1992  Landscape Imagery and Urban Culture in Britain  1800-1830, (Cambridge University Press)

1998  Art in Bourgeois Society 1790-1850, a collection of 16 essays by an international group of scholars, edited with William Vaughan, (Cambridge University Press). Contains my 1996 Art Journal essay, a co-authored introduction, and section introductions.

1982  'Cotman's Publication Projects', in Arts Council exhibition catalogue, John Sell Cotman 1782-1842, pp.23-5.

1994  'Critical Realism in the History of American Art', in Deborah Madsen (ed.), Visions of America, (Leicester University Press)

1995  'Art Exhibitions as Leisure Class Rituals in Early Nineteenth-Century London', in Brian Allen (ed.), Towards a Modern Art World in Britain, c.1715-c.1880, Studies in British Art, vol.1, (Yale University Press)

1997  'Constituents of Romantic Genius: John Sell Cotman's Greta Drawings', in Michael Rosenthal, Christiana Payne & Scott Willcox (ed.), Prospects for the Nation: Recent Essays in British Landscape, 1750-1880, Studies in British Art, vol.4, (Yale University Press)

1999  'Watercolour Painting', for Iain McCalman (ed.),An Oxford Companion to the Romantic Age: British Culture, 1776-1832, (Oxford University Press)'The Debate on Art and the State in Postwar America', in Francis Ames-Lewis & Piotr Paszkiewicz (Ed),Art and Politics: Proceeding of the Third Anglo-Polish Art Historians Conference (Institut Sztuki, PAN, Warsaw)

2000  '"Norwich School": Myth and Reality', in David Blayney Brown, Andrew Hemingway, & Anne Lyles, Romantic Landscape: The Norwich School of Painters, (Tate Gallery Publishing), pp.9-23.

1981  review of John Barrell, "The Dark Side of the Landscape", in Burlington Magazine, vol.CXXIII, no.938, May, p.316.

1984  'Meaning in Cotman's Norfolk Subjects', Art History, vol.7, no.1, March, pp.57-77.

 'Subject-Matter in the Work of John Crome', Landscape Research, winter, pp.30-40.

1986  review of Sue Welsh Reid & Barbara Stern Shapiro, Degas: The Painter as Print-Maker, Oxford Art Journal, vol.8, no.2, pp.70-73.

 'Academic Theory versus Association Aesthetics: The Ideological Forms of a Conflict of Interests in the Early Nineteenth Century', Ideas and Production, Issue 5, pp.18-42.

1987  'The Political Theory of Painting without the Politics', (review of John Barrell, The Political Theory of Painting from Reynolds to Hazlitt), Art History, vol.10, no.3, September 1987, pp.381-95.

1988  'Cultural Philanthropy and the Invention of the Norwich School', Oxford Art Journal, vol.11, no.2, pp.17-39.

1989  'The Sociology of Taste in the Scottish Enlightenment', Oxford Art Journal, vol.12, no.2, pp.3-35.

1991  'Fictional Unities: "Antifascism" and "Antifascist Art" in 30s America', (review of Cécile Whiting, Antifascism in American Art and other books), Oxford Art Journal, vol.14, no.1, pp.107-17.

1992  "To personalise the rainpipe": The Critical Mythology of Edward Hopper', Prospects, pp.379-404.

1993  review of John Barrell (ed.), Painting and the Politics of Culture: New Essays on British Art 1700-1850, in Eighteenth-Century Studies, vol.27,   no.1, Fall 1993, pp.147-50.

 'Genius, Gender, and Progress: Benthamism and the Arts in the 1820s', Art History, vol.16, no.4, December, pp.619-46.

1994  'Meyer Schapiro and Marxism in the 1930s', in Oxford Art Journal, vol.17, no.1, pp.13-29. (Translated into Chinese, in World of Art, no.4, 1998, pp.68-74; no.1, 1999, pp.61-6.)

 'The Consolations of Imagery' (review of Stephen Daniells, Fields of Vision: Landscape Imagery and National Identity in Britain and the United States), in Oxford Art Journal, vol.17, no.2, pp.112-15.

1996  'Philip Reisman's Proletarian Realism', in Philip Reisman's Etchings: Printmaking and Politics in New York 1926-1933, College Art Collections, University College London, pp.5-22.

 'The Two Paths' (review of Michael Leja, Reframing Abstract Expressionism and Terry Smith, Making the Modern), Oxford Art Journal, vol.19, no.1, pp.113-21.

 'Marxism and Art History after the Fall of Communism', Art Journal, vol.55, no.2, Summer, pp.20-27.

1997  'Artists on the Left and their Critics',Intellectual History Newsletter, vol.19, pp.6-14. Contribution to a symposium on Michael Denning's The Cultural Front: The Laboring of American Culture.

1998  review of Louis Lozowick, Survivor from a Dead Age: The Memoirs of Louis Lozowick (ed. Virginia H. Marquardt), inPrint Quarterly, vol.XV, no.1, pp.103-6.

1999  'Middlebrow: For and Against' (review of Michael Denning, The Cultural Front: The Laboring of American Culture and Jonathan Harris, Federal Art and National Culture), Oxford Art Journal, vol.22, no.1, Spring 1999, pp.166-76

2000  with Paul Jaskot: review of T.J. Clark, Farewell to an Idea: Episodes from a History of Modernism, Kunst und Politik: Jahrbuch der Guernica Gesellschaft, vol. 2, pp.229-37.

 With Paul Jaskot: review of T.J. Clark, Farewell to an Idea: Episodes from a History of Modernism; and O.K. Werckmeister, Icons of the Left: Benjamin and Eisenstein, Picasso and Kafka after the Fall of Communism, in Historical Materialism, 7, Winter 2000, pp.257-80

2001  'What Does a Materialist Art History Do? Andrew Hemingway's Response', in Handwerker Gallery Newsletter, vol.3, no.2, Fall 2001. (Handwerker Gallery, Ithaca)

'Between Zhdanovism and 57th Street: Artists and the CPUSA, 1945-56', in Alejandro Anreus, Jonathan Weinberg & Diana Linden (ed.), Social Realism in the Western Hemisphere: A Critical Examination of Art Between the Wars, (Princeton University Press), 2002

'[A]n unbroken lugubrious quality": Mexican Muralism and the Style of the Democratic Front in the Midwest', in Crónicas: El muralismo, producto de la revolución mexicana, en América,Seminario de investigación, 2002?

'Mexican Muralism in the American Communist Press', in Crónicas: El muralismo, producto de la revolución mexicana, en América.,Seminario de investigación, 2002?

Artists on the Left: Artists and the American Communist Movement, 1926-56, (Yale University Press, 2002)

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