Berger, Maurice. Repetitions: A Postmodern Dynamic: Carl Andre, Jonathan Borofsky, Hanne Darboven, Donald Judd, Sherrie Levine, Vincent Longo, Robert Swain, Andy Warhol, Sanford Wurmfeld exhibition catalogue, New York: Hunter College Art Gallery of the City of New York, 1985.
Brown, Gordon, “Art Reviews.” Arts Magazine, May, 1976: 29.
Leslie, Candace. “A Tale of Twin Cities”. Amtrack Express, Oct./Nov.1985: 41-45.
The Corcoran Gallery of Art. Thirty-First Biennial Exhibition of Contemporary American Painting. Washington: The Corcoran Gallery of Art, 1969.
Dantzic, Cynthia Maris. 100 New York Painters. Arglen, PA: Schiffer Publishing Ltd., 2006.
Darien News 7 Sep. 1978: sec. 2, p. 16.
Davis, James W. “Unified Drawing through the Use of Hybrid Pictorial Elements and Grids.” Leonardo, 5.1 (Winter, 1972): 1-9.
“Don't Close the Door on Your Bedroom”. Glamour, June 1976: 174+.
Dreiss, Joseph, “Art Reviews.” Arts Magazine, Dec. 1974: 14-15.
Edwards, Susan, Vincent Longo, Maurice Berger, and Rosalind Krauss. A Debate on Abstraction. New York: The Bertha and Karl Leubsdorf Art Gallery at Hunter College of the City of New York, 1989.
Eickel, Nancy and Lee A. Vedder, eds. The Forty-Fifth Biennial: The Corcoran Collects 1907-1998. Washington D.C.: The Corcoran Gallery of Art, 1998.
Fehr, Michael, and Sanford Wurmfeld, eds. Part I: Seeing Red - An International Exhibition of Nonobjective Painting, Bertha and Karl Leubsdorf Art Gallery; Part II: Seeing Red - Contemporary Nonobjective Painting, The Hunter College/Times Square Gallery, 2003. Also: Seeing Red. On Nonobjective Painting and Color Theory, Exhibition catalogue, Cologne: Salon Verlag, 2004.
Gibert-Rolfe, Jeremy. "Reviews." ArtForum Dec.1974:71.
Gold, Barbara. "Corcoran Biennial: New Sensibility in Washington." Arts Magazine April 1969: 28-31.
Goossen, E. C. The Art of the Real: USA 1948-1968. New York: The Museum of Modern Art, 1968.
Goossen, E. C. “The Art of the Young, Not to Shock but to Make Real,” Vogue Magazine, August 1968: 50.
Hispard, Marc. “The How To of Bringing a House Back to the Land.” House & Garden Apr. 1972: 126-31.
Hunter College MFA Faculty Artists 1981-1993. New York: Hunter College Art Galleries, 1993.
Huxtable, Ada Louise. “Design Notebook: The Unreal World of Waiting Rooms.” New York Times 5 March 1981: C1+.
Katz, Paul and Ward Jackson, eds. Art Now: New York Nov 1969.
Keffe, Jeffrey. ArtForum May 1979.
Khemsurov, Monica. “Working with an Architect.” Domino Oct. 2008: 134-39.
Lubell, Bell. "Arts Review." Arts Magazine Sept. 1978: 35-36.
Maine, Stephen. Art in America Feb. 2011
Martin, Julian S. “The Sound of Speakers.” GQ Oct. 1972: 113-20.
Massie, Rebecca. The Sydney and Frances Lewis Contemporary Art Fund Collection. Richmond, VA: Virginia Museum of Fine Arts, 1980.
McCary, Susan. ”'Light painting' to Mark Local Ocean Spray Plant.” Sulphur Springs News-Telegram 30 March 1983: 1.
McDarrah, Fred W. The Village Voice 19 September 1968: 19.
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press, 2001.
Morgan, Robert. The Optical Edge. New York: Pratt Manhattan Gallery, 2007.
Muck, Gordon. “Art News and Views”. Syracuse Post Standard. 6 May 1974.
Nordland, Gerald. Fourteen Abstract Painters. Los Angeles: Frederick S. Wright Art Gallery, 1975.
Paintings and Sculpture: 8 New York Artists. Jacksonville, FL: Art Sources, Inc., 1982.
The New Criterion, November 2010.
Pettigrew, Jim Jr. “Corporations & Collecting.” Sky, February 1986: 11-17.
Ratcliff, Carter. “New York Letter.” Art International, Jan. 20, 1970: 96.
Richard, Paul. "Look at Swain's Painting. It Grows Stronger." Washington Post
Rosenstein, Harris. "Art Reviews." Art News Dec. 1969:72.
Severson, Cyndy. “The House that Art Built.” Texas Monthly Sep. 1977: 100+.
Smith, Roberta. "Reviews." Artforum May 1976: 65-66.
Tucker, Marcia. The Structure of Color. New York: Whitney Museum of American Art,1971.
Wald, Ann Himmelberger. “The Art of Business.” Northwest Orient Mar. 1983: 34-40.
Wurmfeld, Sanford. Art from the City University of New York. Shanghai: 1986.
“Xerox Art: A Case Study.” Interior Design Nov, 1979: 206-07.
Zimmer, William. "Art Reviews." Arts Magazine Sep. 1977: 33-34.
As one of ten kids in a blue-collar family in Edgewater, New Jersey, Barbara Corcoran didn't have many material advantages. She shared her bedroom with five sisters and shared her socks in a communal sock drawer. Yet she grew up to have plenty of self-confidence, because her mother had an amazing gift for nurturing the unique talents in each of her children. Barbara's mom didn't know much about business, but she understood how the world works, and how to make the most of what you've got. In the early 1970s, Barbara borrowed $1000 from her boyfriend to get her start in real estate. That led to the birth of The Corcoran Group, which today is New York's premier residential real estate brokerage, with over $1 billion in annual revenue. Her amazing rise to the top has become the stuff of legend and inspiration. Barbara - now nicknamed the Queen of New York Real Estate - credits her success to not just to hard work and determination, but to her mom's enormously valuable advice. Not just the standard maternal wisdom, but real gems such as, 'If the clubhouse is quiet, they're probably not making spaghetti.' In Use What You've Got, Corcoran illustrates her mother's wisdom and insight with twenty-five 'how tos' for getting ahead in business. Each lesson is brought to life with real business scenarios, an outrageous childhood adventure story, and tips garnered from Corcoran's years in the most competitive real estate market in the world.