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His Visual and Theatrical Politics
. New York: Moeller Fine Art.
    *———. 2006.
Art of Engagement: Visual Politics in California and Beyond
. Berkeley: University of California Press.
    *———. 2007.
Robert Colescott: Troubled Goods, a Ten Year Survey (1997–2007)
. San Francisco: Meridian Gallery.
    *———. 2008a.
Jess: Paintings and Paste-Ups
. New York: Tibor de Nagy Gallery.
    *———. 2008b.
Kevan Jenson: Paintings, Drawings, and Photograms
. San Francisco: Meridian Gallery.
    *Selz, Peter, Alicia Haber, and Tonino Sicoli. 2008.
Bruce Hasson
. San Francisco: Meridian Gallery.
    *Selz, Peter. 2010a.
Botero in L.A.: Drawings, Paintings, Sculpture
. Los Angeles: Tasende Gallery.
    *———. 2010b.
Rudolf Bauer: Works on Paper
. San Francisco: Weinstein Gallery.
    *———. 2010c.
The Visionary Art of Morris Graves
. San Francisco: Meridian Gallery.
    Stiles, Kristine, and Peter Selz, eds. 1996.
Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings
. Berkeley: University of California Press.
    JOURNAL ARTICLES AND ESSAYS
    Bear, Donald, and Peter Selz. 1956. “Painting.” In
Encyclopaedia Britannica
, 14th ed., vol. 17, 37–66.
    Malone, Patrick T., and Peter Selz. 1955. “Is There a New Chicago School?”
Art News
54 (October): 36–39, 58–59.
    Selz, Peter. 1951. “Younger French Painters of Today.”
College Art Journal
11: 10–17.
    â€”——. 1956. “A New Imagery in American Painting.”
College Art Journal
15: 290–301.
    â€”——. 1957. “The Aesthetic Theories of Wassily Kandinsky and Their Relationship to the Origin of NonObjective Painting.”
Art Bulletin
39 (June): 127–36.
    â€”——. 1963a. “The Flaccid Art.”
Partisan Review
30 (Summer): 313–16.
    â€”——. 1963b. “JohnHeartfield’s Photomontages.”
Massachusetts Review
(Winter): 309–36.
    Selz, Peter, Henry Geldzahler, Hilton Kramer, Dore Ashton, Leo Steinberg, and Stanley Kunitz. 1963. “A Symposium on Pop Art.”
Arts
37 (April): 36–45.
    Selz, Peter. 1967a. “The Berkeley Symposium of Kinetic Sculpture.”
Art and Artists
[London] 1 (February): 26–37.
    *———. 1967b. “Notes on
Genesis
.” In
Rico Lebrun
, 55–61. Los Angeles: Los Angeles County Museum of Art.
    â€”——, intro. 1968a. “Fauvism and Expressionism: The Creative Intuition” and“Art and Politics: The Art of Social Order.” In Herschel Chipp,
Theories of Modern Art: A Source Book by Artists and Critics
, 124–92, 456–500. Berkeley: University of California Press.
    â€”——. 1968b. “The Hippie Poster.”
Graphis
24, no. 135: 70–77, 91–92.
    â€”——. 1968c. “The Influence of Cubism and Orphism on the Blue Rider.” In
Festschrift Ulrich Middeldorf
, 582–90. Berlin: Walter de Gruyter.
    *———. 1969. “The Precision of Fantasy.” In
Lyonel Feininger
. New York: Marlborough-Gerson Gallery.
    â€”——. 1974. “The Artist as Dactylographer.”
Art in America
62 (July/August): 98–99.
    â€”——. 1975. “Agnes Denes: The Visual Presentation of Meaning.”
Art in America
63 (March/April): 72–74.
    â€”——. 1976a. “Foreword.” In Paul Von Blum,
The Art of Social Conscience
, ix–x. New York: Universe Books.
    â€”——. 1976b. “The Genesis of
Genesis
.”
Archives of American Art Journal
16, no. 3: 2–7.
    â€”——. 1978. “Helen and Newton Harrison: Art as Survival Instruction.”
Arts
52 (February): 130–31.
    *———. 1980. “The Artist as Social Critic.” In
German Realism of the Twenties: The Artist as Social Critic
, 29–40. Minneapolis: Institute of Arts.
    *———. 1981. “Max Beckmann,