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Rachel Haidu

  • Associate Professor of Art History

PhD, Art History, Columbia University, 2003

506A Morey Hall
(585) 275-4112
Fax: (585) 442-1692

Research Overview

Research Interests

  • Modern, postwar and contemporary art
  • Eastern European postwar and contemporary art
  • artist's films and videos
  • contemporary painting
  • history of photography
  • national identity and transnationalism
  • critical theory and poststructuralist theory
  • feminism, gender and race studies
  • visual studies

Graduate Courses Taught

  • AHST 525:  Authorship: Art and Value of Politics
  • AHST 525:  Authorship: Anxiety of Influence
  • AHST 583:  Visual and Cultural Studies Colloquium
  • AHST 584:  Research Seminar in Visual and Cultural Studies
  • AHST 598:  History of Avant Garde

Undergraduate Courses Taught

  • AHST 128:  Modern Art
  • AHST 130:  History of Photography
  • AHST 212:  What Photo Is
  • AHST 215:  Seminar in Contemporary Art: Advanced Histories and Theories of Photographies
  • AHST 215:  Seminar in Contemporary Art: The Sixties
  • AHST 325:  Authorship: Art and Value of Politics
  • AHST 398:  Senior Seminar: The Avant Gardes

Selected Publications


  • Each One Another: The Self in Contemporary Art (University of Chicago Press, March 2023)
  • The Absence of Work: Marcel Broodthaers 1964-1976  (October Books/MIT Press, September 2010)

Selected Essays and Articles

  • “Get the Creeps Out of Your Head,” Louise Fishman: Darkness and Light, exh. cat. (New York: Karma Gallery, 2022), 19-24.
  • “Mourning and Proximity in a Bad Time,” response to a questionnaire, InVisible Culture (January 2022)
  • “Maria Eichhorn: Critique, Restitution, Reading,” Mousse 78 (January 2022), 50-52.
  • “Maria Lassnig,” “Philip Guston,” Amor Mundi: The Collection of Marguerite Hoffmann (London: Ridinghouse, 2022), 345-7; 565-66.
  • Rosas, the Storyless, and Roles,” Arts Special Issue: Dance and Abstraction 9(2), 44.
  • “Stan Douglas,” Among Others: Blackness at MoMA, ed. Darby English (New York: Museum of Modern Art, 2019), 188.
  • “Hungry Minds: Rachel Haidu on Leidy Churchman at the Hessel Museum of Art, Bard College, Annandale-on-Hudson,” Texte zur Kunst 29:116 (December 2019), 163-167.
  • “Solo Dancing,” Collision 38 (October 2019).
  • “Amy Sillman,” Artforum Vol. 57, No. 4 (December 2018), 205.
  • “Documenta XIV,” 4columns (August 2017)
  • “Nairy Baghramian,” “Maria Hassabi,” The Documenta 14 Daybook, exh. cat. (Kassel and Athens, 2017), NP.
  • “Rainer-Hayes: Transmission in Real Time,” Postscript, exh. cat. (Toronto: University of Toronto Press, 2017), 73-85.
  • “Little Cat” in Ulrike Müller: the old expressions are with us always and there are always others, exh. cat. (Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2017), 23-47.
  • “Work Set for History,” in Franz Erhard Walther, exh. cat. (Beacon, Dia Foundation for the Arts, 2016), 61-73.
  • “Influence/Transmission,” Time: A Vocabulary for the Present, edited by Joel Burges and Amy Elias (New York: New York University Press, 2016), 323-336.
  • “…My mere self: Rachel Haidu on Kai Althoff at the Museum of Modern Art,” Texte zur Kunst 104 (December 2016)
  • “A streamlined whole?” Letter to the editor, Artforum (October 2016)
  • Roundtable on Marcel Broodthaers, October (Winter 2016)
  • Response, New Materialisms Questionnaire, October 155 (Winter 2015)
  • “Installation Art,” in Reading Contemporary Performance: Theatricality Across Genres, edited by Gabrielle Cody and Meiling Cheng (New York and London: Routledge, 2015)
  • “Rainer-Hayes: Transmission in Real Time,” Postscript (Toronto: University of Toronto Press, 2013)
  • “Women at Home: Yvonne Rainer and Martha Rosler,” French Theory and American Art, edited by Anaël Lejeune, Olivier Mignon, and Raphaël Pirenne (New York and Brussels: Sternberg Press and [SIC], 2013), 326-356.
  • “Three Early Works by James Coleman,” James Coleman (Madrid: Museo Reina Sofia, 2012)
  • “Images of the World and the Inscription of History,” Gerhard Richter Panorama (London, Paris, Berlin: Tate Modern/Centre Georges Pompidou/Neue Nationalgalerie, 2011)
  • “I inhabit a cube,” Sol LeWitt Structures 1965-2006 (New York: Public Art Fund, 2011)
  • “The Time of Instytut Awangardy,” in Avant-garde in the Bloc (Warsaw: Foksal Gallery Foundation, 2010)
  • “Arrogant Texts: Gerhard Richter/Roland Barthes,” Gerhard Richter (Cambridge and London: October Files/MIT Books, 2009)
  • “Précarité, autorité, autonomie,” Communities of Sense (Durham, N.C.: Duke University Press, 2009)
  • “Saute ma ville,” in (1968), edited by Cathy Crane and Nicholas Muellner (Newcastle upon Tyne: Cambridge Scholars Press, 2009)
  • “Use,” When Things Cast No Shadow: 5th Berlin Biennial for Contemporary Art (Berlin: KW Institute for Contemporary Art, 2008)
  • “Max Becher/Andrea Robbins,” Vitamin Ph (London: Phaidon, 2006)
  • “Laughter,” Part Object Part Sculpture, edited by Helen Molesworth (Columbus, OH: Wexner Center for the Arts, 2005)
  • “Les Utopies précaires de Thomas Hirschhorn,” Thomas Hirschhorn: Musée Précaire Albinet (Paris: Les Laboratoires d’Aubervilliers/Éditions Xavier Barral, 2005)


  • I am a contributor to Art Journal,Artforum, October, Obieg (Warsaw) and Texte zur Kunst.

Selected Awards/Grants

  • Sterling and Francine Clark Institute of Art fellowship (2012)
  • Susan B. Anthony Institute Faculty Research Grant (2006, 2011)
  • Whiting Foundation Doctoral Fellowship (2002-2003)
  • Belgian-American Educational Fellowship (2002-2003)
  • Dedalus Foundation Doctoral Fellowship (2001-2002)
  • Chester Dale Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington, D.C. (2000-2001)
  • Matisse Fellow in Modern Art at Columbia University (1999-2000)
  • Presidential Fellow, Columbia University, New York (1997-1999)
  • Endowed Fellow, H.L. Lobsenz Fellowship Fund at Columbia University (1989-1991)


  • Member, Academic Administration Committee, College of Arts and Sciences, University of Rochester
  • Member, Board of Academic Honesty, College of Arts and Sciences, University of Rochester
  • Affiliate, Susan B. Anthony Institute for Gender and Women’s Studies, 2005-present
  • Affiliate, Frederick Douglass Institute for African and African-American Studies, 2005-present
  • Member of Academic Council, Skalny Center of Eastern and Central European Studies, 2004-present
  • Nominated faculty advisor, AAHUC (Art and Art History Undergraduate Council), Spring 2008-2010
  • Nominated faculty representative, College Diversity Roundtable, Office of Student Minority Affairs, University of Rochester, October 2004-2009
  • Junior Faculty Development Group, Member, 2003-2006

Current Projects

  • The Knot of Influence, book in progress
  • "Influence/Transmission," in Time: A Vocabulary (NYU Press, 2014)
  • "Suspending Painting" in Andrzej Wróblewski (Warsaw: Museum of Modern Art and American Academy of Rome, 2014)