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Albrecht Dürer Gesellschaft, Zeitgenössische Grafik Aus Thailand (Nuremberg: Albrecht Dürer Gesellschaft, 1983), pp. 5-6.
Art and Culture, “Sinlapa ruam samai 2527 khong thanakarn kasikornthai” (Contemporary Art organized by The Thai Farmers Bank), Art and Culture, August 1985, Vol. 10, pp. 106-7.
Atelierhaus Worpswede, “Montien Boonma,” Atelierhaus Worpswede 1992, 1993, 1994 (Worpsweder: Worpsweder Verlag, 1995).
Bond, Anthony, “Montien Boonma,” Trace: The Liverpool Biennial of Contemporary Art (Liverpool: Tate Liverpool, 1999), pp. 32-33.
Boonma, Montien, “Prasobkarn jak Atelier nai Ecole Nationale Superiéure des Beaux-Arts krung
Paris” (Experience from Atelier at Ecole Nationale Superiéure des Beaux-Arts, Paris), Unknown Creatures: Thaiwijit Puangkasemsomboon (Bangkok: The Japan Foundation, 1989), n.p.
Boonma, Montien, ”Artist’s Message,” Montien Boonma: The Pagoda & Cosmos Drawn on Earth
(Tokyo: Japan Foundation ASEAN Cultural Center, 1991), pp. 8-11.
Boonma, Montien, “Montien Boonma,” Adelaide Installations (Adelaide: Adelaide Festival of Arts,
1994), p. 34.
Carroll, Alison, “Beyond the Material World,” Adelaide Installations (Adelaide: Adelaide Festival of Arts, 1994), pp. 6-10.
Clark, John, “Montien Boonma,” Asian Artist Interview Transcriptions (unpublished), School of Asian Studies, University of Sydney, Vol.5.
Deste Foundation, Global Vision New Art from the 90’s (Athens: Neo Psychico,1998).
Ewington, Julie, “AUM,” Art Monthly Australia (March 1992), pp. 18-19.
Ewington, Julie, “An Art of Here and Now, Thinking about Thai-Australian Cultural Space after Bangkok, before Sydney,” Thai-Australian Cultural Space (Sydney: Art Gallery of New South
Wales,1994), pp. 7-11.
Fukuoka Asian Art Museum, Seminar “Asian Art – Towards the 21st Century”, The 1st Fukuoka
Asian Art Triennale 1999 (Fukuoka: Fukuoka Asian Art Museum, 1999), pp. 67-69.
Fukunaga, Osamu, “Possibility in Asian Art Now,” Asian Art Now (Hiroshima: Hiroshima City Museum of Contemporary Art, 1994), pp. 29-33.
Gampell, Jennifer, “Thinking Big,” Far Eastern Economic Review (18 September 1997), p. 74.
Goethe Institut, “Conversation on Arte Amazonas,” (Alfred Pawlin interview with Montien Boonma) Arte Amazonas: Montien Boonma (Bangkok: Goethe Institut, 1992), n.p.
Goodman, Jonathan, “Montien Boonma,” Art Asia-Pacific, No. 20, 1998, pp. 94-95.
Hiroshima City Museum of Contemporary Art, “Montien Boonma,” 50 Commissioned Works on the
Theme “Hiroshima” (Hiroshima: Hiroshima City Museum of Contemporary Art, 1995), pp.80,100.
Ho, Oscar, “Asia: Art in a rapidly changing region,” Container 96: Art Across Oceans (Copenhagen: The Copenhagen Cultural Capital Foundation, 1996), pp. 98, 102.
Hoskin, John, “Thailand: Boddhisattvas and BMWs,” ARTnews (Summer 1992), pp. 94-95.
Hug, Alfons, “Arte Amazonas: An Artistic Expedition,” Klima Global: Arte Amazonas (Brasilia,
Berlin,1992), pp. 296-97.
Hug, Alfons, “The Other Modernisms,” Die Andren Modernen: Zeitgennössische Kunst aus Afrika,
Asien und Lateinamerika (Berlin: Haus de Kulturen der Welt), pp. 141-143.
Joly, Jean Baptiste, “Das Haus der Sternzeichen,” Un Funf – Und Zehn, Academie Schloss
Solitude (Stuttgart: Academie Schloss Solitude, 2000), pp. 75-77.
Kim, Yu Yeon, “Transversions” and “Montien Boonma” Trade Routes: History and Geography
(Johannesburg: Johannesburg Biennale, 1997) pp. 347-349, 354-355.
Knithichan, Khetsirin, “A Time of Change,” The Nation (31 July 1995), C8.
Langenbach, Ray, “Through the Keyhole,” Art and Asia Pacific (Vol.3 No.3, 1996), pp. 87-93.
Lufty, Carol, “Thai Artists Confront Western Secular Realities,” Journal of Art (October 1991), pp. 66-67.
Marazzi, William, “Montien Boonma and the Art of the Non-Zen,” Living in Thailand (June 1993), pp. 46-48.
Marsi Gallery, Melting Void (Bangkok: Suan Pakkad Palace, 1998).
Metken, GÜnter, “Studio of the Tropics,” Klima Global: Arte Amazonas (Brasilia, Berlin: Goethe
Institut, 1992), pp. 106-114, 299-301.
McEvilly, Thomas, “Present Tense”, Frieze issue 32, February 1997, pp.38-41.
Morin, France,The Quiet in the Land: Everyday Life, Contemporary Art and Projecto Axé (Bahia:
Museu de Arte Moderna da Bahia, 2000).
Museum of Contemporary Art Tokyo, Art in Southeast Asia 1997: Glimpses into the Future (Tokyo:
Museum of Contemporary Art, 1997).
Numthong Gallery, Melting Void/Molds for the Mind: Montien Boonma (Bangkok: Numthong
Gallery, 1998).
Queensland Art Gallery, The Fourth Asia-Pacific of Contemporary Art (Brisbane: Queensland Art Gallery, 2002).
Pearce, Robert, “Montien Boonma at Visual Dhamma Gallery,” Asia-Pacific Sculpture News, Vol. 2, No. 4, Autumn 1996, pp. 54-55.
Pettifor, Steven, “An Uncommon Spirit,” Asian Art News Vol. 11, No. 11 (January-February 2001), pp. 36-43.
Phillips, Herbert, The Integrative Art of Modern Thailand (Berkeley: University of California, 1993).
Poshyananda, Apinan, Modern Art in Thailand: Nineteenth and Twentieth Centuries (Singapore:
Oxford University Press, 1992).
Poshyananda, Apinan, “Montien Boonma,” The 1st Asia-Pacific Triennial of Contemporary Art
(Brisbane, Queensland Art Gallery, 1993), p. 49.
Poshyananda, Apinan, “New/Old ORIENT/OCCIDENT/ation in the New World DISorder,” and
“Montien Boonma,” Istanbul Bienal (Istanbul: International Istanbul Bienal, 1995), pp. 58-60, 90-1.
Poshyananda, Apinan, “The Development of Contemporary Art of Thailand: Traditionalism in
Reverse,” Caroline Turner (ed.), Tradition and Change: Contemporary Art of Asia and the Pacific
(Brisbane: University of Queensland Press, 1993), pp.93-105.
Poshyananda, Apinan, “Making Art Public in the Forest of Concrete,” A New Century for the City and Public Art: Faret Tachikawa Art Project (Tokyo: Gendaikikakushitsu Publishers, 1995), pp. 135-144.
Poshyananda, Apinan, “Roaring Tigers, Desperate Dragons in Transition” and “Contemporary Thai
Art: Nationalism and Sexuality à la Thai,” Contemporary Art in Asia: Traditions/Tensions, The Asia Society Galleries, New York, 1996, pp. 23-53, 102-110.
Poshyananda, Apinan, “Montien Boonma,” Joyce van Fenema (ed.), Southeast Asian Art Today (Singapore: Craftsman House, 1996), pp. 215-221.
Poshyananda, Apinan, “On the Edge of a Vast Disaster,” Edge of Awareness (Geneva: ART for the World and World Health Orgnaization, 1998).
Poshyananda, Apinan, “Montien Boonma,” Montien Boonma: Arokhayasala Installasjoner (Oslo: Stenersemuseet, 1997), n.p.
Poshyananda, Apinan, “Color & Passion: Contemporary Thai Art Expresses the Ongoing Search for
a Modern Cultural Identity,” Sawasdee (October 1999), pp.31-35.
Poshyananda, Apinan, “ Con Art Seen from the Edge: The Meaning of Conceptual Art in South and Southeast Asia” Global Conceptualism: Points of Origin,1950s-1980s (New York: Queens Museum
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Poshyananda, Apinan, “The Fragrance of Thai Art in the Age of Global Crack-up,” Glocal Scents of
Thailand Contemporary Thai Art (Sollentuna: Edsvik, 2000), pp.8-17.
Poshyananda, Apinan, “When Art Journey becomes Pilgrimage,” Echigo-Tsumari Art Triennial 2000
(Tokyo: Art Front Gallery, 2000), pp. 184-187.
Poshyananda, Apinan, “Montien Boonma,” Fresh Cream: Contemporary Art in Culture (London: Phaidon Press Limited, 2000), pp. 136-141.
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(Bangkok: Tadu Contemporary Art, 1995), pp.7-17.
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Rodboon, Somporn, “Montien Boonma,” Adelaide Installations (Adelaide: Adelaide Festival of Arts, 1994), pp. 34-35.
Silpakorn University and Goethe Institut, Art and Environment (Bangkok: The Art Gallery, Silpakorn University, 1991).
Sukrung, Karnjariya, “Montien Boonma: An Artistic Obsession,” Bangkok Post (September 20, 1998), C1.
Taipei County Cultural Center, River: New Asian Art - A Dialogue in Taipei (Taipei: Taipei County Cultural Center, 1997).
Tani, Arata, “Montien Boonma and the Contemporary Thai Scene,” Montien Boonma: The Pagoda & Cosmos (Tokyo: The Japan Foundation ASEAN Cultural Center, 1991), pp. 8-9.
Tani, Arata, “Vertical Spirit Rooted in the Earth of Thailand,” Montien Boonma (Tokyo: Art Front Gallery, 1997), n.p.
The Art Center, Chulalongkorn University, Thai Tensions (Bangkok: Chulalongkorn University, 1995).
The Biennale of Sydney, The Readymade Boomerang: Certain Relations in 20th Century Art
(Sydney: The Biennale of Sydney and the Museum of Contemporary Art, 1990).
The British Council, Culture in Danger: Paintings, Drawings and Prints by Vichoke Mukdamanee,
Montien Boonma, Pichit Tangcharoen, (Bangkok: The British Council Gallery,1982).
The Japan Foundation, New Art from Southeast Asia 1992 (Tokyo: The Japan Foundation,1992).
The Japan Foundation, Asian Modernism: Diverse Development in Indonesia, the Philippines and
Thailand (Tokyo: The Japan Foundation,1995).
The National Gallery of Art, Montien Boonma: Story from the Farm (Bangkok: The National Gallery of Art,1989).
The National Gallery of Art, Montien Boonma: THAIAHT (Bangkok: The National Gallery
of Art,1990).
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of Art,1993).
The National Gallery of Art, Content Sense: Montien Boonma, Kamol Phaosavasdi (Bangkok: The National Gallery of Art,1995).
The National Museum of Contemporary Art, Korea, Olympiad of Art: Commemorative Exhibition of
the 24th Seoul Olympic Games (Seoul: The National Museum of Contemporary Art, Korea, 1988).
Thirapongvisanuporn, Paisal, “Montien Boonma kab eak moomong nung khong ngan installation”
(Montien Boonma and his view on installation), Phu jadkarn rai wan (8 June 1992), p. 10.
Thirapongvisanuporn, Paisal, “Ban hang khwan wang khong Montien Boonma” (House of Hope by
Montien Boonma) Sisan (November-December 1999), pp. 34-39.
Thirapongvisanuporn, Paisal, “Sinlapa sasana satha tasana” (Art, Religion, Faith, Vision) Art, Religion, Faith, Vision (Bangkok: The Art Center, Chulalongkorn University, 2002), n.p.
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Visual Dhamma, Melancholic Trance (Bangkok: Visual Dhamma,1992).
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White Group, A Decade of White Group: Individual Project, 1992 (Bangkok: National Gallery of Art, 1992).
Wongchirachai, Albert Paravi, “Montien Boonma: Grief, Buddhism and Cosmos,” Art and Asia Pacific (Vol.2, No.3, 1995), pp. 74-81.