Searle, Adrian, „Into the shadows”, The Guardian, 26. Januar 2010, S. 19-21.

Hudson, Mark, „Chris Ofili: ‘I wander deep into the forest – where it’s scary’”, The Telegraph, 25. Januar 2010.

Jury, Louise, „Ofili show is not just the dung thing”, The Evening Standard, 25. Januar 2010.

Little, Helen, „Shock and awe: The art of Chris Ofili“, The Independent, 22. Januar 2010.

Adams, Tim, „Island records”, New Statesman, 22. Januar 2010.

Luke, Ben, „Chris Ofili – the painter of paradise”, The Evening Standard, 21. Januar 2010.

Younge, Gary, „After the elephant dung: Chris Ofili”, The Guardian, 16. Januar 2010.

Shuster, Robert, „Harlem Fash: Collected: Propositions on the Permanent Collection”, The Village Voice, 29. July 2009, S. 26.

Javier, Peres, daddy, Nr. 6, 2008, S. 194.

Abbas, Remi, „Portrait of the Artist in Motion”, Spread Artculture, 3. April 2008, S. 14 – 15.
 

Church, Amanda, „Chris Ofili: David Zwirner”, Flash Art International, November 2007, S. 109.

Saltz, Jerry, „The Elephant in the Room”, New York, 22. Oktober 2007 S. 94 – 95.
 

Rosenberg, Karen, „Chris Ofili: Devil’s Pie”, New York Sun, 19. Oktober 2007 S. 35.
 

Holland, Cotter, „Chris Ofili – Devil’s Pie”, The New York Times, 19. Oktober 2007, S. E35.

Kunitz, Daniel, „The Devil and Chris Ofili”, Village Voice, 17. Oktober 2007, S. 152.
 

Cohen, David, „Chris Ofili”, The New York Sun, 11. Oktober 2007, S. 18.
 

Collings, Matthew, „Als die Bilder saufen lernten“, Monopol, Oktober 2007, S. 40 - 50.

Wainwright, Leon, „Peter Doig & Chris Ofili”, Interview, Bomb, September 2007, S. 32 - 41.

Buhr, Elke, „Der Stoff, der die Welt hält“, Frankfurter Rundschau, 9. Juni 2007, S. 36 - 37.

Searl, Adrian, „Go with the Flow”, The Guardian, 30. Januar 2007, S. 23 -25.

Bürklin, Heidi, „Chris Ofili und das dekorative Potenzial von Elefantendung“ Kunstzeitung, März 2006, S. 28.

Koerner von Gustorf, Oliver, „Modernist Blues“, Interview, db-artmag.com, April 2006, S. 9.

Quin, John, „Chris Ofili: The Blue Rider”, Contemporary, Mai 2006.

Koerner von Gustorf, Oliver, „Hey, hey, hey, ich bin der Blaue Reiter", Welt am Sonntag, Hamburg, 25. Juni 2006, S. 58.

„Blauer Reiter reloaded“, Der Spiegel, 26. Juni 2006, S. 127

Glanz, Alexandra, „Das Kreuz der Kulturen“, Hannoversche Allgemeine Zeitung, 23. Juni 2006.

Queren, Henning, „Die blausilberne Kälte des Nordens – Der expressionistische Reiter als Remix“, Neue Presse, 23. Juni 2006.

Schlüter, Ralf, „Die Sanfte Umschreibung der Geschichte“, Art, Juli 2006, S. 84.

Herchenröder, Christian, „Skulptur auf dem Vormarsch", Handelsblatt, 29. September 2006, Kunstmarkt, S.1.

Marden, Brice, „Painter’s Paintings“, Artforum, oktober 2006, S. 218 – 225; 286 – 288.
 

Völzke, Daniel, „Der Blaue Reiter reitet blauer weiter, Gruß aus dem Garten Eden: Chris Ofili in der Galerie Contemporary Fine Arts”, Der Tagesspiegel, 17. Dezember 2005, S. 26.

„Erdverbunden, „The Blue Rider” von Chris Ofili bei Contemporary Fine Arts”, TIP, 1. Dezember 2005, S. 76.

Valdez, Sarah, “Chris Ofili at the Studio Museum Harlem”, Art in America, Dezember 2005, S. 147 - 148.
 

Harding, Luke, „Bottoms up, Ofili ponders the nature of relationships“, The Guardian, 19. November 2005, S. 1; 10 - 11.

Searle, Adrian, „Ofili: the blue period”, The Guardian, 22. November 2005, S. 18 - 19.

Casely – Hayford, Augustus, „The Upper Room”, November 2005, S. 26 – 29.

Dorment, Richard, „Like Nothing You’ ve Ever Seen Before”, The Daily Telegraph, 20. September 2005, S. 21.

Vogel, Carol, „An Artist Reveals The Way He Thinks“, The New York Times(Beilage zur Süddeutschen Zeitung), 23. Mai 2005.

Carley, John, „Can You Tell What It Is Yet?”, The Sunday Times, 22. Mai 2005, S. 6 – 7.
 

Danto, Arthur C., „American Self-Consciousness in Politics and Art“, Artforum, September 2004, S. 208.

Van der Zee, Bibi, „And the Nominations are…”, The Guardian, 1. November 2003.
 

Eshun, Ekow, „Holy Shit”, The Fader Magazine, Juli 2003, S. 110 – 113.
 

Lange, Christy, „The Chosen One”, Telegraph Magazine, 14. Juni 2003, S. 40 – 45.
 

Dorment, Richard, „The Chosen One”, Telegraph Magazine, 14. Juni 2003, S. 40 – 45.
 

Sharp, James, „Dung Icons”, Times Educational Supplement, 10. Januar 2003, S. 11.
 

Miller, Alicia, „Chris Ofili - Victoria Miro", Flash Art, Oktober 2002, S. 105 -106.

Grant, Catherine, „Chris Ofili: Freedom One Day", Contemporary; September 2002, S. 86.

Searl, Adrian, „Monkey Magic”, The Guardian, 25. Juni 2002, S. 10 – 11.
 

Jones, Jonathan, „Paradise Reclaimed”, The Guardian Weekend, 15. Juni 2002, S. 1; 18 – 23.
 

Smee, Sabatian, „No-one needs to say sorry“, The Sydney Morning Herald, 26. Mai 2000.

Morley, Simon, „Chris Ofili Drawings“, The Independent, 23. Mai 2000.

Shearing, Graham, „The Legacy“,Tribune Review, 19. März 2000.

Leffingwell, E., „Carnegie Ramble“, Art in America, März 2000.

Hay, David, „The Scene Heats Up Under the Miami Sun“, The New York Times, 27. Februar 2000.

Carrier, David, „Review / Carnegie“, Burlington Magazine, Februar 2000.

Macritchie, Lynn, „Ofili’s Glittering Icons“, Art in America, Januar 2000, S. 96 – 101.

Miller, Paul D., „Deep Shit, An Interview with Chris Ofili“, Parkett 58, 2000, S. 164 – 176.

Müller, Silke, „Maler und Mythenspieler“, art, Januar 2000, S. 10 – 21.

McFadden, Robert, „Madonna Painting is Defaced in a Disputed
Brooklyn Show“, The New York Times, 17. Dezember 1999.

Smith, Roberta, „Art in Review Chris Ofili“, The New York Times, 29. Oktober 1999.

Barstow, David, „Art museum bolsters lawsuits againt Giuliani“, The New York Times, 2. Oktober 1999.

Kifner, John, „Cultrati view controversial art exhibit in New York“, The New York Times, 1. Oktober 1999.

Hensher, Philip, „Puritans, pornography and the shocking art of cencorship“, The Independant, 1. Oktober 1999.

Kimmelman, Michael, „After All That Yelling Time To Think“, The New York Times, 1. Oktober 1999.

Buck, Louisa, „Chris Ofili: Elephant dung in the Garden of Eden“, Scandinav Airways Magazine, Oktober 1999.

Herszenhorn, David, „Brooklyn Museum accused of trying to lift art value“, The New York Times, 30. September 1999.

Usborne, David, „Giuliani faces backlash over Brit Art exhibition“,The Independent, 30. September 1999.

Kuntzman, Gersh & David Seifman, „Defient Museum: The show goes on“, New York Post, 29. September 1999.

Barstow, David, „Brooklyn Museum sues to keep Mayor from freezing its funds“, The New York Times, 29. September 1999.

Ellison, Michael, „Hillary backs BritArt show“, The Guardian, 28. September 1999.

Ellison, Michael, „New York seeks to ban British Sensation“, The Guardian, 24. September 1999.

„Abby Goodnough Giuliani threatens to evict museum over art exhibit“, The New York Times, 24. September 1999.

„Dan Barry & Carol Vogel Giulini vows to cut subsidy over’sick’art”, New York Times, 23. September 1999.

Fusco, Coco, „Captain Shit and Other Allegories of Black Stardom“, Nka Journal of Contemporary African Art, Frühling / Sommer 1999.

„Chris Ofili,usual suspect“, The Guardian, 13. März 1999.

Jenkins, Russell, „Artist shows his view of the Turner Prize“, The Times, 11. Dezember 1998.

„No oil painting but elephant man takes the Turner“, The Sydney Evening Herald, 3. Dezember 1998.

Majendie, Paul, „Dung art awared Turner“, The Toronto Globe, 2. Dezember 1998.

Glaister, Dan, „Turner Prize goes to Ofili“, The Guardian, 2. Dezember 1998.

Lubbock, Tom, „Turner Prize winner puts painting back in the frame“, The Independant, 2. Dezember 1998.

Reynolds, Nigel, „Poetry in motions wins the Turner Prize“, The Daily Telegraph, 2. Dezember 1998.

Thorncroft, Anthony, „The sweet smell of success“, Financial Times, 2. Dezember 1998.

„Absolute Ofili“, The Times, 2. Dezember 1998.

Alberge, Dalya, „Turner Prize proves the ordure of the day“, The Times, 2. Dezember 1998.

Lister, David, „Elephant dung wins Turner Prize“, The Independent, 2. Dezember 1998.

Janus, Elizabeth, „Review of Global Vision”, Artforum International, November 1998.

Lubbock, Tom, „Every one’s a winner“, The Independant, 3. November 1998.

Landesman, Cosmo, „A Turner down“, The Sunday Times Magazine, 1. November 1998.

Tillmans, Wolfgang, „Afrodaze, Dazed and Confused“, November 1998.

Searle, Adrian, „Who’ll win the Turner Prize? My bung is on the dung“, The Guardian, 28. Oktober 1998.

Alberge, Dalya, „Great works of art or just a pile of dung?“, The Times, 28. Oktober 1998.

Packer, William, „A man who has dung roaming“, The Financial Times, Oktober 1998.

„Shit happens, Chris Ofili’s been there, dung that“, Time Out, 14. Oktober 1998.

Cork, Richard, „The name to droppings“, The Times, 6. Oktober 1998.

Coomer, Martin, „The boy dung good“, Time Out, 30. September – 7. Oktober 1998.

Durrant, Sabine, „Who flung dung? The Monday Interview”, The Guardian, 21. September 1998, S. G2.

Maloney, Martin, „Dung & Glitter“, Modern Painters, Herbst 1998.

Higgie, Jennifer, „Chris Ofili, Southampton City Art Gallery“, frieze, September / Oktober 1998.

Lister, David, „Dung, entails and sex vie for Turner“, The Independent, Juli 1998.

Searle, Adrian, „At Last, a true perspective“, The Guardian, Juli 1998.

Reynolds, Nigel, „Sex and Dung – it’s Turner time“ , The Daily Telegraph, Juli 1998.

Alberge, Dalya, „Turner shortlist shows how modern art is Dung“, The Times, Juli 1998.

Searle, Adrian, „Top Plop“, The Guardian, April 1998.

Hilton, Tim, „Who’s the subject, you or me?“ Independent on Sunday, April 1998.

Lillington, David, „Holy Shit! Chris Ofili“, Metropolis M, Februar 1998.

Alexander, Keith, „Date with an artist“, BBC Television, November 1997.

Collings, Mathew, „The new establishment“, Independent on Sunday, September 1997.

Searle, Adrian „Feeling Frenzy“, The Guardian, September 1997.

Norris, David, „Shockers of the Exhibition“, Daily Mail, September 1997.

Kent, Sarah, „It’s a Sensation! But is it art? Everything you need to know about the London art scene, but were afraid to ask“, Time Out (Special supplement), September 1997.

Buck, Louisa „Openings: Chris Ofili“, Artforum, September 1997, S. 112.

Hilton, Tim, „The Best Painting in Britain“, The Independent on Sunday, 17. November 1996, S. 30.

Buck, Louisa, „Works in Progress; Portraits of Five Britis Artists“, GQ Magazine, Dezember 1996, S. 87.

Buck, Louisa „Fever Pitch, Letter from London“, Artforum, Oktober 1996, S. 35.

„Tania Guha Chris Ofili/Victoria Miro“, Time Out, 12. Juni 1996, S. 44.

„The rumour is…”, Interview, Dazed & Confused, Juni 1996, S. 26 – 27.

Worsdale, Godfrey „Chris Ofili / Victoria Miro Gallery“, Art Monthly, Juli / August 1996, S. 27 – 28.

„New Art Riot”, i-D Magazine, The Performance Issue, Dezember, S. 38.

Smith, Roberta „Chris Ofili, Gavin Brown’s enterprise“, New York Times, 2. Dezember 1995.

Searle, Adrian, „Going through the motions, in watch this face…in the visual arts“, The Independent, 27. Dezember 1995. S. Arts 11.

House, Henrietta, „Take Five”, TimeOut, 30. November 1994.
 

Morgan, Stuart, „The Elephant Man“, Frieze, März / April 1994, S. 40 - 43.

Chris Ofili: Devil’ s Pie, Steidl Verlag, New York, 2008.
 

History in the Making: A Retrospective of the Turner Prize, Mori Art Museum, Tokio, 2008.
 

Same As it Ever Was, Chelsea College of Art and Design, London, 2008.
 

13, International Project Space, Birmingham 2007.
 

True Romance, DuMont Buchverlag, Köln, 2007.

Fractured Figure: Works from the Dakis Joannou Collection, The Deste Foundation for Contemporary Arts, Athen, 2007.

Traum and Trauma: Works from the Dakis Joannou Collection, Kunsthalle, Wien, 2007.

The Art of Collecting, Museum Kunst Palast, Düsseldorf, 2007.

Draw: Conversations Around the Legacy of Drawing, Middlesborough Institute of Modern Art, Middlesborough, 2007.
 

Translation. A visual trip operated and articulated by Dakis Joannou, Palais de Tokyo, Paris, 2006.

Andrea Bruciati und Alessandra Galasso, Painting Codes / Codici Della Pittura, GC.AC. Galleria Communale d'Arte, Monfalcone, 2006.

Visual Shock: A History of Art Controversies in American Culture, Knopf, New York, 2006.

Surprise, Surprise, ICA Insitute of Contemporary Arts, London, 2006.

The Blue Rider Extended Remix, Kestnergesellschaft, Hannover, 2006.

The Upper Room, Tate Publishing, London, 2006.
 

How To Improve The World: 60 Years of British Art, Hayward Gallery Publishing, 2006.
 

Painting Codes, Galleria Comungale d’Arte Contemporanea Monfalcone, Monfalcone, 2006.

Infinite Painting, Villa Manin Centro d’Arte Contemporanea, Passariano, 2006.

Prints Now: Directions and Definitions, Victoria and Albert Museum, London, 2006.

Tokyo Blossoms: Deutsche Bank Collection meets Zaha Hadid, Deutsche Bank, Frankfurt, 2006.

Afro Muses 1995 - 2005, The Studio Museum in Harlem, New York 2005.

Bits and Pieces Put together to Present a Semblance of a Whole, Walker Art Centre, Minneapolis, 2005.

Drawing from the Modern: 1975 – 2005, Museum of Modern Art, new York, 2005.

Getting Emotional, ICA, Boston,2005.
 

Contemporary Erotic Drawing, Aldrich Museum of Contemporary Art, 2005.

Artists and Prints: Masterworks from the Museum of Modern Art, Museum of Modern Art, New York, 2004.
 

Gifted, The Arts Gallery, university of the Arts and Arts Council, London 2004.

Monument to Now: The Dakis Joannou Collection, DESTE Foundation for Contemporary Art, Athen, 2004.

Fabulism, Joslyn Art Museum, Omaha, 2004.

Within Reach, published on the occasion of the exhibition at the British Pavilion, 50th Venice Biennale, Victoria Miro Gallery, London, 2003.

Happiness: A Survival Guide for Art and Life, Mori Art Museum, Tokio, 2003.

High Art Lite by Julian Stallabrass, Verso, London & New York, 2002.

To Be Looked At: Painting and Sculpture from the Museum of Modern Art, Museum of Modern Art, New York, 2002.

The ‘Third Text’ Reader on Art, Culture and Theory, Continuum, London and New York, 2002.

Exotic No More: Anthropology on the Front Lines, University of Chicago Press, Chicago, 2002.

Rapture: Art’s Seduction by Fashion, Thames and Hudson, London, 2002.

Drawing Now: Eight Propositions, Museum of Modern Art, New York, 2002.

Cavepainting, Santa Monica Museum of Art, Santa Monica, 2002.

Painting at the Edge of the World, Walker Art Center, Minneapolis, 2001.

Public Offering, Thames and Hudson, London, 2001.

One Planet under a Groove: Hip Hop and Contemporary Art, The Bronx Museum of the Arts, 2001.

Ant Noises, The Saatchi Gallery, London, 2000.
 

Biennale of Sydney 2000, MCA Sydney, Sydney, 2000.

Chris Ofili, Southampton City Art Gallery and the Serpentine Gallery, London, 1999.

Get Together: Kunst als Teamwork, Kunsthalle Wien, Wien, 1999.

CI:99 / 01 / V.01, Carnegie Museum of Art, Pittsburgh, Pennsylvania 1999.

6th International Istanbul Biennial, Istanbul Foundation for Culture and Arts, Istanbul, 1999.

High Art Lite, Verso, London and New York, 1999.

VISION. 50 Years of British Creativity, Thames and Hudson, London, 1999.

ZOO, Issue 1, Purple House Limited, 1999.

Chris Ofili, Southampton City Art Gallery and the Serpentine Gallery, London, 1998.

Date with an artist, BBC Education Production, 1997.

Moving Targets: A User’s Guide to British Art Now, Louisa Buck, Tate Gallery Publishing Limited, London, 1997.

Blimey! From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst, Matthew Collings, 21, Cambridge, 1997.

Pictura Britannica, MCA, Sydney, 1997.

John Moores Liverpool Exhibition 20, Walker Art Center, Liverpool, 1997.

Dimensions Variable. New Works from the British Council Collection, The British Council, London, 1997.

Sensation. Young British Artists from the Saatchi Collection, Royal Academy of Arts in association with Thames and Hudson, London, 1997.

Now Here, Louisiana Museum of Modern Art, Humblebæk, 1996.

About Vision, New British Painting in the 1990’s, Museum of Modern Art, Oxford, 1996.

Wakefield, Richard Flood, Douglas Fogle, Walker Art Center Publications, Minneapolis 1995.

John Moores Liverpool Exhibition 19, National Galleries & Museums on Merseyside, Liverpool, 1995.