CASSIE PACKARD a Brooklyn-based art writer particularly interested in the intersection of visual culture and queerness / networks / worlding.

Packard (she/they) is an art writer with bylines at publications including Architectural Digest, Art in America, Artforum, ArtReview, BOMB, The Brooklyn Rail, Financial Times, frieze, Hyperallergic, Los Angeles Review of Books, and The New Inquiry, among others. She has contributed writing, editing, or research to catalogs & books published by Dais Books, Hauser & Wirth, Karma, Phaidon, the RISD Museum, and Viaindustriae. She is currently working on a book, to be released by Frances Lincoln in 2023.

Packard is a 2023 Momus/Eyebeam Shortlisted Critical Writing Fellow and a member of the International Association of Art Critics. She was a 2022 Recess Critical Writing Fellow and a 2019 Fellow in the Art & Law Program. She has been a speaker, panelist, or visiting critic at the Fine Arts Work Center (2022), the New York Art Residency and Studios Foundation (2022), Columbia University (2022), NYC Crit Club (2022), Kutztown University of Pennsylvania (2022), Horasis (2021), Ki Smith Gallery (2020), Rutgers University (2020), Flag Art Foundation (2017), and Brown University (2016).

Her writing and criticism have been cited in books published by Routledge, Wiley, Springer Publishing, Cambridge University Press, NYU Press, Oxford University Press, University of Pittsburgh Press, and Verso Books, among others.

Packard spent four years as a Researcher at Hauser & Wirth in New York, where she conducted art historical and provenance research, wrote essays and wall text, and produced publications. She holds an MA (Merit) in Art History from University College London and a BA (Honors) in Art History from Brown University, where she co-curated exhibitions ART//SHOW and The Bad Gallery with a grant from Brown’s Modern Culture & Media Department.

Get in touch: ︎ ︎ ︎


Jessi Reaves at Bridget Donahue, for Artforum
Symbionts: Contemporary Artists and the Biosphere, for Artforum
Direct Action: Carmen Winant’s Lessons in Looking, for Artforum
Shigeko Kubota at MoMA, for Artforum
Tishan Hsu: skin-screen-grass, for The Brooklyn Rail
Gerda Wegener at Planting Fields Foundation, for Artforum
Emilie Louise Gossiaux: Significant Otherness, for The Brooklyn Rail
Eileen Myles’s Pathetic Literature, for The Brooklyn Rail
The Erotic Affinities between Eva Hesse and Hannah Wilke, for frieze
Nöle Giulini’s Alchemical Artworks Turn Kombucha and Gelatin Into Sculpture, for Art in America
‘Black People Matter, Black Spaces Matter, Black Objects Matter’: Theaster Gates’s Cardinal Truths, for ArtReview
Lynn Hershman Leeson, in All Her Cyborg Glory, for Hyperallergic
Unfiguring the Siren of Greek Mythology, for frieze
The Terrors of Whiteness in Wu Tsang’s Moby Dick, for Hyperallergic
Untamed, Shifting Landscapes, for Art in America
Gala Porras-Kim at Amant, for Artforum
Morris Hirshfield at American Folk Art Museum, for Artforum
Masaomi Yasunaga: Looking Afar / 遠くを見る, for The Brooklyn Rail
On Radical Dance: Yvonne Rainer and Simone Forti, for Los Angeles Review of Books
David Wojnarowicz brings us closer to his real persona, for frieze
Losing Ourselves in Liz Larner’s Shapeshifting Sculpture, for Hyperallergic
Eva Hesse’s “Expanded Expansion”, for Art in America
Carrie Moyer at DC Moore , for Artforum


Karla Knight on living with the unknown, for Artforum
Henrike Naumann: The conspiracy in your living room, for Artforum
Weather and Wordplay: Yto Barrada Interviewed, for BOMB
Blurring the Lines between Public and Private: Salman Toor Interviewed, for BOMB
Half-Analog, Half-Digital: Mungo Thomson Interviewed, for BOMB
Author Stephanie LaCava on Art World Seduction and Survival, for Interview
Reciprocating Gaze: Jordan Casteel Interviewed, for BOMB
Gallerist Nicola Vassell considers the Caribbean context, for Financial Times
Frieze Frame’s Sophie Mörner, for Financial Times
Existential Meltdowns and Metaphysical Epiphanies: Cynthia Talmadge Interviewed, for BOMB
Critique and Care: Sheida Soleimani Interviewed, for BOMB
Gallerist Hannah Traore, for Financial Times
Dan Hicks on the Benin Bronzes and Ultraviolence of World Culture Museums, for Hyperallergic
Representing Connection: LJ Roberts Interviewed, for BOMB
All Pleasures Fulfilled: Samantha Nye Interviewed, for BOMB
Solitude in Isolation: A conversation with Moyra Davey about her recent essay collection, for Bookforum
Fiction as a Space for Processing: Megan Milks Interviewed, for BOMB
Paul Kasmin, Pioneering Gallerist and Champion of Chelsea Art Scene, Dies at 60, for Architectural Digest
The Heart Has Its Own Intelligence: Legacies of the Gee’s Bend Quilters, for Ursula


Eye to Eye: Revisiting a landmark of lesbian photography, for Artforum
The Prospects of Painting: Robert Duran’s New York Years, for “Robert Duran: 1974-1979,” Karma (catalog here)
A Trigger for Thinking, for “Medium of Exchange: Sheida Soleimani,” Dais Books (catalog here)
Plastic Tenderness, for “Interspecies Kin,” Viaindustriae (catalog here)
A Common Thread, for Recess
On Regards to the End, for Emily Wells
Esther Pearl Watson: Guardian of Eden, for Andrew Edlin Gallery
The Worlds of Stephen Spender, for Hauser & Wirth Publishers - Researcher
間 (Ma), for Ki Smith Gallery - Contributor
‘Monsters Exist Because We Create Them’: Turning to Leon Golub in a Time of Crisis, for Ursula
The Festive City, for RISD Museum - Curatorial Team
Conversations on Artists’ Estates & Modern Masters, for Hauser & Wirth - Editor & Contributor
How Does the FBI Art Crime Team Operate?, for Hyperallergic
The Colorful and Clairvoyant History of Aura Photography, for Artsy
The Soft Boys, for The New Inquiry