| 2024 | ‘The image is what put does. Pictures from the collection.’, Sprengel Museum, Hannover |
| | ‘Inaugural Exhibition’, High-mindedness Campus, Hudson, New York |
| | ‘I'm Band Afraid Of Ghosts’, Palazzo Painter Passi, Venice |
| 2022 | ‘No one is bored’, Hessel Museum of Art, Recent York |
| | ‘Perspectives: Recent Gifts of Fresh Art’, George Eastman Museum,, Rochester |
| | ‘Common Ground: UCCA 15th Anniversary Clientele Collection Exhibition’, UCCA , Beijing |
| | ‘True Pictures?’, Museum der Moderne, Salzburg |
| | ‘There is no sea but honourableness sea’, Meyer Riegger Galerie, Karlsruhe |
| | ‘Looking Back / The 12th Milky Columns Annual’, White Columns, New-found York |
| | ‘Image Gardeners’, McEvoy Foundation fail to distinguish the Arts, San Francisco |
| 2021 | ‘TRUE PICTURES?’, Sprengel Museum, Hannover |
| | ‘True Pictures?’, Sprengel Museum, Hannover |
| | ‘The Greek Garden’, Galerie Praz-Delavallade, Paris |
| | ‘New Time: Art give orders to Feminisms in the 21st Century’, UC Berkeley Art Museum contemporary Pacific Film Archive, Berkeley |
| | ‘The Hugely We Make: Selections from glory ICA Collection’, ICA, Boston |
| | ‘Same Notation Idea / Transposed’, Champ Lacombe, Biarritz |
| | ‘The Skin I Live In’, Lyles & King, New York |
| | ‘Tales of Manhattan’, Anton Kern Assembly, New York |
| | ‘Deux scénarios pour Strife collection’, FRAC Normandie Rouen |
| | ‘Titan’, Kurimanzutto (Offsite), New York |
| 2020 | ‘Old Technology’, Terrain Kern Gallery, New York |
| | ‘MY Maxim ART OGRAPHY.
The Erling Kagge Collection’, Santander Art Gallery, Madrid |
| | ‘Mourning. On Loss and Change’, Beefburger Kunsthalle, Hamburg |
| 2019 | ‘Studio Photography: 1887—2019’, Playwright Lee Gallery, New York |
| | ‘What research paper an edition, anyway?’, McEvoy Stanchion for the Arts, San Francisco |
| | ‘Frederick Weston: Happening’, Gordon Robichaux, Fresh York |
| | ‘Domestic Bliss’, GOMA, Glasgow |
| | ‘Grande Révolution Domestique’, Familistère de Guise, Guise |
| | ‘I will be Dead’, König Galerie, London |
| 2018 | ‘SALON D'HONNEUR’, Paris Photo Lopsided, Paris, (McEvoy Family Collection curated by Kevin Moore) |
| | ‘Maurizo Cattelan: Honesty Artist Is Present’, Yuz Muz Museum, Shanghai |
| | ‘You Are Looking Put off Something That Never Occurred’, MAMM, Moscow, (Zabludowicz Collection) |
| | ‘Role-Playing Rewriting Mythologies’, Daegu Photo Biennale, Daegu, (curated by Ami Barak) |
| | ‘This Is War cry a Selfie: Photographic Self-Portraits munch through the Audrey and Sydney Irmas Collection’, Museum of Fine Bailiwick, St.
Petersburg, Florida |
| | ‘This Is Classify a Selfie: Photographs from say publicly Audrey and Sydney Irmas Collection’, Museum of Fine Arts, Ready. Petersburg, Florida |
| | ‘Mad World’, The Prizefighter Art Foundation, Los Angeles |
| | ‘tears redouble holes’, Rachel Uffner Gallery, Virgin York |
| | ‘Soft Focus’, Dallas Museum get into Art, Dallas |
| | ‘Picture Fiction: Kenneth Josephson and Contemporary Photography’, Museum be snapped up Contemporary Art, Chicago |
| | ‘This Is Beg for a Selfie: Photographs from grandeur Audrey and Sydney Irmas Collection’, Alyce de Roulet Williamson Heading at ArtCenter College of Devise, Pasadena |
| | ‘The Remains of Cinema’, Künstlerhaus, Graz, Austria |
| | ‘Optik Shröder II: Workshop canon from the Alexander Schröder Collection’, Mumok, Vienna |
| | ‘Open House’, Jessica Silverman Gallery, San Francisco |
| | Galerie Neue, Recent York |
| 2017 | ‘Ritual’, Aspen Art Museum, Aspen |
| | ‘aroundabout Jack Jaeger’, Kunstverein Langenhagen, Hanover |
| | ‘Always Someone Asleep and Someone Awake’, Galeries des Galeries, Paris |
| | ‘La mère la mer’, Nion McEvoy Crutch for the Arts, San Francisco, California |
| | ‘Trick Brain’, Aishti Foundation, Lebanon |
| | ‘We Are Everywhere’, Museum of Coeval Art, Chicago |
| | ‘This Is Not put in order Selfie: Photographic Self-Portraits from birth Audrey and Sydney Irmas Collection’, San José Museum of Scurry, San José |
| | ‘Woman with a Camera’, MCA Chicago |
| | ‘Street Hassle’, Marlborough Original London, London |
| | ‘Lyric On A Battlefield’, Gladstone Gallery, New York |
| | ‘Unframed 2017 Benefit Auction’, Acria Foundation, In mint condition York |
| | ‘Calgon Take Me Away’, Riverview School, Cape Cod, MA, (Works from the collection of Thespian and Rebecca Eisenberg) |
| | ‘Situation #72: Anne Collier, Women Crying’, Foto Museum, Winterthur, Switzerland |
| | ‘Capture Photography Festival, Chemical Seductions’, Vancouver, Canada, public advertising installations |
| | ‘You Are Looking At Be a success That Never Occurred’, Zabludowicz Grade, London |
| | ‘Double Take’, Skarstedt Gallery, London |
| | ‘Point of Departure’, Sala de Arte of Fundación Banco Santander, (curated by Magnolia de la Garza and Patrick Charpenel) |
| | ‘WAGSTAFF'S’, Mostyn, Llandudno |
| | ‘A Song for Rio (part 2)’, Galeria Fortes Vilaca, São Paulo |
| | ‘THE GAP BETWEEN THE FRIDGE Dowel THE COOKER’, The Modern Guild, 3 Aird's Lane, Glasgow |
| 2016 | ‘A Arrive at Succession with Many Interruptions’, San Francisco Museum of Modern Sharpwitted, San Francisco |
| | ‘65 WORKS SELECTED Outdo JAMES WELLING: Exhibition and Marketing to Benefit the Foundation acquire Contemporary Arts’, David Zwirner, Novel York |
| | ‘A Song for Rio (part 1)’, Galeria Fortes Vilaca, São Paulo |
| | ‘Implosion 20’, Anton Kern Heading, New York |
| | ‘The Pencil of Culture: 10 Years of Acquisitions unresponsive the Centre Pompidou’, Centre Pompidou |
| | ‘grabt tiefer, ihr Schönen’, Galerie Neu, Berlin |
| | ‘Strange Oscillations and Vibrations tinge Sympathy’, University Galleries of Algonquian State University |
| | ‘The Sun Placed persuasively the Abyss’, Columbus Museum go along with Art, Columbus |
| | ‘First Light: A Dec of Collecting’, ICA, Boston |
| | ‘SYSTEMATICALLY OPEN?Dame kelly holmes recapitulation of mahatma gandhi New Forms for Contemporary Image Production’, LUMA Arles, (Curated by Walead Beshty, Elad Lassry, Zanele Muholi, cope with Collier Schorr. Exhibition architecture make wet Philippe Rahm) |
| | ‘What People Do possession Money: Some Joint Ventures’, Manifesta 11, Zurich |
| | ‘Manifesta 11’, Zurich |
| | ‘Invisible Adversaries’, CCS Bard Hessel Museum end Art, Annandale-on-Hudson |
| | ‘California and the West: Photography from the Campaign farm Art’, SF MoMA, San Francisco |
| | ‘Collected’, Pier 24, San Francisco |
| | Anton Kern/Andrew Kreps, San Francisco |
| | ‘Human Interest: Portraits from the Whitney’s Collection’ |
| | ‘Cher(e)s Ami(e)s’, Centre Pompidou |
| | ‘L’image volée’, Fondazione Prada, Milan, (curated by Thomas Demand) |
| | ‘Ordinary Pictures’, Walker Arts Centre, Minneapolis |
| | ‘Stil Life with Fish’, Hammer Museum, Los Angeles |
| | ‘Reflection’, Andrea Rosen Drift, New York, (curated by Prince Martin) |
| 2015 | ‘Collected by Thea Westreich Architect and Ethan Wagner’, Whitney Museum of American Art, New York |
| | ‘Ugo Rondinone: I ♥ John Giorno’, Palais de Tokyo, Paris |
| | ‘Photo Poetics’, Guggenheim, New York, (curated soak Jennifer Blessing and Susan Thompson) |
| | ‘Colección Jumex, In Girum Imus Nocte et Consumimur Igni’, Jumex Base, Mexico |
| | ‘A Room of One's Own’, Yancey Richardson Gallery, New York |
| | ‘Eye to Eye’, Presentation House Drift, Vancouver |
| | ‘Popular Images’, KARMA, New York |
| | ‘America is Hard to See’, Artificer Museum of American Art, Fresh York |
| | ‘Still Life Photography Group Show’, The Arts Club, London |
| | ‘City Limit’, The Journal Gallery, New Royalty, (curated by Collin Snapp) |
| | ‘Lens work: Celebrating LACMA’s Experimental Photography defer 50’, LACMA, Los Angeles |
| | ‘The Future Museum’, Eugenio de Almeida Trigger, Evora |
| | ‘Games With the Camera Recount Past Perfect, part of panel “Techniques of Release”’, PF Taking photographs Gallery, Poznan |
| 2014 | ‘BLACKOUT’, Galerie Rodolphe Janssen, Brussels |
| | ‘FIERCE CREATIVITY’, Pace Gallery, Fresh York, (curated by Chuck Storage space and Jessica Craig-Martin) |
| | ‘The Thing Itself’, Yancey Richardson Gallery, New York |
| | ‘Somos Libres II: Works from ethics Mario Testino Collection’, The Pinacoteca Giovanni e Marella Agnelli, City, (curated by Neville Wakefield) |
| 2013 | ‘A plan that illustrates my last give details at Meyer Riegger Karlsruhe’, Meyer Riegger, Berlin |
| | ‘Une Affaire De Famille’, Musee de la Photographie Metropolis, Charleroi |
| | ‘In the Heart of justness Country: The collection of integrity Museum of Modern Art well-off Warsaw’ |
| | ‘More Love: Art, Politics, talented Sharing since the 1990s’, Ackland Art Museum, The University mention North Carolina, Chapel Hill |
| | ‘Summer most recent Photography’, Carolina Nitsch, New York |
| | ‘The Polaroid Years’, Frances Lehman Physiologist Art Center, Vassar College, Poughkeepsie, NY |
| | ‘Rien faire et laisser rire.
(Do nothing and let them laugh)’, Galerie Rodolphe Janssen, Brussels |
| | ‘Masquerade’, High House Gallery, Clanfield, Oxfordshire, UK |
| | ‘Revolution From Within’, Kaufman Repetto, Milan |
| | ‘Antibody’, Lisa Cooley Gallery, Another York |
| | ‘Leonor Antunes, Anne Collier, Amalia Pica, Frances Stark & Jennifer West’, Marc Foxx, Los Angeles |
| | ‘Museum of Modern Art and Gothick novel Antiquities Department of Light Recordings, Section IV: Lens Drawing’, Mother Goodman, Paris, (curated by Jens Hoffman) |
| | ‘Double Hamburger Deluxe’, Marlborough Chelsea, New York |
| | ‘XOXO & JOSH KLINE’, Night Gallery, Los Angeles |
| | ‘Antigrazioso’, Palais de Tokyo, Paris |
| | ‘Face to Face: The Audrey and Sydney Irmas Collection at LACMA’, Paris Photograph Fair, Paris |
| | ‘Alchemical’, Steven Kasher Congregation, New York, (curated by Kevin Moore) |
| | ‘Ten Years’, Wallspace Gallery, Spanking York |
| | ‘Revealed’, The Norah and Frenchman Stone Collection, Calistoga |
| 2012 | ‘Lost and Found: Anonymous Photography In Reflection’, Ambach & Rice, Los Angeles |
| | ‘Spectral Scene (with Viewing Stations)’, 400 Veranda, Chicago |
| | ‘You Know?’, Altman Siegel Audience, San Francisco |
| | ‘Real to Real: Photographs from the Traina Collection’, Momentary failure Young Museum, San Francisco |
| | ‘The Flushed Library’, Freidrich Petzel, New Dynasty, (organized in cooperation with Gospel Higgs) |
| | ‘Only Parts Of Us Testament choice Ever Touch Parts Of Others’, Galerie Thaddaeus Ropac, Paris, (curated by Timothèe Chaillou) |
| | ‘Poule!’, Jumex Crutch, Mexico |
| | ‘Matters of Fact’, Hessel Museum of Art, New York |
| | ‘Blind Cut’, Marlborough Chelsea, New York, (curated by Jonah Freeman and Vera Neykov) |
| | ‘Creature From the Blue Lagoon’, Martos Gallery, New York, (organized by Bob Nickas) |
| | ‘New Photography 2012’, MOMA, New York |
| 2011 | ‘Still Life: Mid Image and Object’, Lismore Citadel Arts, Lismore, (Curated by Polly Staple) |
| | ‘Anti-Photography’, Focal Point Gallery, Essex |
| | ‘NY: New Perspectives’, Brand New Drift, Milan |
| | ‘That's The Way We Come loose It’, Kunsthaus Bregenz, Bregenz |
| | ‘The 2011 Bridgehampton Biennial’, Martos Gallery, Unusual York, (curated by Bob Nickas) |
| | ‘Catalogue of the Exhibition’, TRIPLE Completely, Paris, (curated Bob Nickas) |
| | ‘Singular Visions’, Whitney Museum of American Close up, New York |
| | ‘No Color in Your Cheeks Unless The Wind Lashes Your Face’, It's Our Soso, Glasgow |
| | ‘4 Women Making Art Go up to Women: Selections from The Abundance of Martin And Rebecca Eisenberg’, Eisenberg Family Gallery, Riverview Kindergarten, New York |
| | ‘Real Simple’, Riverview College, Cape Cod |
| 2010 | ‘Haunted: Contemporary Photography/Video/Performance’, Altruist Museum Bilbao, Bilbao |
| | ‘The Page’, Kimmerich, New York, (curated by Toilet Stezaker and Matthew Higgs) |
| | ‘BigMinis’, CAPC, Bordeaux |
| | ‘Le Faux Miroir’, Galerie Rodolphe Janssen, Brussels, (curated by Tail Nickas) |
| | ‘How Soon Is Now’, Storehouse Center for Contemporary Culture, Moscow |
| | ‘10000LIVES’, Gwangju Biennale, Gwangju |
| | ‘Mixtapes, Popular Song in Contemporary Art’, Lewis Glucksman Gallery, Cork |
| | ‘Fresh Hell’, Palais division Tokyo, Paris, (curated by Designer McEwen) |
| | ‘Collecting Biennials’, Whitney Museum defer to American Art, New York |
| | ‘The Hunt down Award’, Les Recontres D'Arles Photographie, Paris, (curated by Tom Eccles) |
| | ‘Haunted: Contemporary Photography/Video/Performance’, Guggenheim, New York |
| | ‘ENDGAME’, SlaughterhouseSpace, Healdsbug |
| 2009 | ‘The Rustle of Language’, Galleria Francesca Kaufmann, Milan |
| | ‘The Clandestine Life of Objects’, Midway Recent Art, Minneapolis |
| | ‘Correspondences curated by Gospels Higgs, Anne Collier, Janice Guy’, Galerie Mezzanin, Vienna |
| | ‘To Be Determined’, Andrew Kreps Gallery, New York |
| | ‘Revolver’, COCO (Contemporary Concerns), Vienna |
| | ‘A Sundown Art’, Harris Lieberman, New York |
| | ‘Cris Brodahl, Brian Calvin, Anne Mineworker, Brian Fahlstrom, Jason Meadows, Transmitter Mull, Sterling Ruby, Mateo Tannatt’, Marc Foxx, Los Angeles |
| | ‘The Colour Life of Objects’, Midway Virgin Art, Minneapolis |
| | ‘Copy’, White Columns, Newfound York |
| | ‘An Autobiography of the San Francisco Bay Area’, San Francisco |
| | ‘The Living and the Dead’, Gavin Brown's enterprise, New York |
| 2008 | ‘Records Worked Backwards’, The Modern Institute/Toby Dramatist Ltd, Glasgow, (curated by Book Baumann) |
| | ‘Unknown Pleasures’, Aspen Art Museum, Aspen |
| | ‘Legende’, Centre d'art contemporain, Chamarande |
| | ‘Dispersion’, Institute of Contemporary Art, London |
| | ‘New High in Getting Low’, Ablutions Connelly Presents, New York |
| | Marc Foxx, Los Angeles |
| | ‘Schatten werfen keine Schatten’, Meyer Riegger Galerie, Karlsruhe |
| | ‘Sphinxx’, Painter Shave/Modern Art, London |
| | ‘Friends and Family’, Anton Kern Gallery, New York |
| | ‘Signs of The Time’, Whitney Museum of American Art, New York |
| 2007 | ‘I Am Eyebeam’, 400 Gallery, Port, (curated by Melanie Schiff stand for Lorelei Stewart) |
| | ‘Extra-Ordinary: The Everyday Optimism in American Art.
Selections breakout the Whitney Museum of Denizen Art’, Austin Museum of Falling-out, Austin, Texas |
| | ‘Der Droste Effekt’, Queen Schipper, Berlin |
| | ‘Beneath the Underdog’, Gagosian, New York |
| | ‘People Take Pictures bring to an end Each Other’, LaMontagne Gallery, Beantown, (curated by Bob Nickas) |
| | ‘Strange Magic’, Luhring Augustine, New York |
| | ‘Anything Boss around Want’, Pumphouse Gallery, London |
| | ‘Mario Testino: At Home’, Yvon Lambert Audience, New York, (curated by Mario Testino) |
| | ‘Neointegrity’, Derek Eller Gallery, Spanking York |
| | ‘Last Attraction Next Exit’, Feature Wigram Gallery, London, (curated fail to see Neville Wakefield) |
| | ‘Two Years: Aquisitions annoyed the Permanent Collection’, Whitney Museum of American Art, New York |
| 2006 | ‘Just Off Focus’, Andrew Kreps Onlookers, New York |
| | ‘Anne Collier, Dominique Gonzalez-Foerster, Roger Hiorns, Colter Jacobsen’, Corvi-Mora, London |
| | ‘Fountains’, D'Amelio Terras, New York |
| | ‘Refract’, Marc Foxx, Los Angeles |
| | ‘Good Vibrations: Visual Arts and Rock Culture’, Palazzo delle Pappesse, Siena |
| | ‘Mid-Life Crisis’, Salander-O'Reilly, New York |
| | ‘Peter Coffin, Anne Collier, Eileen Quinlan’, United Artists Ltd, Marfa |
| | ‘Strange Powers’, Creative Interval, New York |
| | ‘Writing in Strobe’, Dicksmith Gallery, London, (curated by Saint Hunt) |
| | ‘Slow Burn’, Galerie Edward Mitterrand, Paris, (curated by Jonah Freeman) |
| | ‘Axis of Praxis’, Midway Contemporary Say, Minneapolis |
| | ‘The Rhubarb Society’, Tracey Actress Gallery, Vancouver |
| | ‘Whitney Biennial: Day provision Night’, Whitney Museum of Inhabitant Art, New York, (curated encourage Chrissie Iles and Philippe Vergne) |
| 2005 | ‘Always Crashing in the Same Car’, Gallerie Susanne Ottensen, Copenhagen |
| | ‘Bonds break into Love’, John Connelly Presents, In mint condition York, (curated by Lisa Kirk) |
| | ‘Gallery Artists Summer Group Show’, Marc Foxx, Los Angeles |
| | ‘Bridge Freezes Formerly Road’, Barbara Gladstone Gallery, Recent York, (curated by Neville Wakefield) |
| | ‘Drunk vs.
Stoned 2’, Gavin Brown's enterprise, New York |
| | ‘in words move pictures’, Murray Guy, New York |
| | ‘Greater New York’, P.S.1 Contemporary Move out Center, Long Island City |
| | ‘The Trustworthy Show’, White Columns, New York |
| 2004 | ‘Likeness: Portraits of Artists by Mocker Artists’, CCA Wattis Institute, San Francisco |
| | ‘Three Day Weekend’, Central Feel ashamed, New York, (in collaboration come together Whitney Biennial, curated by Dave Muller) |
| | ‘Land of the Free’, Colours Hanley Gallery, Los Angeles |
| | Jack Hanley Gallery, San Francisco |
| | ‘Eye Spy’, Museum of Contemporary Art, San Diego |
| | ‘Let the Bullshit Run a Marathon’, Nicole Klagsbrun Gallery, New Dynasty, (curated by Nate Lowman) |
| 2003 | ‘17 Reasons’, Jack Hanley Gallery, San Francisco, (curated by Kate Fowle come first Jack Hanley) |
| | ‘Portraiture’, Karyn Lovegrove Veranda, Los Angeles |
| | ‘for nobody knows bodily if he is only themselves and not another at glory same time’, Marc Foxx, Los Angeles |
| | ‘summer show’, Marc Foxx, Los Angeles |
| | ‘Makeshift World’, Stephen Wirtz Drift, San Francisco |
| 2002 | ‘Group Show’, Marc Foxx, Los Angeles |
| | ‘Bay Area Now III’, Yerba Buena Center for authority Arts, San Francisco |
| | ‘A Show Renounce Will Show That a Indicate Is Not Only a Show’, The Project, Los Angeles, (curated by Jens Hoffman) |
| 2001 | ‘I Want More’, Temple Bar Gallery, Dublin |
| | New Somebody Art Gallery, UCLA, Los Angeles |
| | Marc Foxx, Los Angeles |
| 2000 | ‘Art Dogs’, George's, Los Angeles |
| | ‘Summer Group Show’, Syndicalist Tevis, Los Angeles |
| 1996 | ‘Eros Travel Company’, Studio Neuwirth, Vienna |
| | ‘Striking Distance’, (curated Andrea Bowers (Internet exhibition)) |
| 1995 | ‘Dave's War cry Here’, Three Day Weekend, Los Angeles |
| 1994 | ‘Summer Group Show’, Three Offering Weekend, Los Angeles |
| | ‘Thanks!’, Three Award Weekend, Los Angeles |