caribbean,” The Black Modernisms Seminars. Huey Copeland and Steven Nelson eds. New Haven: CASVA/Yale University Press, 2023.
“Staging Mirrors: Deborah Anzinger’s Eco-Aesthetic Syntax of Dehiscent Being,” liquid blackness 6:1 (Spring 2022).
“Review of Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World by Anna Arabindan-Kesson,” Panorama: Journal of the Association of Historians of American Art (November 2021).
“Painting Between Two Deaths, ‘la mort en créole, c’est aussi le paradis,” in Hervé Télémaque. London: Serpentine Galleries, 2022.
“Entropic Futurity,” essay response to David Hartt’s in the forest (2017) for the online exhibition A Wildness Distant. Arthur Ross Architecture Gallery at Columbia University GSAPP, November 2020.
“‘a salting of sorts’: Salt, Sea, and Affective Form in the Work of Deborah Jack” in Art Journal 78:2 (Summer 2019): 14-27.
“Bahamas,” “Caribbean Islands, Introduction,” “Caribbean Islands, Culture,” “Jamaica,” “Haiti,” “Lesser Antilles,” “Puerto Rico,” “Trinidad and Tobago” in The Grove Encyclopedia of Latin American Art, edited by Tom Cummins. Oxford: Oxford University Press, 2017.
