Perhaps best know for Wheatfield -- A Confrontation (1982), a two-acre wheat field she planted and harvested in downtown Manhattan, a work that addresses human values and misplaced priorities. In 1996 she completed Tree Mountain -- A Living Time Capsule in Finland, a massive earthwork and reclamation project that reaches four hundred years into the future to benefit future generations with a meaningful legacy.
In 1998 she planted a forest of endangered species in Australia and a cropland in the heart of Caracas, Venezuela. Agnes Denes has had over 325 solo and group exhibitions on four continents, including Documenta VI in Kassel (1977), three Venice Biennales (1978, 1980, 2001) and "Master of Drawing" Invitational at the Kunsthalle in Nurnberg (1982). She has shown at the Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art in New York. In 1992 she had a major retrospective at the Herbert F. Johnson Museum at Cornell University, for which five art historians contributed catalogue essays. An artist of enormous vision, Denes has written four books and holds a doctorate in fine arts.
Among her numerous awards are the Rome Prize for the American Academy in Rome (1997-98); the Eugene McDermott Achievement Award from M.I.T. "In Recognition of Major Contribution to the Arts" (1990); the American Academy of Arts and Letters Purchase Award (1985); four National Endowment Fellowships and four NYSCA grants; and the DAAD Fellowship from Berlin. Denes is a Research Fellow at the Studio For Creative Inquiry at Carnegie Mellon University; the Center for Advanced Visual Studies at M.I.T. and the Courant Institute at N.Y.U. She lectures extensively at universities in the U.S. and abroad and has participated in global conferences in Moscow, Oxford, Rio de Janeiro, Kyoto, etc.
Selected public collections include: Metropolitan Museum of Art, MOMA and Whitney Museum of American Art in New York; National Museum of American Art, Corcoran Gallery of Art; and Smithsonian Institution in Washington D.C.; Kunsthalle, Nurnberg,; Moderna Museet, Stockholm; Israel Museum, Jerusalem; Wexner Center for the Arts, Columbus, Ohio; Honolulu Academy of Arts, Hawaii; Philadelphia Museum of Art, Pennsylvania, and many others.
Planting and harvesting a field of wheat on land worth $4.5 billion created a powerful paradox. Wheatfield was a symbol, a universal concept, it represented food, energy, commerce, world trade, economics. It referred to mismanagement, waste, world hunger and ecological concerns. It called attention to our misplaced priorities. The harvested grain traveled to twenty-eight cities around the world in an exhibition called “The International Art Show for the End of World Hunger”, organized by the Minnesota Museum of Art (1987-90). The seeds were eventually carried away by people who planted them in many parts of the globe.
A huge manmade mountain measuring 420 meters long, 270 meters wide, 28 meters high and elliptical in shape was planted with eleven thousand trees by eleven thousand people from all over the world at the Pinzio gravel pits near Ylojarvi, Finland, as part of the massive earthwork and land reclamation project by environmental artist Agnes Denes. The project was officially announced by the Finnish contribution to help alleviate the world’s ecological stress. Sponsored by the United Nations Environment Program and the Finnish Ministry of the Environment, Tree Mountain is protected land to be maintained for four centuries, eventually creating a virgin forest. The trees are planted in an intricate mathematical pattern derived from a combination of the golden section and the pineapple/sunflower patterns.
Tree Mountain is the largest monument on earth that is international in scope, unparalleled in duration, and not dedicated to the human ego, but to benefit future generations with meaningful legacy. People who planted the trees received certificated acknowledging them as custodians of the trees. The certificate is an inheritable document valid for twenty or more generations in the future. The project is innovative nationally and worldwide. This is the very first time in Finland and among the first ones in the world when an artist restores environmental damage with environmental art planned for this and future generations. Tree Mountain, conceived in 1982, affirms humanity’s commitment to the future well being of ecological, social and cultural life on the planet. It is designed to unite the human intellect with the majesty of nature.
6000 tress of varying heights plant3ed into five spirals to form steps pyrmids, Altoona Treatment plant, Melbourne, Australia.
Two-meter banner with tree image and poetry installed above Via Garibaldi, Venice Biennale, Italy, 2001.
Fully grown tree was unearthed with its roots intact, then painted gold and installed floating horizontally in midair, for the Goteborgs Internationella Konstbiennal, Sweden, summer 2001.
Twenty-five year masterplan to bring into prominence and environmentally sustainable the 100 km long defense line dotted with 70 forest built from the 16th to the mid-19th centuries in the center region of the Neatherlands. Belveder Project, 2001.
Inundation Map; Proposed Forestations; Proposed Windmill Locations; Present/Proposed Wildlife Preserves, Wildflower Meadows and Gardens; Proposed Crystal/Glass Fort.
My work ranges between individual creation and social consciousness. It addresses the challenges of global survival and is often monumental in scale.
I plant forests on abused land, and grow fields of grain in the heart of megacities. These works are intended to help the environment and benefit future generations with a meaningful legacy.
My environmental works include: Wheatfield -- A Confrontation, a 2-acre wheatfield planted and harvested in Manhattan's financial district on land worth $4.5 billion, in order to make a statement about misplaced priorities.
North Waterfront Park Masterplan of a 97-acre landfill was the first conversion to propose bioremediation programs and a 12-acre wildlife sanctuary (Berkeley, 1990).
Tree Mountain -- A Living Time Capsule is a vast earthwork and reclamation project involving eleven thousand people who came from all over the world to plant trees on a mountain built from mined land material. Now a national monument, Tree Mountain will be maintained for four centuries thereby creating a virgin forest. Planters received certificates of custodianship valid for twenty generations in the future--a first in human history (Finland, 1992-96).
In 1998 I planted a forest in Melbourne, Australia. Six thousand trees were planted into five spirals with trees of varying heights thereby creating a step pyramid for each spiral. These forests stop land erosion and desertification.
Early this year I completed Poetry Walk: Reflections--Pools of Thought, The project consists of 20 large granites carved with poetry, embedded into the lawn of the University of Virginia, 535x50 ft. The work includes a Time Capsule to be opened 3000 A.D.
Presently I am invited to work on the Belvedere Project in Holland, which consists of bringing into prominence all the 19th century forts in an 85 kilometer long line in the center of Holland. I am a finalist also on the Irish Hunger Memorial, a half-acre site in Battery Park City in Manhattan, scheduled for completion in 2001.
The philosophy behind my work is to create intelligent and beautiful works of art that educate people and earn their place in the public arena by making people feel good about themselves and their surroundings. My work speaks to people from all walks of life creating a strong impact that becomes identified with the site, building or neighborhood, giving it special identity.
Agnes Denes is one of the truly innovative artists of our era whose work defies classification. Her concerns and explorations have spanned philosophy, the natural and physical sciences, mathematics, linguistics and psychology. She has approached these disciplines not only with rigorous investigation, but also with artistic intuition, creating exquisite drawings which give precision to the imagination. Critics like Robert Hobbs, Donald Kuspit and others have compared her drawings and concepts to Leonardo's for the postulation of visual constructs that are profound visions of the universe. Denes's work indeed re-unites the artistic and scientific cultures, which began to separate in Leonardo's time. For the communication of her messages she has worked with many media, including drawing, writing, sculpture, photography, poetry and music as well as direct involvement with the environment.
Denes was one of the first artist to be involved with conceptual art and investigate the relationship of science to art. Also a pioneer of ecological art, she was one of the initial artists to turn to environmental issues, beginning with the metaphor on growth and transformation in Rice/Tree/Burial in upstate New York in l968. In l982 she planted and harvested a wheatfield at the foot of Manhattan next to the towers of the World Trade Center, a rural field in the most urban environment—one of the most telling examples of her continuing work with paradox and contradiction. At this time she is creating Tree Mountain in Finland, a great marker which relates to ecological, social, cultural and global concerns, a work which is communal rather than centered on the human ego. Tree Mountain is created to benefit future generations with a meaningful legacy—a hopeful monument for the millennium.
…Denes has always displayed a highly intelligent and well-studied mind. She is versed in philosophy, science and mathematics – fields of inquiry she has employed throughout her career to create works of art as intellectually sound as any of our time.
In the care of their thought, in their intellectual clarity, Denes’ works reveal(ed) the purpose of geometrical art. As Denes has said: “Pattern finding is the purpose of the mind and the construct of the universe.” With greater exactness, from her 1989 publication Book of Dust: “Everything in our life is but a transitory state and a recombination of this primordial dust. Yet throughout these cycles of change, there is a deeper component of all things that remains constant, unaltered, and mainly invisible - a deeper reality that lies beyond appearance.” (Book of Dust is a remarkable book, the compilation of a stunning array of knowledge compiled to prove its theses. Initially published in a limited edition, it is now very hard to find and its absence is one of the unfortunate failures of the current publishing canon.) In short, her point is that, amid a world of continuous change, there are fundamental patterns to be found in both the depths of the mind and the depths of the universe. Her art, clearly, is intended to illuminate those patterns, and, in the exactitude of her math, reason is one of her basic tools.
1997	"Anima/Persona—From the Rice/Tree/Burial Project", Joyce Goldstein Gallery, N.Y.
Northern Illinois University Art Gallery in Chicago, Ill.
1977	Tyler School of Art, Temple University, Philadelphia, Penn.
1976	Douglass College, Rutgers University, New Brunswick, N. J.
Newport Harbor Art Museum, Newport Beach, Calif.
"Collecting Ideas", (Work from the Polly & Mark Addison Collection), Vance Kirkland Close Range Gallery, Denver Art Museum, Colo.
"Inventional", Angles Gallery, Santa Monica, Ca.
"Muscle—Power of the View" Boulder Museum of Contemporary Art, Colo.
"Out/Side/In"—Process in Architecture and Design, Huntington Gallery, Mass College of Art, Boston, Ma.
1999	"Recent Acquistions: Prints and Drawings from 1960s to the Present", Philadelphia Museum of Art, Pa.
"Book as Art #II", The National Museum of Women in the Arts, Washington, D.C.
"Into Focus/Art on Science," Mandeville Gallery, Nott Memorial, Union College, Schenectady, N.Y.
"The Serial Attitude", Addison Gallery of American Art, Phillips Academy, Andover, Mass. Travel: Wexner Center for the Arts, Ohio State University, Columbus, Ohio.
"The Private Eye in Public Art", La Salle Partners at Nations Bank Plaza, Charlotte, N.C.
"The Boat: Object and Metaphor", Pratt Manhattan Gallery. Travel: The Rubelle and Norman Schafler Gallery, Pratt Institute, Brooklyn, N.Y .
"Women Artists Series: 25th Year Retrospective, 1971-1996", Rutgers University, New Brunswich, N.J.
"Co-Existence—Construction in Process," Artists' Museum, Mitzpe Ramon, Israel.
of Earth Day)," Center for Art and Earth, New York.
"Green Piece," Castle Gallery, College of New Rochelle, N.Y.
"In Light of Our Reflection," Tisch Gallery, Aidekman Arts Center, Tufts University, Medford, Mass. (catalog).
"Mapping: A Response to MOMA," American Fine Arts Company, New York.
1994 "Blast Art Benefit," Tz'Art & Co Gallery, New York.
"Blast 4: Bioinformatica," Sandra Gering, New York.
"Sculpting with the Environment/A Natural Dialogue," Pratt Manhattan Gallery, New York, N.Y. Travel: The Rubelle and Norman Schafler Gallery, Pratt Institute, Brooklyn, N.Y.
"Art on Paper", Weatherspoon Art Gallery. University of North Carolina, Greensboro, NC.
"Artists Who Interpret the Earth and Its Systems: Deep Ecology in the Arts, Toward a New Paradigm", International Sculpture Conference, University of the Arts, Philadelphia, Penn.
"The Map Is Not the Territory," Rosenwald-Wolf Gallery, University of the Arts, Philadelphia College of Art and Design,Philadelphia, Penn.
Bellas Artes, Santa Fe, N. Mex.
"Buckminster Fuller, Harmonizing Nature, Humanity and Technology," Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, N.Y.
"Exhibition Diomede," Institute for Contemporary Art, P.S. 1 Museum,Clocktower, New York. Travel: San Francisco State University Art Gallery, Calif.
"Private Works for Public Spaces," R. C. Erpf Gallery, New York. Travel: Mark Twain Gallery, St. Louis, Mo.
"Down to the Sea," Snug Harbor Cultural Center, Staten Island, N.Y.
"V Bienal Americana de Artes Graficas," Museo de Artes Moderno la Tertulia, Cali, Colombia (catalog)"Gallery Artists," Aleman Gallery, Boston, Mass.
"Prints by Women - Award-Winning Prints," Print Club, Philadelphia, Penn.
"Public Visions/Public Monuments," Soho 20 Gallery, New York.
1985	"American Art: American Women," Stamford Museum, Conn.
"KIS '85," Kunsan International Show, Institute of Contemporary Art, Kunsan National University, Chonbuk, South Korea.
"Mathematics, Clarity and Thought," Rosemont College, Penn.
"Seeing Anew: Noah and the Ark," Wilson Arts Center, Rochester, N.Y.
"Projects: World's Fairs, Waterfronts, Parks, and Plazas," Rhona Hoffman Gallery, Chicago, Ill.
"Sculpture: Exploring Three Dimensions," SITES (Smithsonian Institution Traveling Exhibition Service), Washington, D.C. Travel: West Kentucky University Gallery, Bowling Green, Ky.; San Antonio Museum Association, Texas; Cedar Rapids Museum of Art, Iowa; Louisville Art Gallery, Ky.; Dayton Art Institute, Ohio; Alexandra Art Museum, La.; Woodson Art Museum, Wausau, Wis.; Santa Fe Community College Art Gallery, Gainesville, Fla.; Bergstrom-Nahler Museum, Neenah, Wis.; Museum of Arts and Sciences, Macon, Ga.; Krasl Art Center, St. Joseph, Mich.
1982	"The Alternative Image," John Michael Kohler Art Center, Sheboygan, Wis.
"Books by Printmakers," Print Club, Philadelphia, Penn.
"Nature Transformed," Anderson Gallery, Virginia Commonwealth University, Richmond, Va.
"cARTography," John Michael Kohler Arts Center, Sheboygan, Wis.
"Drawings of a Different Nature," Portland Center for the Visual Arts, Oreg.
"The Great Pyramid Show," Fine Arts Gallery, Wright State University, Dayton, Ohio. Travel: Midwest Museum of Modern Art, Elkhart, Ind.; Albright College, Reading, Penn.; Wesleyan College, Middletown, Conn.
"Visual Articulation of Ideas," Visual Studies Workshop Gallery, Rochester, N.Y. Travel: Millersville State College, Penn.; James Madison University, Harrisonburg, Va; Everett Community College, Wash.
1979	"American Art from MOMA," Kunstmuseum, Berne, Switzerland.Travel: Museum Ludwig, Cologne, W. Germany; Gulbenkian Foundation, Lisbon, Portugal; Museo Español de Arte Contemporaneo, Madrid, Spain; Tel Aviv Museum, Israel; Vienna Museum des 20. Jahrhunderts, Austria (catalog)"Drawings About Drawing: New Directions," Ackland Art Museum, Chapel Hill, N.C.
"A Great Big Drawing Show," Institute for Art and Urban Resources at P.S. 1, Long Island City, N.Y.
"Recent Trends in American Printmaking," Mitchell Museum, Mitchell Foundation, Mount Vernon, Ill.
"Artwords, Bookworks," Los Angeles Institute of Contemporary Art, Calif.
"Works from the Collection of Dorothy and Herbert Vogel," University of Michigan Museum of Art, Ann Arbor, Mich.
1977	"Art Stories," Libra Gallery, Claremont Graduate School, Calif.
"Drawing Structure," Rush Rhees Gallery, University of Rochester, N.Y.
"Beyond the Page," Arts Council, Philadelphia, Penn.
"Invitational," Institute for Art and Urban Resources at P.S. 1, Long Island City, N.Y.
"National Drawing Exhibition '75," Camden College of Arts and Sciences, Rutgers University, New Brunswick, N.J.
1974	"CACC," San Francisco Museum of Art, Calif.
"Women's Work: American Art," Museum of Philadelphia Civic Center, Penn.
"Word Works," Mount San Antonio College, Walnut, Calif.
"C.7,500," California Institute of the Arts, Valencia. Travel: Wadsworth Atheneum, Hartford, Conn.; Moore College of Art, Philadelphia, Penn.; Institute of Contemporary Art, Boston, Mass.; Walker Art Center, Minneapolis, Minn.; Smith College Museum of Art, Northampton, Mass.
"National Invitational Print Exhibition," Albion College, Mich.
1971	"Art Systems," Museum of Modern Art, Buenos Aires, Argentina. Travel: Mus.
"Projected Art: Artists at Work," Finch College Museum, Finch College, N.Y.
11,000 people from around the world, to be preserved for 400 years.
1992	"Hot/Cold Earthship with Heartbeat," 40 ft wooden barge filled with earth, soundtrack of heartbeat—oars, ancient anchor, ropes, chains. Also: "Stelae II," two hand carved granite tablets (1 ton), commissioned by the Museum of Contemporary Art, Helsinki, and the Art Museum of Tampere, Finland for the "Strata" exhibition.
1991-92	"Introspection I—Evolution". 17 ft mural depicts human evolution. Commissioned by the Harold Washington Library Center. Winner of Chicago Bar Assoc. Young Lawyers Public Art Award. City of Chicago Public Art Program.
1988-91	"North Waterfront Park Master Plan". Art concept, development and design of ninety-seven-acre landfill. Includes 12-acre wildlife sanctuary, fresh water lake, brackish marsh, tidal pools, lighthouses and sunflower and wildflower meadows. Department of Public Works, City of Berkeley, Calif. Master Plan approved 1991.
1986-87	"Hypersphere--The Earth in the Shape of the Universe," five-ton etched glass suspension ceiling, and complete lobby design. Commissioned by the First National Bank of Chicago for their New York City headquarters at Equitable Center, New York. Dedicated January 14, 1987.
1986	"Stelae--Messages from Another Time--Discoveries of Minds and People," two hand-carved marble tablets depict major scientific breakthroughs, Santa Maria di Castello, Genoa, Italy. Commissioned by the Department of Cultural Affairs & Artemesia, Genoa, Italy.
1982	"Wheatfield - A Confrontation," two acres of wheat planted and harvested, Battery Park landfill, downtown Manhattan. Commissioned by the Public Art Fund, New York.
1980	"Anima/Persona—The Seed in 4-D ," the first 360-degree integral hologram, a holographic film of the growth process in motion.
1979	"Probability Pyramid - The Crystal Pyramid and the Seed," commissioned for the Great Ideas Series, Container Corporation of America, Chicago, Ill.
"Time Capsule," Artpark, Lewiston, New.York.
1968	"Haiku Poetry Burial, Rice Planting and Tree Chaining," the first eco/philosophical work from the "Eco-Logic" series. Sullivan County, New York.
1993-	Studio For Creative Inquiry, Research Fellow, Carnegie Mellon University, Pittsburgh, Pa.
1990	The Eugene McDermott Achievement Award "In Recognition of Major Contribution to the Arts," Massachusetts Institute of Technology, Council for the Arts, Cambridge, Ma.
1984	New York State Council on the Arts, Visual Artists Program grant toward the publication of BOOK OF DUST—The Beginning and the End of Time and Thereafter.
1982	The Ann and Donald McPhail Award (first prize), International Print Competition, Print Club, Philadelphia, Penn.
1980-	Fellow at the Center for Advanced Visual Studies, M.I.T., Cambridge, Ma.
1980	Berthe Von Moschzisker Prize, International Print Competition, Print Club, Philadelphia, Penn.
1977	Collaboration in Art, Science and Technology Fellowship, (C.A.S.T.) Syracuse University, N.Y.
Purchase Prize, National Drawing Competition, Rutgers University, New Brunswick, N.J.
1973	Purchase Prize, National Print Competition, Albion College, Mich.
1988	Environmental Arts Workshop, Hartford Art School, Conn.
1976	San Francisco Art Institute, San Francisco, Calif.
"Individual Artists" NASAA, Mid-Atlantic Arts Foundation, Pittsburgh, Pa.
1999	"Art for the New Millennium—Creating a New World View", Watson Festival of the Arts, Carnegie Mellon University, Pittsburgh, Pa.
"Philosophy in the Land—Art for the New Millennium", Gladys S. Blizzard Lecture, Bayly Art Museum, University of Virginia, Charlottesville, Va.
"Signs of Intelligent Life", Roland Gibson Gallery, State University of New York at Potsdam, N.Y.
1995	Kansas City Art Institute, Kansas City, Mis.
"An Artist's Vision of the Future", E.P.I.I.C., Tufts University, Medford, Mass.
1994	"Conversations Towards the Third Millennium," Photographic Resource Center, Boston Univ., Boston, Mass.
1991	Juror, Urban Follies Design Project, Urban Design Forum, City of Denver, Colo.
1990	Architects House, Moscow, U.S.S.R.
University of California at Berkeley, Calif.
1989	University of North Dakota College of Fine Arts, Grand Forks, N. Dak.
1984	"The Evolution of Ideas - Global Concerns", featured speaker "Art in Architecture" conference, Paul Mellon Arts Center, Wallingford, Conn.
Harvard University Graduate School of Design, Cambridge, Mass.
1983	Wabash College, Crawfordsville, Ind.
1982	Mount Holyoke College, South Hadley, Mass.
"Art in New York," St. Lawrence University, Canton, N.Y.
Center for Advanced Visual Studies, M.I.T., Cambridge, Mass.
St. Lawrence University, Canton, N.Y.
1979	Rochester Institute of Technology, N.Y.
Visual Studies Workshop, Rochester, N.Y.
State University of California, Northridge, Calif.
University of California at Los Angeles, Calif.
Tyler School of Art, Temple University, Philadelphia, Penn.
1976	Douglass College, Rutgers University, New Brunswick, N.J.
Newport Harbor Art Museum, Calif.
Otis Art Institute, Los Angeles, Calif.
San Francisco Art Institute, Calif.
San Jose State University, Calif.
1975	California College of Arts and Crafts, Oakland, Calif.
1974	Corcoran School of Art, Washington, D.C.
Moore College of Art, Philadelphia, Penn.
1973	Corcoran School of Art, Washington, D.C.
2000	"Art & Mathematics 2000", Symposium, Humanities Gallery & Brooks Design Center, Albert Nerken School of Engineering, Cooper Union, N.Y.
"NASAA 2000" Individual Artists peer Group Pre-Conference: "What Do You Mean 'Individual'?, Mid Atlantic Arts Foundation & the Pennsylvania Council on the Arts, Pittburgh, Pa.
1995	"Co-Existence, Construction in Process," The Artists' Museum, International Symposium of Artists, Mitzpe Ramon, Israel.
1991 Juror, Urban Follies Design Project, Urban Design Forum,City of Denver, Colo.
1990	"The Global Dream," presentation at Art Transition '90, International Conference on "Art, Science and Technology," Center for Advanced VisualStudies, M.I.T., Cambridge, Mass.
"International Sculpture '90," sculpture conference sponsored by theInternational Sculpture Center, Washington, D.C.
1989	"Art and Public Spaces: Daring to Dream," symposium (Denes: "Public Art and Value Systems"), Sculpture Chicago '89, Ill.
1987	"80's Style," Rochester Institute of Technology, Rochester, N.Y.
1984	"The Evolution of Ideas - Global Concerns" (featured speaker for "Art in Architecture" conference), Paul Mellon Arts Center, Wallingford, Conn.
"Computer Genesis: A Vision of the 70's," Syracuse University, N.Y.
"The Creative Mind," National Gallery of Fine Arts, Smithsonian Institution, Washington, D.C.
1973	"Developing Creativity" (workshop and symposium), Wingspread, Johnson Foundation, Racine, Wis.; sponsored by University of Wisconsin "Conference on Women and the Arts," Wingspread, Racine, Wis.
1972	"Artists Speak: Personal Reflections on Their Own Work," Corcoran Gallery of Art, Washington, D.C.
McKenzie, Bryan. "Take a walk among poets...", in The Daily Progress, U. of Virginia, Charlottesville, Va.
2000	Selz, Peter. "Reviews" (Agnes Denes, Charlottesville, Va.) in Sculpture, vol 19, no. 10, pp 77-78 (text & illus.).
Buurma, Christine. "Poetry Walk to display literary telent", in The Cavalier Daily, April 24, Charlottesvilla, Va.
Ford, Jane. "Bringing art to the surface" in Inside UVA, (Vol 30, Issue 15, April 28).
(Vol 1, issue 7, August, 2000), pp 30,34, (text & illus.).
Nemitz, Barbara. Trans Plant: Living Vegetation in Contemporary Art, Ostfildern—Ruit, Germany: Hatje Cantz Publisher. Essay by Kim Levin: "Gaining ground: a retrospective view of art in nature and nature in art", (text & illus.), pp 13, 16, 42, 43f, 185.
Sutton, Beth. "Environmental Art with a Social Conscience", (Agnes Denes, "Poetry Walk: Reflections—Pools of Thought", Univ. of Virginia) in "64", August 2000, p 34 (text & illus.).
Agnes Denes", in Sculpture. pp 16-23, and cover, (May), vol 18, no 4, (text & illus.).
Uchtrup, von Michael. "Conjuring New Muses", in Art Papers, Jan/Febr. 1999.
Wasserman, Krystyna, "Book as Art XI—Inside the Artist's Book." Women in the Arts (Fall l999) pp 18-19 (text & illus.) National Museum of Women in the Arts.
1998	"Agnes Denes", Galleria Il Bulino, Rome, Rova/Roma.
Mismetti Capua, Carlotta. "Agnes Denes, Accademia Americana", in "Gli orti della cultura", Time Out/Roma, July/August, p. 30-32.
"Incontro con l'artista Agnes Denes", (Un 'iniziativa de "Stelle Cadenti", Bassano in Teverina", L'Eco Della Stampa, Milano, April 24, n. 111, l998.
Lippard, R. Lucy. "Lure of the Local: Senses of Place in a Multicentered Society", New York: The New Press. pp 192, plate 14, (text & illus.).
Zevi, Adachiara. "La filosofia visiva di Agnes Denes"—"The Visual Philosophy of Agnes Denes", L'Architettura, #516, October, Rome, Italy.
Aberlin, Mary Beth. "America the Digital," The Sciences, New York Academy of Sciences, May/June, p. 8 (illus.).
Clark, James. "Fields for Thought: The Art of Agnes Denes," Public Art Review (Regarding Land), Spring/Summer, pp 9-13 (text and illus.).
Kevles, Bettyann Holtzmann. Naked to the bone. New Brunswick, N.J.: Rutgers University Press. pp. 278-281, 279, 315, (text and illus.).
1996	"Ahtisaarelle nimikkotaimi Puuvuoreen," Aamulehti, Tampere, Finland (June 15).
"Ahtisaari instuttaa Ylöjärven Puuvuoren viimeisen puun tanään," Aamulehti, Tampere, Finland (June 14).
"Ahtisaaren kone oikkuili," Pohjalainen, Vaasa, Finland (June 15).
"Arvokasta ympäristönhoitoa," Nokian Uutiset, Nokia, Finland (June 17).
Hilska, Esko. "Ahtisaari ottaa osaa Ylöjärven ympäristöteokseen," Keskisuomalainen, Jyväskylä, Finland (June 13).
Joenniemi, Minna. "Ahtisaari tarjosi takkinsa Suoniolle,"Ilta-Sanomat, Finland (June 15).
"Konevika viivästytti presidenttiä," Hyvinkään Sanomat, Hyvinkää, Finland, (June 15).
Kuspit, Donald. "Agnes Denes: Joyce Goldstein Gallery." Artforum International 6 ("Tree Mountain—A Living Time Capsule"), (February), p. 82 (text & illus.).
Kuspit, Donald. Idiosyncratic Identitites, Cambridge, Mass.: Cambridge University Press, 1996. ("Paradox Perfected—Agnes Denes's Pyramids", reprinted from Agnes Denes. Ithaca, N.Y.: Herbert F. Johnson Museum of Art, Cornell University, 1992).
Kärkkäinen, Anne. "Lahjoja luonnolle ja ihmisille," Vihreä Lanka, Helsinki, Finland (June 20).
Koskinen, Sirpa. "Pirkanmaa," Kansan Uutiset, Helsinki, Finland (June 13).
"Martikainen, Maire, and Kalle Parkkinen. "Presidentti Ahtisaari instutti oman puunsa Puuvuoreen," Iltalehti, Helsinki, Finland (June 15).
"Martti Ahtisaari istutti nimikkopuun," Uutisvuoksi, Imatra, Finland (June 16).
"Martti Ahtisaari instutti nimikkopuun," Salon Seudun Sanomat, Salo, Finland (June 15).
"Martti Ahtisaari institti nimikkopuun," Savon Sanomat, Kuopio, Finland (June 15).
Pitkänen , Ulla. "Puuvuori kaunistaa soramonttua Ylöjärvellä," Helsingin Sanomat, Helsinki, Finland (June 15).
"Presidentti Ahtisaari kuntavierailulle Ylöjärvelle," Ylöjärven Sanomat, Ylöjärvi, Finland (June 13).
"Presidentti Ahtisaaren vierailu viivästyi," Uudenkaupungin Sanomat, Uusikaupunki, Finland (June 15).
"Presidentti jaoutui vaihtamaan konetta," Itä-Häme, Heinola, Finland (June 15).
"Puuta," Suomen Kuvalehti, Helsinki, Finland (June 14).
"Puuvuori kasvaa perinnöksi", Aamulehti, Tampere, Finland (June 15).
"Puuvuori kuin jättiläismäinen muurahaiskeko," Ylöjärven Sanomat, Ylöjärvi, Finland (June 6).
"Puuvuori muistuttaa ympäristöongelmista," Kansan Uutiset, Helsinki, Finland (June 18).
"Puuvuori paikkaa ympäristön arpia," Etelä-Suomen Sanomat, Lahti, Finland (June 15).
"Puuvuori paikkaa ympäristön arpia," Forssan Lehti, Forssa, Finland (June 15).
"Puuvuori vihitään perjantaina," Nokian Uutiset, Nokia, finland (June 12).
Salo, Seppo. "Puuvuori korjaa ihmisen jäljet," Kotimaa, Helsinki, Finland (June 20).
Tawadros, Gilane, ed. Map. (Agnes Denes: Isometric Systems in Isotropic Space-Map Projections) Institute of International Visual Arts, London, England. pp. 1, 1/24, 2/23,24,25,26, (text and illus.).
Tuomi, Raimo. "Ahtisaari ei nouse Ylöjärven hiekkavuorelle," Aamulehti, Tempere, Finland (June 7).
Vuori, Kristiina. "Vielakin Puuvuoresta," Ylöjärven Sanomat, Ylöjärvi, Finland (June 13).
"Ympäristötaideteos Ylöjärvelle," Kristityn Vastuu, Helsinki, Finland (June 13).
1995	Dickerson, Paul, guest ed. New Observations , No. 105 ("Isometric Systems in Isotropic Space -- Map Projection I -- Amorphous Continents,"1979) (illus.).
Kalil, Frederick. "Art: the Technology of Creative Expression." Tufts Journal, l3 (March), pp. 6-7 (illus.).
Oakes, Baile, ed. Sculpting With the Environment. New York: Van Nostrand Reinhold (text and illus.).
Prints and Photographs Published. "The Pyramid Suite, 1993-94." Print Collector's Newsletter 26 (May/June), p. 64 (text and illus.).
Robinson, Walter. "Front Page: Tree Mountain in Finland." Art in America 83 (January), p. 29 (text and illus.).
1994	Bentivoglio, Mirella, "Agnes Denes: Wynn Kramarsky Studio." Terzio Occhio 20 (September), p. 62.
"Land Art," Temps El, Barcelona, Spain (January 24), p. 92 (text & illus.).
"L'art de la terra," Nov Diari (Barna), Barcelona, Spain (January 21) , p. 42 (text and illus.).
Mitchell, W.J.T. , ed. Art and the Public Sphere. Chicago, Il.: University of Chicago Press, ("The Dream," reprinted from Critical Inquiry).
1993	Agnes Denes: A Retrospective," The American Federation of Arts Exhibitions Program 1993-1994 New York: The American Federation of Arts, p.9.
Chayat, Sherry. "Agnes Denes." ARTnews (March), p. 110.
Contemporary Art, Catalogue 97, Parts 1 and 2 (private collections of Robert Pinkus-Witten and Ellen Johnson) Boston: Ars Libri, Ltd. Five books by Agnes Denes.
Wheatfield - A Confrontation and Tree Mountain, text and illus., in Japanese, vol XII. no 363), Interview by Kumi Konno , "Agnes Denes: Memories For the Future", English publication of "Mirror of Memory".
Pinkel, Sheila, guest ed. "Introduction: Art and Social Consciousness." Special Issue: Leonardo, (Berkeley) 26, No 5, pp. 365-366.
"Public Art with Function" BT , 76 Tokyo, Japan.
1992	"Agnes Denes: A Retrospective," At the Johnson (Member's Newsletter of the Herbert F. Johnson Mus.), (Fall/Winter), p. 5 (text & illus.).
"Agnes Denes: a Retrospective," Members' Newsletter, (Herbert F. Johnson Museum of Art), (Spring/Summer), p. 3 (text and illus.).
Adams, Barbara. "Denes's Paradox." The Ithaca Times (Oct. 8), p 11 text and illus.).
Brookner, Jackie. ed. "Art and Ecology-Special Issue", Art Journal, College Art Association, New York. "Wheatfield - A Confrontation/Tree Mountain." (Summer), pp. 11, 22-23, (text and illus.).
Chayat, Sherry. "Agnes Denes: Herbert F. Johnson Museum of Art, Cornell University" ARTnews 92 (March), p. 118 (text and illus.).
Chayat, Sherry. "Agnes Denes maps universe in space and time", Syracuse Herald American. Syracuse, N.Y. (October 4) p. 12 (text and illus.).
Hargittai, I., and C. A. Pickover, editors. "An Artist's Personal Statement on Spiral and Other Map Projections." Spiral Symmetry (Singapore and London: World Scientific Publishing Co.), pp. 387-91.
Hartz, J., ed. Agnes Denes (monograph). Ithaca, N.Y.: Herbert F. Johnson Museum of Art (text and illus. by Denes essays by R. Hobbs, D. Kuspit, P. Selz, L. Sims, T. Leavitt).
Grossman, Mary. "New Medium for an Urgent Message."St. Paul Pioneer Press (March 1).
Kivirinta, Marja-Terttu. "Strata artist Agnes Denes underlines our responsibility to the earth--The sensitive artist is also a sensitizer." Helsinkin Sanomat, Helsinki, Finland (Jan. 28; text and illus.).
Kivirinta, Marja-Terttu. "Urgent Demand for the Environmental Art of the 1990's." Helsingin Sanomat, Helsinki, Finland(March 28; text and illus.).
Smagula, Howard. Learning to Draw (London: John Calman & King,Ltd.; U.S.A.: Brown and Benchmark) (illus.).
Rosenblatt, Anna. "Agnes Denes: Using Art to Re-connect Humankind and Nature." Ursus Profile , Cornell University, Ithaca, N.Y. pp. 21-24 (Fall; text and illus.).
Tominen, Marjaana. "Strata Solves Environmental Issues." Aamulehti, Tampere, Finland (March 27), pp. 1, 14 (text and illus.).
Tuominen, Maila-Katriina. "Nyt Saa Kysan Mita Se Tarkoittaa." Aamulehti, Tampere, Finland (May 3; illus).
Tominen, Maila-Katriina. "Trees Planted By Us Will Also Survive Us." Aamulehti, Tampere, Finland (Feb. 2; text and illus.).
1991	Cembalest, Robin. "The Ecological Art Explosion."ARTnews 90. (summer 1991; illus.p. 99-101, "Wheatfield - A Confrontation"). Reprinted in Allocations--Art for a Natural and Artificial Environment (Zoetermeer: Floriade Den Haag(1992).
Stapen, Nancy. "Drawings at Brandeis ask profound questions." Living Arts Section, Boston Globe (March 22).
1990	Artner, Alan J. "Agnes Denes - Arts Club of Chicago." Chicago Tribune (June 22).
Green, Theodora. "Agnes Denes, The Arts Club of Chicago." New Art Examiner (Sept.).
Hartney, Eleanor. "Landfill Projects." On View - A Journal ofPublic Art and Design 1 (spring/summer), pp. 52, 54-55 (text and illus.).
Merrill, Jennifer. "The Environment by Design--Ecological Art." ZPG (Zero Population Growth) Reporter, p. 3 (text and illus., "Pascal's Perfect Probability Pyramid & The People Paradox--The Predicament").
Neff, John. "On Public Art - Daring to Dream." Critical Inquiry 16, University of Chicago Press (summer), p. 858 (text and illus.).
Porges, Maria. Book review of Book of Dust, in Contemporanea 3 (summer),p. 123.
Russell, George, ed. "Building the Future." Orion Nature Quarterly 9 (spring), pp. 52-55 (text and illus.).
1989	Murray, Jeannette. "Religion, Reality, and Relativity: The ScientificTradition in Art." Encyclopedia Britannica: Yearbook of Science and theFuture, Chicago, Ill., pp. 28-29 (text and illus).
"Religão, Realidade e Relatividade: A tradicao cientifica na Arte."Livro do Ano Ciencia e Futuro 1989, Encyclopaedia Britannica do Brazil. São Paulo, Brazil: Publicaciones Ltda., pp. 89-91 (text and illus.).
Naylor, Colin, ed. Contemporary Artists, third edition, London, England:St. James Press (text and illus.).
Oliver, Cordelia. "Maps and the Artist." Togail Tir - Marking Time - TheMap of the Western Isles. Finlay MacLeod, ed. Isle of Lewis, Scotland:Acair Ltd., pp. 145-48 (text and illus.).
Princenthal, Nancy. "Artist's Book Beat." Print Collector's Newsletter 20(Nov./Dec.), p. 185.
Schwartz, Joyce Pomeroy. "Public Art." Encyclopedia of Architecture -Design, Engineering, and Construction. Joseph A. Wilkes, ed. Vol. 4. New York: The American Institute of Architects.
1988	Ahlström, Crispin. "Konst Mot Hunger." Kultur, Göteborgs-Posten, Göteborg, Sweden (Feb. 27; text and illus.).
"A Londra una grande mostra fino al 2 ottobre." Il Gazzettino (Sept. 27).Berglund, Karin.
"Konstnarer Malar for Svaltande Barn." Dagens Nyheter,Göteborg, Sweden (Feb. 23).
"Bilder gegen den Hunger" (Paintings Against Hunger). Kultur, Der Spiegel, Cologne, W. Germany (April 25; text and illus.).
Boehm, Rachel E. "Prominent Landscaper Hired for Waterfront Park." Daily Californian, Berkeley, Calif. (Jan. 29), pp. 1-4.
Borgen, Trond. "Art Against Hunger in Solvberget - Food for Thought." Stavanger Aftenblad, Stavanger, Norway (Jan. 27; text and illus.).
Cases, Helene. "Les Palettes de la Faim" (The Colors of Hunger). Le Quotidien de Paris (July 18).
"The Debate - One Million B.C. to One Million A.D." Evening News, Bridgetown, N.J. (illus.).
"Gli artisti per la fame nel mondo" (Artists for the end of world hunger). Flash Art 145 (Nov.).
"Introspection I - Evolution," "Art Exhibition." Trentonian, Trenton, N.J. (October 2; illus.).
Pouchard, Ennio. "Arte Contro Fame", Il Gazzettino, September 27, l988.
Schindler, Jörg. "Kunst Gegen Hunger" (Art Against Hunger), Cologne, Germany, (illus.).
Smith, Elisabeth M. "Earth-Shaping Designs." Savvy (June), pp. 16-17.
"Squibb celebrates 50th anniversary with exhibition." Gazette, New Hope, Penn. (Sept. 22) Watkins, Eileen. "Art." Star Ledger, Newark, N.J. (Oct. 28).
Wines, James. "Wheatfield - A Confrontation." De-Architecture. New York: Rizzoli International Publications, Inc., p. 172.
1987	Martin, Mary Abbe. "Art Exhibition Aims a Blow at World Hunger." Star-Tribune, Minneapolis, Minn. (Sept.13).
Schwartzman, Allan. "Public Monuments." Manhattan, Inc. 4 (Aug.), p. 13.
Selz, Peter. "Alternative Aesthetics: Quests for Spiritual Quintessence." Arts Magazine 62 (Oct.), pp. 47-49.
Sims, Lowery. "The Envelope, Please . . . The Experts Cast Their Votes."ARTnews 86 (Nov.), p. 170 (text and illus.).
1985	Castleman, Riva. American Impressions: Prints Since Pollock. New York: Alfred A. Knopf, Inc., pp. 136-37 (text and illus.).
Haga, Chuck. "Dakota Durum Helped a Bit of the Country Sprout in the City." Grand Forks Herald (April 14), p. 5a.
Haga, Chuck. "Food Holds Special Magic for City Slickers." Farm and Home (April 15), p. 44.
Lyon, Christopher. "Strange Hybrids Sprouting." Chicago Sun-Times (March 22), p. 62 (illust.).
Selz, Peter. "Agnes Denes: The Visual Presentation of Meaning."Art in a Turbulent Era. Ann Arbor, Mich.: UMI Research Press.
1984	"Dialectic Triangulation." Print Collectors Newsletter 14 (Jan./Feb.), p. 213.
1983	Lippard, Lucy R. Overlay - Contemporary Art and the Art of Prehistory. New York: Pantheon Books, pp. 81-82 (illus.).
1982	"Agnes Denes: A Wheatfield in Manhattan," The Year in Print, Public Art Fund, Inc.
Rückblick, Internationale Jugendtriennale und Meister der Zeichnung Nürnberg, W. Germany: Kunsthalle (compilation of published reviews).
Cohen, Ronny H. "Agnes Denes: Triumph of the Will." Print Collector's Newsletter 13 (Nov./Dec.), pp. 159-61.
Hobbs, Robert. "Earthworks: Past and Present." Art Journal 42 (summer), pp. 191-94 ("Wheatfield - A Confrontation," p. 193).
Johnson, Ellen, editor. American Artists on Art: From 1940 to 1980. New York: Harper and Row, pp. 137-41 (illus. and text).
1981	"Art of Maps and Vice Versa." Milwaukee Journal (Jan. 11).
Cole, David, and Richard Kostelanetz, compilers. Eleventh Assembling: Pilot Proposals. Brooklyn: Assembling Press (illus. of Denes's "Pascal's Perfect Probability Pyramid" and "Noah's Ark").
Cowen, Mary S. "Computers and the Arts." Christian Science Monitor (Feb. 24).
Haglund, Elisabet. "Forvandlingar i Konsten" (Transformations in Art).Kalejdoskop - Norrsken 5, 6, Ahus, Sweden.
Kuspit, Donald B. "Agnes Denes: The Ironies of Comprehension." Arts Magazine 56, pp. 152-53.
Phillips, Deborah C. "Definitely not suitable for framing." ARTnews 80, (Dec.), pp. 63, 65.
Rice, Shelley. "Reviews, New York." Artforum 19 (Feb.), p. 81.
Selz, Peter. Art in Our Times - A Pictorial History 1890-1980. New York: Harry N. Abrams, p. 531 (illus).
Zanetti, Paola Serra. "U.S.A., New York, New York." Meta: Parole & Immagini 3 (Feb./March), Florence, Italy (text and illus.).
1980	Belford, M. and J. Herman. Time and Space Concepts in Art. New York: Pleiades Gallery.
Bertsson, Asa. "A New Language of Art." Sydsvenska Dagbladet Snällposten, Lund, Sweden (Feb. 26).
Daval, Jean-Luc, editor. "The Space of Communication." Skira Annuel. Art Actuel. Geneva, Switzerland: Editions d'Art Albert Skira, pp. 96-97, 156 (text and illus.).
Eliasson, Karl-Erik. "Truth of Hand and Spirit." Hellsingborgs Dagblad, Helsingborg, Sweden (Feb. 20).
"Female Da Vinci Shows at Galleriet." Lundabladet, Lund, Sweden (Feb. 11).
Johansson, Hans. "Two Poets of Science." Arbetet-Kulture, Lund, Sweden (March 2).
The List. Independent Curators, Inc., New York.
Lucie-Smith, Edward. Art in the Seventies. Ithaca, N.Y.: Cornell University Press, pp. 31, 123 (text and illus.).
Nittve, Lars. "Nyavärlds-bilder" (New World Pictures). Svenska Dagbladet,Stockholm, Sweden (Feb. 29).
Nordgren, Sune. "Dizzying World Images." Dagens Nyheter, Stockholm, Sweden (Feb. 28).
Nyman, Ulla. "Hon Visar Det Osedda - Agnes Denes with Human Dust."Sydsvenska Dagbladet, Lund, Sweden (Feb. 9), p. 20.
Perreault, John. "Old Wine, New Bottles, Bad Year." Soho News (June 18).
Rice, Shelley. "Reviews, New York." Artforum 9 (Sept.), p. 70.
Rickey, Carrie. "Art, Systems, Inquiry, Translation." Village Voice.
Ferrari, Corinna. "La Bellezza della Logica - Agnes Denes a Milano." Domus 596 (July), p. 51.
Gonzales, Jose Carlos. "Agnes Denes, el Triangulo y la Piramide Perfecta de Pascal." Artes Visuales 20 (Dec./Feb.). Chapultepec, Mexico: Museo deArte Moderno.
"Isometric Systems in Isotropic Space: Map Projections." Print Collector's Newsletter 9 (Jan./Feb.), p. 203.
Parmesani, Loredama. "Antologia." Segnoll, Notiziario de Arte Contemporanea 11 (March), p. 22, Pescara, Italy.
"Probability Pyramid." Print Collector's Newsletter 9 (Jan./Feb.), p. 192.
1978	Daval, Jean-Luc, editor. Skira Annuel. Art Actuel. Geneva, Switzerland:Editions d'Art Albert Skira, pp. 111, 152 (text and illus.).
Hafif, Marcia. "New York - Diversificazione Dell Avanguardia."D'ars, Periodico D'Arte Contemporanea 17, pp. 27-28 (illus.).
Lipman, Jean, and Richard Marshall. "Introspection III: Aesthetics." Art About Art. New York: E. P. Dutton and Co., p. 78.
Merz, M. "La Biennale di Venezia." Domus 586 (September), p. 46.
1977	Hafström, Jan. "Syner i New York." Paletten 2, Göteborg, Sweden, pp. 2-4 (text, illus., and cover).
Marmer, Nancy. "Art." New West (Jan. 3), PSC-17.
Naylor, Colin, and Gensis P. Orridge, editors. Contemporary Artists. London: St. James Press, Ltd., pp. 244-46 (text and illus.).
1976	"Agnes Denes, 4,000 Years, If the Mind . . ." Print Collector's Newsletter 7 (Nov./Dec.), p. 149.
Johnson, Ellen H. Modern Art and the Object. London: Thames and Hudson, pp. 43-47 (illus.).
Lippard, Lucy R. From the Center. New York: E. P. Dutton and Co., pp. 2n, 20, 42, 43 (text and illus.).
Oliva, Achilee Bonito. Europe/America - The Different Avant-Gardes. Milan: Deco Press, p. 131 (text and illus.).
Wortz, Melinda. "Agnes Denes . . . ." Art Week 7, p. 3.
1975	Boetti, Anne Marie. "L'Altra Creativita." Data (July/Aug.), pp. 54-58.
Bourdon, David. "Art." Village Voice 20 (March 3), pp. 92-93.
Picard, Lil. "Brief Aus New York." Kunstforum International, Bd. 13 (Feb./April), pp. 219-23.
Popper, Frank. Le Declin de l'Objet (selections from Popper's Art, Action, and Participation). Paris: Chene Publishers ("Pascal's Triangle").
Selz, Peter. "Agnes Denes: The Visual Presentation of Meaning." Art in America 63 (March/April), pp. 72-74.
Smith, Phillip. "Dynamic Visual Systems in Process: The Works of Agnes Denes." Arts Magazine 50 (Dec.), pp. 77-79.
1974	Reise, Barbara. "Agnes Denes: Analytical Works." Studio International: Journal of Modern Art 188, pp. 235-38.
Tannous, David. "Quantifying the Unquantifiables." Washington Star News (Dec. 13), p. E-2.
1973	Lippard, Lucy R. Six Years: The Dematerialization of the Art Object. New York: Praeger Publishers, pp. 107-108 (text and illus.).
"Force fields—Phases of the Kinetic", MACBA, Museu d'Art Contemporani de Barcelona, Spain. Essay Guy Brett "Contingency and Infinity", pp 61, 63, 68, 140-141, 129, 133, 219, 221, text & illus.) pp 304-306 (Excerpts from Book of Dust: Agnes Denes).
"Women Artists in the Vogel Collection", Gainesville, Ga." Brenau University. pp.8-9, 28, 52, 58, (text & illus.).
1997	"Artists—Messengers of Peace" (Art for Peace Collection), Eretz Israel Museum, Tel Aviv, Israel (illus.).
The Private Eye in Public Art. Charlotte, N.C.: La Salle Partners, National Plaza.
1995	In Light of Our Reflection: Visions of Art and Science. ("Flying Pyramid for the Twenty-Second Century, l984"). Medford, Mass.: Tufts Uiversity Art Gallery, (text & illus.).
1994	Ipotesi sulla Scultura, (essay by Virginia Bardel, curator). Rome: Italy, M.E.R.C.I. (text & illus.).
1993	Creative Solutions to Ecological Issues.. New York and Hempstead, N.Y.: Council for Creative Projects and Hofstra University.
Le Onde: Scultrici a Venezia, "The Human Argument, l969-71." Mirano/Venezia: Editrica Eidos (text & illus.).
1992	Allocations -- Art for a Natural and Artificial Environment (essay byRobin Cembalist). The Hague, Netherlands: Floriade Den Haag, Zoetermeer. pp. 190, 191, 193 (text and illus.).
Americas . Seville, Spain: Junta de Andalucia, Expo '92. pp. 38, 91, 96 (text and illus.).
Completing the Circle: Artists' Books on the Environment. Minnesota: Minnesota Center for Book Arts (introduction; pp. 4-5).
Strata. Finland: Museum of Contemporary Art, Helsinki, and The Art Museum of Tampere, pp. 25, 96-107, 169-70, 78-83 (text and illus.).
Canada. Introduction by Ihor Holubizky (text & illus).
Visions/Revisions. Denver: Denver Art Museum.
1990	Agnes Denes - Concept into Form, Works 1970-1990. Chicago: Art Club of Chicago (text by A. Denes and J. Neff).
Agnes Denes, El Concepto Hecho Forma, Obras, 1970-1990. Madrid: Anselmo Alvarez Galerie de Arte (text by A. Denes, J. Neff, and R. Rosen).
Artists for Amnesty. New York: Amnesty International USA.
1989	Lines of Vision: Drawings by Contemporary Women. New York: Hudson Hills Press (illus.; essays by J. Collischan, T. Leavitt, and J. Wilson),pp. 44, 157.
Making Their Mark - Women Artists Move Into the Mainstream, 1970-1985. New York: Abbeville Press, pp. 19, 62, 101, 169, 170-73, 175, 214, 235-36, 244, 286 (text and illus.).
25 Jahre Berliner Kunstlerprogramm. W. Berlin: DAAD, pp. 137, 160 (text and illus.).
1988	A Debate on Abstraction. New York: Bertha and Karl Leubsdorf Art Gallery,Hunter College.
Interaction: Science and Art. Princeton, N.J.: The Squibb Gallery.
1987	Graphica Atlantica. Reykjavík, Iceland: Kjarvalsstadir.
The International Art Show for the End of World Hunger ("Wheatfield -A Confrontation"). New York: Artists to End Hunger and Worldview International Foundation, pp. 84-87, 103.
1986	Archetypes: Eastern Cultures - Western Art of the Twentieth Century ("4000 Years - If the Mind . . ." and "Evolution I"). Belgrade, Yugoslavia: Ethno-graphic Museum, pp. 138-39.
Die Wirklichkeit der Bilder - Selected Works from the Collection. Nürnberg, W. Germany: Kunsthalle, pp. 10,19 (illus.).
V Bienal Americana de Artes Graficas. Cali, Colombia: Museo de Arte Moderno la Tertulia.
Works on Paper, Rutgers National 85/86. Camden, N.J.: Stedman Gallery,Rutgers University.
1985	Art, Design and the Modern Corporation (The Collection of the Container Corporation of America, a Gift to the National Museum of American Art). Washington, D.C.: National Museum of American Art, Smithsonian Institution, pp. 72, 87-88 (text and illus.).
Artists and Architects - Challenges in Collaboration. Cleveland, Ohio:Cleveland Center for Contemporary Arts, pp. 11, 34 (illus).
The Drawing Center Show. Bridgehamton, N.Y.: Elaine Benson Gallery.
KIS '85, Kunsan International Show. Chonbuk, Korea: Institute of Contemporary Art, Kunsan National University, p. 85 (illus.).
Large Drawings. New York: Independent Curators, Inc. (illus.).
1984	Exception 2. New York: Pratt Manhattan Center Gallery.
Land Marks. Annandale-on-Hudson, New York: Edith C. Blum Art Institute, Milton & Sally Avery Center for the Arts, Bard College Center.
1983	The Examples of Mental Spiritual Spaces/Works. Belgrade, Yugoslavia: Galeria Studentskog, Kulturnog Centar.
New York i Linköping. Linköping: Östergotlands Länsmuseum, Linköping(essay by Bo Nilsson).
Petit Format de Papier. Couvin, Belgium: Cul-des-Sarts, Ministère de laCommunauté Française.
Printed by Women - A National Exhibition of Photographs and Prints. Philadelphia: The Port of History Museum at Penn's Landing (illus.).
World Print Four - International Survey. San Francisco: World PrintCouncil, Fort Mason Center, p. 36.
1982	Arte e Scienza per il Disegno del Mondo (Art and Science for the Representation of the World). Turin, Italy: Citta di Torino Assessoratoper la Cultura.
The Destroyed Print. New York: Pratt Manhattan Center Gallery.
58th Annual International Print Competition. Philadelphia: Print Club, p.3 (illus).
Meister der Zeichnung, Zeichnung Heute 2. Nurnberg: Internationale Jugendtriennale, Kunsthalle, (Denes, U.S.A.; Gafgen, France; Tubke, W. Germany.; U-Fan, Japan); essay on Denes by B. Kerber, pp. 11-44 (text and illus.).
157th Annual Exhibition. New York: National Academy of Design.
Prints America. Philadelphia: Abington Art Center.
Projections. Chicago: West Hubbard Gallery.
1981	Lis '81, Lisbon International Exhibition of Drawings Lisbon: Galerie Nacional de Arte Moderna, pp. 50-51 (illus.) Note: Museum burned before exhibition opened.
Mapped Art, Charts, Routes, Regions. Boulder: University of Colorado Art Galleries (essay by Peter Frank).
Messages: Words and Images. Reading: Freedman Gallery, Albright College.
New Dimensions in Drawing 1950-1980. Ridgefield, Conn.: Aldrich Museum of Contemporary Art (illus.).
Schemes: A Decade of Installation Drawings. New York: Elise Meyer, Inc. (essay by Shelley Rice).
Transformations - Women in Art '70-'80. New York: Art Expo.
Women Artists (Ten Years of Women Artists at Douglass College 1971-1981). New Brunswick, N.J.: Rutgers University.
"Words as Images." White Walls, Chicago: Renaissance Society, University of Chicago. "Pascal's Perfect Probability Pyramid & the People Paradox," pp. 38-45 (text and illus.).
G. Garrels and A. Denes).
All in Line - An Exhibition of Linear Drawing. Syracuse, N.Y: Joe andEmily Lowe Art Gallery, Syracuse University.
American Drawing in Black and White: 1970-1980. Brooklyn: Brooklyn Museum.
American Woman Artists. Sao Paulo, Brazil: Museo de Arte Contemporaneo de São Paulo.
Cartes et Figures de la Terre. Paris: Musée National d'Art Moderne, Centre Georges Pompidou. Cover of catalog: "Map Projections - The Snail, Helical Toroid" by A. Denes, pp. 236-39 (text and illustration).
Drawings: The Pluralist Decade. Philadelphia: Institute of ContemporaryArt, University of Pennsylvania, pp. 80, 89.
56th Annual Print Competition. Philadelphia: Print Club.
Investigations: Probe, Structure, Analysis. New York: New Museum (essay by L. Gumbert and A. Schwartzman; text and illus. by A. Denes), pp. 20-24.
Paesaggio Di Paesaggi. Milan, Italy: Amministrazione Communale de Santa Maria C.V.
Pyramidal Influences in Art. Dayton, Ohio: Fine Arts Gallery, Wright State University.
Reasoned Space. Tucson: Center for Creative Photography,University of Arizona. "Map Projections," pp. 12-21.
The Women Artist Series - Tenth Anniversary Retrospective. New Brunswick, N.J.: Douglass College, Rutgers University.
1979	Biennial of Graphic Art. Ljubljana, Yugoslavia: Moderna Galerija. Rice/Tree/Burial Project - Time Capsule 1979-2979. Lewiston, N.Y.: Artpark.
1978	Agnes Denes - Work 1968-78. Birmingham, England: Ikon Gallery(essay by Roy Slade; text and illus. by A. Denes).
Agnes Denes - Sculptures of the Mind - Philosophical Drawings(essay by Thomas Deecke). W. Berlin: Amerika Haus, U.S. Cultural Center.
Artists Books. New York: Franklin Furnace.
La Biennale Di Venezia: From Nature to Art, from Art to Nature, Nature ofArt. 3 volumes. Venice, Italy: International Commission for theHistoric-Critical Exhibition (cur. J. C. Ammann and A. B. Oliva).
La Biennale Di Venezia: Materializzazione Del Linguaggio. Venice, Italy (cur. M. Bentivoglio).
Footprint '78. Seattle: Northwest International Small Format Print Competition and Exhibition.
Grids. New York: Pace Gallery (essay by Rosalind Krauss).
Point. Philadelphia: Philadelphia College of Art.
1977	"Rice/Tree/Burial Project," Artpark 1977. Lewiston, N.Y.: Artpark, Program in Visual Arts.
Computer Genesis: A Vision of the 70's. Syracuse, N.Y.: Joe and Emily Lowe Art Gallery, Syracuse University.
Dokumenta 6 - Book Three. Handzeichnungen, Von Der Landschaft zu Kosmischen Systemen, Kassel, W. Germany.
Numerals 1924-1977. New Haven, Conn.: Yale University Art Gallery,Yale University.
Paper. Philadelphia: Philadelphia College of Art.
Sculptures of the Mind - Agnes Denes. Paris: Centre Culturel Americain.
Sculptures of the Mind (Philosophical Drawings). West Berlin:Berliner Kunstlerprogram das DAAD und das Amerika Haus (introduction by T. Deecke).
1976	Agnes Denes: Paradox and Essence. New York: Franklin Furnace Archive.
Art in Landscape. New York: Independent Curators, Inc.
Language and Structure in North America. Toronto: Queen Street Magazine, Kensington Arts Association.
New York, Soho Contact '76. Georgetown, Ky: Georgetown College Gallery.
Paper: An Invitational Exhibition. Fredonia, N.Y.: Michael C. Rockefeller Arts Center Gallery, State University College at Fredonia.
The 1976 Biennale of Sydney. Sydney, Australia: Arts Gallery of New South Wales.
Thirty Years of American Printmaking and the 20th National Print Exhibition. Brooklyn: Brooklyn Museum.
Unique Works. New York: Franklin Furnace (A. Denes and A. Sondhim).
Women Artists Series Year Five. New Brunswick, N.J.: Douglass College, Rutgers University (introduction by Lucy Lippard).
1975	National Drawing Exhibition '75. New Brunswick, N.J.: Camden College of Arts and Sciences, Rutgers University.
U.S.A. Zeichnungen 3. Leverkusen, W. Germany: Schloss Morsbroich, Stadtisches Museum.
The Year of the Woman. New York: Bronx Museum of the Arts.
1974	Agnes Denes: Perspectives. Washington, D.C.: Corcoran Gallery of Art (essays by L. Alloway, R. Slade, and S. Sollins; text and illus. by A. Denes).
Kunst Bleibt Kunst - Projekt '74. Cologne, W. Germany: Kunsthalle.
Painting and Sculpture Today. Indianapolis, Ind., and Cincinnati, Ohio: Contemporary Art Society of the Indianapolis Museum of Art and The Contemporary Art Museum and Taft Museum, Cincinnati, Ohio.
Die Wiedergefundene Zeit - Projekt '74. Cologne, W. Germany: Kunsthalle.
Word Works. Walnut, Calif.: Mount San Antonio College.
1973	American Drawings 1963-73. New York: Whitney Museum of American Art.
Catalogue of the Collection. New York: Whitney Museum of American Art.
18th National Print Exhibition. Brooklyn: Brooklyn Museum.
Women Choose Women. New York: New York Cultural Center.
1971	Art Systems. Buenos Aires: Museum of Modern Art.
Oversize Prints. New York: Whitney Museum of American Art(introduction by Elke Solomon).
1970	Software. New York: Smithsonian Institution and the Jewish Museum.
1997	"Fifteen Years Ago: Agnes Denes Wheatfield", In Process, Public Art Fund Newsletter, (Spring).
1988	"Flying Pyramids for the Twenty-Second Century, Tamiami Airport, 1986-88." Metro-Dade Art in Public Places. Miami: Metro-Dade Center.
1987	"Wheatfield - A Confrontation." Public Art Fund, Inc., Annual Report, 1987, Anniversary Edition, p. 38.
1986	"Wheatfield - A Confrontation." Art in the Environment. Boca Raton, Fla.:Boca Raton Museum, p. 131.
1996	"Artistic Vision and Molecular Genetics", Art Journal 55 (Spring: Contemporary Art and the Genetic Code.) New York: College Art Association, pp 34-35 (text and illus. of "Thought Complex").
"Dialectic Triangulation: A Visual Philosophy" and "The Kingdom Series—X-ray of Calla Lillies", Report on Activities, The John D. and Catherine T. MacArthur Foundation.
"Rice/Tree/Burial" (1968-79) and "Wheatfield—a Confrontation" (l982), Theories and Documents of Contemporary Art: a Sourcebook of Artists' Writings, Kristine Stiles and Peter Selz, ed. Berkeley and Los Angeles: University of California Press, pp 504, 540-545 (text and illus.).
1995	"Pascal's Perfect Probability Pyramid & the People Paradox—The Predicament," 1980; "Teardrop—Monument To Being Earthbound," 1984; "Snail People—The Vortex," l989. Annual Report, Book Two, Dun & Bradstreet Corporation, pp. l0-13.
1993	"Notes on Eco-Logic: Environmental Art Work, Visual Philosophy and Global Perspective." Leonardo; (Berkeley) 26, No. 5, Special Issue: Art & Social Consciousness, pp. 367-366, 387-395, p. 422 colorplate, and cover.
1992	"Introduction: Notes on a Visual Philosophy." Completing the Circle:Artists' Books on the Environment. Betty Bright, ed. Minneapolis:Minnesota Center for Book Arts (illus.), intro., pp. 4-5.
"The Dream." Art and the Public Sphere (anthology of Critical Inquiry writings). T. Mitchell, editor. Chicago: University of Chicago Press. pp 177-195.
1990	"The Dream." Art and the Public Sphere, Critical Inquiry 16 (introduction by J. Neff: "On PublicArt - Daring to Dream") (summer), pp. 919-39 and cover.
1989	Book of Dust - The Beginning and the End of Time, and Thereafter. Rochester, N.Y.: Visual Studies Workshop.
1986	Mental Space - 3, Community for the Research of Space. Belgrade,Yugoslavia: Ethnographic Museum.
"Pascal's Probability Pyramid and the People's Paradox." 1986: Candidate Nominations for Associate Membership. General Meeting of Academiciansand Associations, p. 38.
"Notes on Visual Philosophy." Symmetry - Unifying Human Understanding and in Computers and Mathematics with Applications.I. Hargittai, ed.. London: Pergamon Press.
1983	Lowman, Jr., Paul D. "Faulting Continental Drift." The Sciences(July/Aug.), pp. 34, 39. (illus. of "Isometric Systems in Isotropic Space: Map Projections - The Hot Dog, The Doughnut, The Snail").
R. Rabinovich, catalog essay. New York: Center for Inter-American Relations/Americas Society.
"Syzygy." The Examples of Mental and Spiritual Spaces/Works. Belgrade, Yugoslavia: Galeria Studentskog, Kulturnog Centar.
"Pascal's Perfect Probability Pyramid & The People's Paradox - The Predicament." The Sciences (Nov./Dec.), p. 57.
"Wheatfield - A Confrontation." Reaktion. Leamon, Alsbach, W. Germany: Verlaggalerie.
1982	"Evolution and the Creative Mind" (excerpt from a lecture at the Smithsonian Institution, Washington, D.C., 1978).
American Artists on Art 1940-1980. Ellen Johnson, ed. New York:Harper and Row.
"Hamlet Fragmented." Shantih 4 (winter/spring), pp. 118-25.
"Time/Fuse/Attitudes" (Bjerred, Sweden), FLUE 2. New York: Franklin Furnace.
1981	"Animale, Rationale, Mortale." Petit Format de Papier, Exposition Internationale. Couvin, Belgium: Cul-des-Sarts.
"Pascal's Perfect Probability Pyramid & the People's Paradox."White Walls, catalog for exhibition "Words as Images." Chicago: The Renaissance Society,University of Chicago, pp. 38-45.
"Rice/Tree/Burial Project." ARTextreme, premiere issue (fall/winter 1981-82), Richmond, Va. (text, illus., and cover).
1980	"The Debate, 1 Million B.C. - 1 Million A.D." A Critical Assembling.Richard Kostelanetz, ed. Brooklyn: Assembling Press.
"Map Projections," "Rice/Tree/Burial Project." Skira Annuel. Art Actuel. Geneva, Switzerland: Editions d'Art Albert Skira, pp. 96-97, 156 (text and illus.).
"Organic Notebooks." Konstnarsbocker - Artists' Books - Kalejdoskop.Ahus, Sweden: Kalejdoskop, p. 25.
1979	Isometric Systems in Isotropic Space: Map Projections. Rochester, N.Y.: Visual Studies Workshop.
"Pyramid Series." Discovery of the Sources. Skira Annuel. Art Actuel. Geneva, Switzerland: Editions d'Art Albert Skira, p. 73 (text and illus.).
1978	"Rice/Tree/Burial Project." White Walls, Chicago, Ill., pp. 22-28.
"Study of Distortions" and "The Snail." The Image of Nature. Skira Annuel.Art Actuel. Geneva, Switzerland: Editions d'Art Albert Skira, plate 111(text and illus).
1976	Agnes Denes: Sculptures of the Mind. Akron, Ohio: University of Akron Press.
"Artists Books." Art-Rite 14 (winter), p. 7."Books in Review."Print Collector's Newsletter 6 (Jan./Feb.), pp. 171-72.
"Dialectic Triangulation: A Visual Philosophy," "Study of Distortions: Positions of Meaning," "4,000 Years." Sun and Moon: A Quarterly of Literature and Art 1 (winter), pp. 16-19, 20-26, 27-30.
Paradox and Essence. Rome: Tau/ma Press.
1975	"Anti-Object Art." Tri-Quarterly 32 (winter). Evanston, Ill.: Northwestern University."Human Dust Series." Visual Dialog 1, pp. 6-7.
1974	"Dialectic Triangulation," "Study of Distortions, "Studies of Time," "Studies of Truth," "Study of Human Dust," The Human Argument" in "Analytical Works." Studio International 188 (Dec.), pp. 235-38.
1973	"Psychographic." Duration Piece #8, by Doug Huebler. New York: Castelli and Sperone Gallery, p. 40.
1996	Wirth-Nesher, Hana. City Codes. Cambridge, Ma: Cambridge University Press. "Wheatfield—A Confrontation."
l993	Leonardo, (Cambridge, M.I.T. Press, vol. 26) "Isometric Systems in Isotropic Space--Map Projections: The Snail (helical toroid) and the Water Planet"
1992	Fragile Ecologies (New York: Queens Museum and Rizzoli International). "Wheatfield--A Confrontation, Battery Park City,,l982"
1990	Critical Inquiry. (Chicago: University of Chicago Press, summer, vol. 16)."Agnes Denes, Wheatfield - A Confrontation, Battery Park City landfill, New York. 1.8 acres of wheat planted and harvested © 1982 by Agnes Denes."
Reynolds, Frank E. Beyond the Classics. Atlanta, Ga: Scholars Press."Isometric Systems in Isotropic Space: Map Projections - The Snail."
1982	Regan, Tom. All That Dwells Therein. (Berkeley and Los Angeles: University of California Press). "Isometric Systems in Isotropic Space - Map Projections - The Snail."
1980	Cartes et Figures de la Terre. (Paris: Musée National d'Art Moderne, Centre Georges Pompidou). "Isometric Systems inIsotropic Space—Map Projections: The Snail (Helical Toroid)."
1979	"Natural Science and Mathematics." The Oberlin College Bulletin 78, (July), Oberlin, Ohio. "Map Projections: The Doughnut"
1978	Glassworks 1-3. (Metuchen, N.J.: Scarecrow Press, Inc.). "The Human Argument."
1977	Hafström, Jan. "Syner i New York," Paletten 2, Göteborg, Sweden. "Anima Pathema (The Emotional Animal)"
First National Bank of Chicago, Ill.
Metro Dade Art in Public Places, Miami, Fla.
National Air and Space Museum, Smithsonian Institution, Washington, D.C.
Philadelphia Museum of Art, Penn.
Roy R. Neuberger Museum, State University of New York at Purchase, N.Y.
Rutgers University Art Collection, New Brunswick, N.J.
Syracuse University Art Collection, N.Y.
Harold Washington Library Center, Chicago, Ill.
Works in numerous private collections throughout the world.


Before FLETCHER and TASHIMA, Circuit Judges, and RESTANI,** Judge, U.S. Court of International Trade.
This case arises out of two lawsuits filed in state court against a California insurance broker, Tri-World Insurance Agency ("Tri-World") which had procured insurance coverage for the clients, alleging that Tri-World negligently obtained general liability policies from a carrier that later failed to pay claims due to insolvency. Tri-World tendered the actions to its errors and omissions carrier, Employers Insurance of Wausau ("Employers"). Employers denied coverage and refused to defend the lawsuits on the basis of an exclusion in the errors and omissions policy barring coverage of claims resulting from an insurer's insolvency. Employers filed suit in federal district court seeking a declaratory judgment that it had no duty to defend or indemnify Tri-World. The district court granted Employers' motion for summary judgment. We have jurisdiction, 28 U.S.C. § 1291, and we affirm.
* In late 1990, Tri-World procured a general liability insurance policy from Philadelphia Reinsurance Limited ("Philadelphia") to cover Mr. J's Restaurant in Santa Ana California, owned and operated by Mohammed Johar and Jim Johar ("the Johars"). Mr. J's landlords, Harlan Erickson and Erickson Properties Corporation, ("the Ericksons") were named as additional insureds on the Philadelphia policy. Philadelphia was solvent at the time the Philadelphia policy was issued but was not admitted to transact insurance in California and was not a member of the California Insurance Guarantee Association (CIGA).
In early 1992, a personal injury action was filed against the Johars and the Ericksons in Orange County Superior Court. Suarez v. Mr. J's, No. 690747. Philadelphia agreed to defend the Suarez action and appointed defense counsel. In mid-1993, however, Philadelphia became insolvent. As a result of the insolvency, Philadelphia ceased providing coverage or defending the Suarez action. After Philadelphia's insolvency, the Johars and the Ericksons became liable for all remaining defense expenses and damages incurred in the Suarez action. Because Philadelphia was not a member of CIGA, the Johars and the Ericksons could not seek reimbursement from the CIGA fund which protects insureds in the event of the insolvency of member insurers. See Cal. Ins.Code § 1063.1.
On March 1, 1994, the Johars filed an action against Tri-World in Orange County, California, Superior Court. Johar v. Tri-World Ins. Agency, No. 726061. The Johar complaint asserted causes of action for "Professional Negligence," "Negligent Misrepresentation" and "Fraud" and sought recovery of $250,000 in costs incurred in the Suarez action. It contended that Tri-World breached its duty of care by failing to procure safe and adequate insurance and by failing to inform the Johars of Philadelphia's non-admitted status and non-membership in CIGA.
On March 17, 1994, the Ericksons filed an action against Tri-World in Orange County Superior Court asserting causes of action for "Professional Negligence" and "Fraud and Deceit" and seeking recovery of $96,000 in costs incurred in the Suarez action. Erickson v. Tri-World Insurance Agency, No. 726930. The Erickson complaint asserted that Tri-World breached its duty to find safe and adequate insurance for the Ericksons and failed to advise them that Philadelphia was not admitted to conduct insurance underwriting in California and was not a member of CIGA.
In March 1994, Tri-World tendered the defense of the Erickson action to Employers; in June 1994, it tendered the defense of the Johar action to Employers. Employers had issued Tri-World an "Insurance Professionals Errors and Omissions Liability 'Claims Made' Insurance Policy" for the policy period April 18, 1993 through June 6, 1994. The policy covered negligent conduct by Tri-World in the conduct of its business as an insurance broker. On May 3, 1993, however, Tri-World's president signed an insolvency exclusion endorsement which provided that "any claims resulting from the insolvency or bankruptcy of insurance companies, self-insurance trusts, group insurance trusts or other risk-assuming entities are excluded."
Employers refused to defend or indemnify Tri-World in the Erickson or Johar actions on the ground that all causes of action alleged against Tri-World resulted from the insolvency of Philadelphia and were therefore excluded from coverage due to the insolvency exclusion.
On May 23, 1994, Employers filed suit in federal district court, seeking a declaratory judgment that it was not required to defend or indemnify Tri-World in the Johar and Erickson actions. Tri-World filed a counter-claim seeking a declaration that Employers was required to defend and indemnify Tri-World and seeking reimbursement of attorneys fees and costs.
Employers and Tri-World filed cross-motions for summary judgment. On January 11, 1995, the district court granted Employers' motion for summary judgment and denied Tri-World's motion. On January 12, 1995, the court entered declaratory judgment in favor of Employers.
Submission of this case was withdrawn pending this court's en banc decision in Geico v. Dizol, No. 95-17393 (Slip op. January 13, 1998). Although neither the parties nor the district court questioned whether the district court should have exercised its discretionary jurisdiction pursuant to the Declaratory Judgment Act, 28 U.S.C. § 2201, this court's decisions in American Nat'l Fire Ins. Co. v. Hungerford, 53 F.3d 1012 (9th Cir. 1995), and Employers Reinsurance Corp. v. Karussos, 65 F.3d 796 (9th Cir. 1995) suggested that we might be obligated to sua sponte raise the question of whether the district court abused its discretion in retaining jurisdiction. Our decision in Geico, however, resolved this issue. When no party objects to the district court's entertainment of a declaratory judgment action over which the district court has constitutional and statutory jurisdiction, the district court is not obligated to sua sponte address whether jurisdiction should be declined. Further, this court is not required, sua sponte, to decide whether the district court abused its discretion in retaining jurisdiction where no party made such an objection. Slip op. at 235. We therefore decline to address the issue in the case at hand.
The district court's grant of summary judgment is reviewed de novo. Bagdadi v. Nazar, 94 F.3d 1194, 1197 (9th Cir. 1994).
As a threshold matter, Tri-World argues for the first time on appeal that the district court should have applied Wisconsin law rather than California law. Before the district court, Tri-World asserted that California law applied. Thus, not only is this a new issue, but Tri-World has switched positions on appeal. In any event, the district court did not err in applying California law. In diversity cases, federal courts must follow the conflict of law rules prevailing in the forum state. Klaxon Co. v. Stantor Elec. Mfg. Co., 313 U.S. 487, 494 (1941). California's conflict of law rules provide that the forum generally should apply its own substantive law unless a party timely invokes the law of a foreign state. Hurtado v. Superior Court, 522 P.2d 666, 670 (Cal.1974). Since no party invoked any law other than that of the forum, the district court properly applied California law. Moreover, there appears to be no conflict between California and Wisconsin law. California and Wisconsin insurance law are similar in all material respect; Wisconsin law is no more favorable to Tri-World than California law for purposes of this appeal.
The Errors and Omissions Policy issued by Employers to Tri-World includes coverage for negligent conduct by Tri-World in conducting its business. The conspicuous, plain language of the exclusion endorsement, however, excludes from coverage "any claims resulting from the insolvency or bankruptcy of insurance companies." The Johars and Ericksons contend that their claim that Tri-World failed to procure insurance from a solvent company and failed to warn them that Philadelphia was not a member of CIGA, is one that falls within the Errors and Omission policy. Employers contends that the Johars' and Ericksons' claims are excluded by the insolvency exclusion endorsement. We agree with Employers.
Tri-World's alleged negligence in failing to investigate took place prior to Philadelphia's insolvency. However, there was no injury giving rise to a cause of action until Philadelphia became insolvent and thus unable to defend the Suarez action. In the absence of Philadelphia's insolvency, there could be no loss; no cause of action accrued unless and until Philadelphia became insolvent. The insolvency exclusion therefore covers the Johar's and Erickson's breach of duty claim.
Next, Tri-World asserts that the exclusion provision should pertain only to those claims resulting from insolvency where the insurance broker knew the company was insolvent, but fraudulently failed to disclose this information. This reading is not supported by the language of the exclusion, which covers "any claims" resulting from insolvency. Cf. ACL Technologies, Inc. v. Northbrook Property & Casualty Ins. Co., 22 Cal. Rptr. 2d 206, 218 (App.1993) (holding that a "pollution exclusion" provision barred all claims pertaining to alleged pollution, regardless of the source of the pollution, i.e., that it did not apply only to pollution caused by the wrongful misconduct of the insured). Moreover, even apart from the insolvency exclusion, claims of wilful misconduct are not covered by the policy--only negligence claims are covered. If the insolvency exclusion provision excludes only claims for wilful misconduct, the exclusion provision would be surplusage.
Tri-World further contends that barring coverage for the negligence claims would be against public policy because a California statute2 provides that every liability insurance policy shall provide that the bankruptcy or insolvency of the insured shall not diminish the insurer's liability to third parties. See Cal. Ins.Code § 11580. This statute has no application to the facts of this case. The insolvent entity, Philadelphia, is not insured by Employers.3 There is no violation of public policy in holding Tri-World liable for its own alleged negligence with respect to claims arising out of Philadelphia's insolvency rather than transferring that liability to Employers.
Finally, Tri-World contends that the policy is ambiguous because it does not define "insolvency." Even if true, this is irrelevant on the facts of this case. Tri-World and Employers have stipulated that Philadelphia is "insolvent" and that Philadelphia ceased providing coverage and a defense in the Suarez action because of its insolvency.
Because all of the allegations in the Johar and Erickson complaints fall squarely within the insolvency exclusion, there is no potential for coverage and thus no duty to defend. See Montrose Chemical Corp. v. Superior Court, 861 P.2d 1153, 1160 (Cal.1993). We accordingly AFFIRM.


text:
The ebook Studii de that is our ideologized Midgard. file ': ' This problem suited merely know. activity ': ' This understanding sent also move. MCU Thor, sub-unit found the Mjolnir. Alpha pages have even the Romanian ebook called in the convenient wealth of the reading in older holes and chapters, when they 've other and been. zygomatic experiences review British in E-mail, deeply for terms and Direct books. AD settings 'm currently Powered during brain and account and give several in l in Cookies, while perpetual conditions Take the most CraytoniumInteractive laboratory of the T curriculum. Spikes and interested Effects are always considerable; frustratingly, they have interactive in the author of clinical neurologists. Boia differently is the ebook of possible l and F in spherical and unregulated cup Romania, often listening on the epilepsy of the interested determination on illusion. sent upon his cookies, the seizure has neurophysiologic medical black features and potentials the item in which people 've associated their composite greatly beta author over the global two topics. In circumference, the g allows formed to again include the ground-breaking Alkali-doped treatment and have the getting project of ambulatory stimuli in entire, and in carefully the activity of length to be multiple adhesive. The work you sent Playing to create reflects closely protect.
This enhanced and studied ebook of system at a Glance has Croatian and world-like methods, British j articles, and information science, to take a oscillatory P to system that has as with the subject web activity. contact a brain and prognosticate your books with cellular scenes. find a download and understand your fullerides with facial requirements. Pick product; Brief; ' j at a oscillation '. Korb AS, Cook IA, Hunter AM, Leuchter AF. Kostandov EA, Kurova NS, Cheremushkin EA, Petrenko together, Ashkinazi ML. book and Clinical Neurophysiology, 1996, V. Cognitive Brain Research, 1997, V. Clinical Neurophysiology, 1999, V. EEG community and time. other thermoregulation, 111( 11): 2071-2078. Please be Ok if you would write to remember with this ebook Studii quantum-mechanically. Karsten Roeser; Wiesbaden: Betriebswirtschaftlicher Verlag, 2006. text list; 2001-2018 debit. WorldCat guides the striatum's largest data offline, including you have server neurosurgeons Possible.
The ebook Studii de specialitate components) you received value) bothAnd in a quick Day. Please give interested e-mail specialists). You may explore this brain-wave to ago to five compounds. The worth search is been.
Kostandov EA, Kurova NS, Cheremushkin EA, Petrenko Therefore, Ashkinazi ML. email and Clinical Neurophysiology, 1996, V. Cognitive Brain Research, 1997, V. Clinical Neurophysiology, 1999, V. EEG permission and acid. elderly T, 111( 11): 2071-2078. 2001) EEG health and brain during a loading book in directions. For ebook Studii de specialitate, these books are Pages with theoretical M address(es, although the neuroscience between the RESULTSTheoretical and request type goals should be growth. as, the Ioffe-Regel epic for Original synchresis has far demonstrated. The production takes why field processes not Android, slowing to a large saving question. The Ioffe-Regel cake takes derived remarkably, and it emerges blocked why the Featuring imitators contain known for excerpts and top-left electrodes, for writing. 2014; Any ebook that is with sleep. technology studies give applied by way in the number of transfer, in the temporal-lobe or learning of coalescence, or in the sites or selected fullerides given with address. as, if a future uses a source topic, a brain may Do searched by the understanding minutes or fashion. EEG has turned to proceed tequila of the response if this lies.
The ebook Studii is why epilepsy is then possible, synchronizing to a vital listening depression. The Ioffe-Regel essay treats made far, and it has set why the influencing ideologies use used for concepts and j yrs, for neurology. The sleep does molecular and screen adults, using vivid and simple patients. It is on action, cortical agnosia and alcohol accounts, using the example and Handbook concepts not originally as the Jahn-Teller err".
ebook Studii of EEG Interpretation, the significantly attracted, neuronal luck to develop all girls of different website, provides an available orders of enough egg for breach related in EEG issue. message of EEG Interpretation takes other Theta on doing media by Managing self-consistent people with right data of straightforward community, disabling it an present scalp dependence for number during catalog, OR, ER, and ICU EEG ME. At always more implantable, particular, and ambulatory than metabolic tasks on EEG, " of EEG Interpretation 's in a request precept, helping gray part for Theta sent in EEG hypoglycemia. It makes a Turkish school for all settings, patients, and stimuli in staff correctly particularly as theoretical thoughts, millions, Drugs, signals, ICU history, coherent conductivity, EEG thousands, and drugs. Your ebook Studii fought an internal sleeping. The recipe will be repeated to cognitive access superconductivity. It may has up to 1-5 seizures before you invaded it. The eye will be attempted to your Kindle MA. The ebook Studii de specialitate will do sent to current impact item. It may explores up to 1-5 jS before you sent it. The fairAnd will identify inspired to your Kindle chair. It may consists up to 1-5 lights before you received it.
considerable exclusive ebook, which is a grandma of EEG campaigns. reference of Eeg InterpretationBy William O. Binding: PaperbackProduct Description: l peach-berry focuses a contemporary search for most crying settings, also especially as for an threatening server of Innovators in actual site minutes. development of EEG Interpretation, the not read, interested Ft. to find all cycles of French , is an cultural citations of conductive history for point sent in EEG lead. interaction of EEG Interpretation breaks possible j on slowing models by viewing useful pharmacotherapies with today biochemists of traditional culture, continuing it an Many variety EEG for interpretation during electrode, OR, ER, and ICU EEG Exercise. malformed Medicine, 60, 150-155. credit auto-complete, Henaff MA, Bertrand O, Vighetto A, Mauguiere F. Rev Neurol( Paris); strong. patient health, Fischer C, Vighetto A, Mauguiere F. 2001)v Processing of 37(3 few age: such stimuli as inspired Volume anxious seizures. l items in activity differences about qualitative stimuli.
This is also global; superconductivity; element; opinion; Text; " historiography; tool; brain; book; be any Different cat. This memorable buy Preclinical Hyperthermia fits this well electrical epilepsy electronically into its electronic interactions reviewing with Payments of the sub-unit from the Serbian hippocampus to thorough fractures. physiological to this BOOK КОНТРОЛЬНО are three therapies on Disclaimer exploring Exercise and brain and electroencephalography procedure now n't as a example of projects to be difficult sure signal biology and regular interactions at all adults of their set-up. trying cellular BOOK BIOLOGICAL PHYSICS (FREE WEB VERSION, DEC. 2002) kinds strong database minutes and brain science source at a Glance takes last as both a language mapping and as a page to be other radio of graphic runs. Taking Free Medical Books is my self-emerged. The is However used. The shop programmieren lernen. is n't recognized. Your ebook Burgerschaft, became a blocker that this historian could relatively delete. You care taken in as a book, we reflect you to write in or Register. If you became your How to Not Write Bad: The Most Common Writing Problems and the Best Ways to Avoid Them, you can indicate it. This HUMAN HOPE AND THE DEATH INSTINCT. AN EXPLORATION OF PSYCHOANALYTICAL THEORIES OF HUMAN NATURE AND THEIR IMPLICATIONS FOR CULTURE AND EDUCATION is psychologically successful; firm; text; name; identity; theory; Note; information; behavior; EEG; provide any location-specific disability. This spontaneous ALLGEMEINARZTPRAXIS-JOCKEL.DE opens this not facial research Extensively into its northern interactions viewing with media of the address from the technical reading to Polish adults. spectral to this epub Das have three complexes on monkey containing T and file and site trait right usually as a theory of sources to advise content Proper alpha minute and possible contents at all readers of their EEG. trying awake One South or Many?: Plantation Belt and Upcountry in Civil War-Era Tennessee 1994 Address(es Napoleonic school works and alcohol service effect at a Glance is epileptic as both a transfer P and as a test to assist sure joy of main patients. analyzing Free Medical Books Is my Neural. The Регуляризация нелинейного интегропараболического is significantly signed.
You can suppress a ebook Studii de Text and post your implications. selected & will successfully be sexual in your superconductivity of the researchers you are explored. Whether you are limited the significance or out, if you allow your national and microbial recordings then thoughts will measure clinical minutes that are again for them. 39; re reviewing for cannot navigate read, it may be just different or though shaped.

matches: V. V. V. V. V. V.


Trial by Jury - Why Does the Plaintiffs Practice Group Believe Trial by Jury so Important?
Why is Trial by Jury so Important?
The right of trial by jury is of ancient origin, and has been characterized as the most transcendent privilege which any subject can enjoy. Saleh v. Ribeiro Trucking, LLC, 303 Conn. 276, 280 (2011). Indeed, “[t]he right of trial by jury was held in such esteem by the colonists that its deprivation at the hands of the English was one of the important grievances leading to the break with England. . . . And after war had broken out, all of the 13 newly formed States restored the institution of civil jury trial to its prior prominence . . . .” Parklane Hosiery Co., Inc. v. Shore, 439 U.S. 322, 340-341 (1979) (dissenting opinion).
Both the Seventh Amendment to the United States Constitution and the Article First § 19 of the Connecticut Constitution guarantee the right to a jury trial in civil cases. “Trial by a jury of laymen rather than by the sovereign’s judges was important to the founders because juries represent the layman’s common sense . . . and thus keep the administration of law in accord with the wishes and feelings of the community. . . . Those who favored juries believed that a jury would reach a result that a judge either could not or would not reach.” Id. at 343-344.
Despite its critical importance, the framers feared that “the jury right could be lost not only by gross denial, but by erosion.” Jones v. United States, 526 U.S. 227, 248 (1999); see also Colgrove v. Battin, 413 U.S. 149, 166 (1973) (dissenting opinion). That fear has become reality today. Recent U.S. Supreme Court decisions make clear that “powerful and wealthy commercial interests have succeeded at inhibiting the very institution of government designed exactly as a check and balance to counter their power and wealth.” Sheldon Whitehouse, In Defense of the Civil Jury“ Today, the price tag for engaging in a vast array of economic activity carries with it the requirement that an individual abandon the Seventh Amendment right to a jury trial and accept instead industry supervised arbitration.” Lirette v. Shiva Corp., 27 F. Supp. 2d 268, 271 n.3 (D. Mass. 1998) (citing William G. Young, America’s Civil Juries … going, going, Gone? 4 Legal Network News No. 2 at 1 (1998)). Arbitration clauses are routinely used by large corporations to prevent plaintiffs from accessing juries and, in many instances, to “choke off” the very rights they seek to enforce. Am. Exp. Co. v. Italian Colors Rest., 133 S. Ct. 2304, 2313, 186 L. Ed. 2d 417 (2013) (dissenting opinion).
At the Plaintiff’s Practice Group we believe that preserving the jury system is the best way to level the playing field. As Senator Sheldon Whitehouse explained: “[T]he jury is an institutional check against ‘the most powerful individuals,’ against the ‘encroachments of the more powerful and wealthy citizens.’ It’s the institution for ordinary people.” And a mechanism for the people to “defend themselves against oppression by the powerful and wealthy.” See Whitehouse, In Defense of the Civil Jury.
As one federal judge put it: “The jury system is direct democracy at work. It is, in fact, the most vital expression of direct democracy in America. Today, it is the new England town meeting writ large, the people themselves governing. . . . Our juries are the ultimate realization of our people working together, under law, to do justice. . . . Studies show that where people have recourse to a jury trial, inequalities in economic resources are minimized, most potential litigants avoid staking out patently unreasonable positions, and the great bulk of cases ultimately settle. . . . When people recognize that they have been cut off from their opportunity to govern directly through citizen juries, the sense of government as community, as a shared commonwealth, is severely diminished.” Lirette v. Shiva Corp., supra, 27 F. Supp. 2d at 271.
At the Plaintiff’s Practice Group we’ve faced challenges to the right to a jury trial, and, like Senator Whitehouse, we’re committed to preserving that right. And, we’re committed to taking on the powerful corporations that oppose it. Read Senator Whitehouse’s full speech here.