Bed of Roses. Toronto: A Space, 1989. Edited by Bed of Roses Collective.

Dynamics of Color Art Exhibit: Works by Lesbian Artists on Racism. San Francisco, CA: Sargent Johnson Gallery, October 4- November 4, 1989. The show was held in a community center in a predominately African American section of San Francisco in conjunction with the "Dymanics of Color Lesbian Conference on Racism." Artists: Terese Armstrong, Lucrecia Bermudez, Shelly Bluecar, Cathy Cade, Tee A. Corinne, Julie Finn, Victoria Fontana, Emerald Goldman, Catalina Govea, Avotcja Jiltonilro, Julia Lachica, Laurel Leetree, Kevyn Lutton, Irene Perez, Julie Potratz, Sudie Rakusin, Jackie Ritke, Juana Maria de la Caridad, Jude Spacks, Marla Spears, Mickey Spencer, Laura Irene Wayne, Jean Weisinger and Julia Youngblood, Jurors: Wendy Cadden, Ester Hernandez and Orlanda Uffre; coordinated by: Happy/L.A. Hyder (director of Lesbian Visual Artists).

Witnesses: Against Our Vanishing. New York: Artists Space Gallery, 1989. Curated by Nan Goldin. A group show of several artists living in New York which are affected by AIDS in their community. Curator Nan Goldin is a photographer who identifies as bisexuell, she is known for her documantary photographs of her male and female lovers, drag queen friends and people who died of AIDS.

Sight Specific: Lesbians and Representation. Toronto, Canada: A Space, 1988. Edited by Lynne Fernie, Dinah Forbes and Joyce Mason. Art by: Martha Flemming and Lyne Lapointe, Jude Johnston, Grace Channer, Nina Levitt, Marg Mores, Stephanie Martin, Lynne Fernie and Cyndra MacDowall. Review by C. Campbell.

Fundorte: 200 Jahre Frauenleben und Frauenbewegung in Berlin. edited by Berliner Frauen Kultur Initiative e.V. Berlin, Germany: Orlanda Frauenverlag, 1987.Catalogue of the exhibition Kein Ort nirgends, curated by Annette Eckert.

Eva und die Zukunft: das Bild der Frau seit der französischen Revolution. Hamburg, Germany: Kunsthalle, 1986. Edited by Werner Hoffmann. (Transl.: Eve and the Future: The Image of Women since the French Revolution). This show was not specifically "lesbian" but featured a broad context of 374 works by various women and men artists from the 19th century until today. The concept of the exhibition was to show on one hand the traditional relationship between men and women from a feminist point of view and on the other hand to find new possibilities of female identification. The catalogue is organized in titled groups such as 'proclaimers of beauty', 'sex and crime', 'couples', mother and madonna', 'female friendships', 'women artists' et al. A reader who is looking for the lesbian part will find informations in the chapter 'Freundinnen' or through the Biographies of the Artists although they are not named as Lesbians (e.g. Rosa Bonheur, Hannah Höch, Frida Kahlo and Jeanne Mammen)

Laura Gilpin: An Enduring Grace. Forth Worth, TX: Amon Carter Museum, 1986. Edited by Martha Sandweiss (University of Texas Press).

Eldorado: Homosexuelle Frauen und Männer in Berlin 1850-1950: Geschichte Alltag und Kultur. Berlin, Germany: Froehlich und Kaufmann, 1984. The aim of this exhibition was to reconstruct the hidden and veiled history of Berlins gay and lesbian community. The Articles explore the political and cultural work of the first pioneers in the 19th century until the time after the 2nd world war, documented in various media.

Frauenliebe - Männerliebe: Bilder und Dokumente zur Homosexualität in Deutschland. Marburg, Germany: Kunsthistorisches Institut der Philipps-Universität Marburg in Zusammenarbeit mit dem Kulturamt der Stadt Marburg, 1984.

Extended Sensibilities: Homosexual Presences in Contemporary Art. New York: New Museum of Contemporary Art, October 16-December 20, 1982. Curator: Daniel J. Cameron. Art by: Charley Brown, Janet Cooling, Betsy Damon, Nancy Fried, Jedd Garet, Lee Gordon, Harmony Hammond, Lili Lakich, Les Petites Bonbons, Jody Pinto, Carla Tardi and Fran Winant.

Harmonies: An Essay on the work of Harmony Hammond. Chicago: Klein Gallery, 1982.

Harmony Hammond: Ten Years, 1970-1980. Minneapolis: Women's Art Registry of Minesota, February 28-March 28, 1981. Soloexhibition and retrospective of installations and wrapped objects with quotations from the artist which focus her intentions. Harmony Hammond is a selfidentified lesbian feminist artist who does not only exert strong lesbianpresence in her work but is also open in her political engagement for lesbian art.

Frauenfeindliche Werbung: Sexismus als heimlicher Lehrplan (featured in the exhibition: Die Spitze des Eisbergs) edited by Chistine Schmerl. Berlin, Germany: Elefanten Press, 1981.

The Advicate Show. New York: Hibbs Gallery, March 1981. Art by: Hilton Brown, Tee A. Corinne, Betsy Damon, Sandra de Sando, Gamar, Harmony Hammond, Michele Kennedy, Bettye Lane, Marjori, Len Paoletti, Kas Sable, Lee Snider, Sheila Sullivan and Marjorie Trenk.

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