i) Jutta Koether, ‘Old Witnesses,’
Camera Austria
, 1999, no. 67, pp. 18-29 (another example illustrated)
ii) Catherine Morris,
The Essential Cindy Sherman
, New York, 1999, p. 109 (another example illustrated)
ii) Gunilla Knape, ed.,
Cindy Sherman
, Goteborg, 2000, p. 33 (another example illustrated)
v) Wayne Koestenbaum, ‘Fall Girls,’
Artforum
, September 2000, p. 150 (another example illustrated)
i) vi)
Hysteric Two
, Hysteric Glabour, Tokyo, 2001, pp. 12, 19 (another example illustrated)
vi) Deborah Aaronson, ed.,
Photography Transformed: The Metropolitan Bank & Trust Collection
, New York, 2002, no. 233, pp. 252 and 264 (another example illustrated)
ii) Julie Routart, ed.,
A Cindy Book: c. 1964-1975
, Paris, 2006, n.p. (another example illustrated)
ii) Johanna Burton, ‘Cindy Sherman,’
The October Files
, Boston, 2006, p. 203 (another example illustrated)
vi) v) Francesco Bonami, ed.,
Cindy Sherman
, Milan, 2007, pp. 84, 89 (another example illustrated)
v) Gabriele Schor,
Cindy Sherman Das Früwerk 1975-1977
, Ostfildern, 2012, p. 70 (another example illustrated)
v) Eleanor Heartney,
After the Revolution: Women Who Transformed Art
, New York, Munich and London, 2013, p. 194 (another example illustrated)
vi) Lena Essling,
Untitled Horrors
, Ostfildern, 2013, p. 190 (another example illustrated)
iii) Paul Moorhouse,
Cindy Sherman
, London and New York, 2014, no. 95, p. 113, 146 (another example illustrated, p.113)
v) Joanne Heyler, Ed Schad and Chelsea Beck, eds.,
The Broad Collection
, Munich, London and New York, 2015, p. 169 (another example illustrated)
v) Rebecca Mutch, ed.,
Cindy Sherman
, Brisbane, 2016, pp. 29, 70 (another example illustrated)
v) Nicolas Trembley, ed.,
The SYZ Collection
, Zurich, 2018, p. 136 (another example illustrated)
iii) Marie-Laure and Olivier Michelon, eds.,
Cindy Sherman
, Paris, 2020, p. 160 (another example illustrated)