| Princenthal, Nancy ,” Susan Hiller”, Art in America, New York, May |
| Jorn Ebner, "Susan Hiller:J.Street Project", Springerin, Vienna. January |
| Jessica Berens, (interview) "The Invisible Woman", The Observer Magazine, London, April 3rd |
| Adrian Searle, "Susan Hiller", The Guardian, London, April 28th |
| Richard Cork, "The Echoing Streets",The New Statesman, London, August 9th |
| Rosemary Betterton,ed., "Susan Hiller’s Painted Works", in Unframed: Practices & Politics of Women's Contemporary Painting,, Palgrave Macmillan, London |
Guy Brett, "Wicked Wicked Wicked" in Carnival of Perception: Selected Writings on Art, Institute of International Visual Arts, London
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| Mary Horlock, "Susan Hiller with Mary Horlock: Interview", In Aural Cultures, ed. Jim Drobnick, YYZ Books/Walter Phillips Gallery Editions, Banff |
| Rachel Withers, "Speaking Volumes the Art of Susan Hiller", Art Forum, New York, November |
| Rachel Campbell-Johnston, "Prospero's Paintbox", The Times, London, May 15th |
| Jean Fisher, " Susan Hiller: Elan and Other Evocations", in Vampire in the Text: Narratives of Contemporary Art, Institute of International Visual Arts, London |
| Charles Esche, "Susan Hiller", in 10 Source Artists, Cream 3, Phaidon Press, London |
| Richard Cork, "Susan Hiller", in Everything Seemed Possible: Art in the 1970's, Yale University Press:New Haven & London |
| Richard Cork, "Witness" in Annus Mirabilis? Art in the Year 2000, Yale University Press, New Haven & London, pps.240-242 |
| Rachel Withers, "Witness", The World May be Fantastic, (ex.cat) Sydney |
| Louise Milne, "On the Side of the Angels", Susan Hiller (ex.cat.), Roskilde, Denmark |
Anastasia Boudanoque & Oleysha Turkinya, eds,, Art & Dreams, "Susan Hiller in Freud's Dream Museum" by Oleysah Turkina and Viktor Mazin, "18.11.2001" by Susan
Hiller; pub. by The British Councuil and The Freud Museum of Dreams. St.Petersburg, Russia |
| Mary Horlock interview, "Susan Hiller" , Paletten, July, Stockholm |
| "Dream Screens" in Annotations 3/Frequencies: Investigations into Culture, History & Technology, Melanie Keen, ed., Institute of International Visual Arts, London |
| Gregor Muir," Susan Hiller Interview", Dazed & Confused, June |
| Susan Hiller, "Dream Mapping", artist's insertion, British Journal of Psychotherapy, July |
| Gavin Jantjes, "Susan Hiller", in A Fruitful Incoherence: Dialogues with Artists on Internationalism, Institute for International Visual Arts, London |
| Louisa Buck, Moving Targets: A User's Guide to British Art Now, Tate Gallery Publishing, London 1998, pps. 22-24, "Susan Hiller" in The Makers: Presiding Forces |
| Tony Godfrey, Conceptual Art, Phaidon, London,pps. |
| Michael Archer, Art Since 1960, Thames & Hudson, London |
| James Clifford, "Immigrant", in Routes:Translation & Travel In The Late 20th Century, Harvard University Press |
| Denise Robinson, "Thought burned alive: the work of Susan Hiller", Third Text, winter l996-97, no. 37. |
| Alan Woods interview, "Susan Hiller", Transcript, vol. 2 no. 1, pps. 51-69,Dundee,Scotland |
| Jean Fisher, "Elan and Other Invocations", Inside The Visible, MIT Press, Boston/Whitechapel Gallery, London |
| "Beyond Control", Stuart Morgan, Frieze, London, summer (no. 23, cover) |
| Stuart Morgan, Frances Morris, Rites of Passage, Tate Gallery London (ex.cat) |
| Guy Brett, "That Inner Vision Thing at Freuds", The Guardian, 19 Apr. 1994, p.29 |
| James Clifford, "Immigrant", Sulfur 67. November,USA, |
| "Michael Archer interview, "Susan Hiller", Audio Arts Magazine, London (vol. 14, no. 1) |
| Andrew Renton, "In conversation", in Talking Art, ed. Adrian Searle, London: ICA |
| Marina Warner, "Exit Mr. Punch", Parkett, Switzerland, Summer |
| Lewis Biggs, Intro., Liebensraum/Lifelines:4 British Artists, Tate Gallery Liverpool "Susan Hiller". by Jean Fisher. pp. 42 - 59. (ex.cat.) |
| Guy Brett, "Susan Hiller's Shadowland", Art In America, April |
| Barbara Einzig, "Within & Against: Susan Hiller’s Non-objective Reality", Arts, New York, October |
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