￭ Maurer, Dóra: Versuch einer Chronologie der Avantgarde-Bewegung in Ungarn 1966–1980, in: Künstler aus Ungarn (catalog), Kunsthalle Wilhelmshaven, 26 August – 21 September, 1980, pp. 72., 74–76., 79–81.
￭ Perneczky, Géza: The Art Pool Archives. The Story of a Hungarian Art Collection, The New Hungarian Quarterly, Vol. 30, No. 8., 1989, pp. 192–196.
￭ Galántai, György – Klaniczay Júlia (eds.): Galántai. Lifeworks 1968–1993, Artpool – Enciklopédia Kiadó, Budapest, 1996, 320 p.
￭ Létourneau, André-Éric: Présentation Artpool à Articule Montréal, Inter Art Actuel, No. 64., 1996 Winter, p. 49.
￭ Bálint, Anna: Garden of Communication. Artpool Art Research Center web site, Convergence. The Journal of Research into New Media Technology, Vol. 4., No. 2., 1998 Summer, pp. 116–118.
￭ Szőnyei, Tamás: Kommunikálni kell. Találkozás Galántai Györggyel [We need to Communicate. Meeting György Galántai], Magyar Ifjúság [Hungarian Youth], Vol. XXXII, No. 25., June 17, 1988, pp. 30–31.
￭ Perneczky, Géza: The Art Pool Archives. The Story of a Hungarian Art Collection, The New Hungarian Quarterly, Vol. 30., No. 113., Spring, 1989, pp. 192–196.
￭ Nagy, András: Az eltűnt téridő nyomában. Galántai-revitalizációk [Looking for the Lost Space-Time. Revivals of Galántai] Beszélő, January 22, 1990, pp. 27–30.
￭ György, Péter: Föld alatt, föld felett. Avantgárd az Aczél-korszakban, [Underground, Above Ground. Avant-garde in the Aczél Era], Magyar Napló [Hungarian Diary], February 22, 1990, p. 13.
￭ Boros, Géza: Múzeum a margón [A Museum on the Edge], Világ [World], March 22, 1990, pp. 4–5.
￭ Várnagy, Tibor – John P. Jacob (eds.): Hidden Story: Samizdat from Hungary & Elsewhere, Franklin Furnace Archive, New York, 1991, 82 p.
￭ Hock, Bea: Foot-Ware. A Virtual Shoestore, www.artpool.hu/kontextus/footware/pages/hock.html, 1999
￭ Beke, László – Sasvári, Edit: “Ungarn kann dir gehören”. Die Künstler des Underground, in: Eichwede, Wolfgang (ed.): Samizdat. Alternative Kultur in Zentral- und Osteuropa: Die 60er bis 80er Jahre, Bremen, 2000, pp. 168–171.
￭ Szőnyei, Tamás: A szabadság rekonstrukciója. Ellenzék a 80-as évekből [Reconstructing Freedom. Opposition from the 80s], Magyar Narancs [Hungarian Orange], October 25, 2001, pp. 26–27.
￭ Sándor, Zsuzsanna: Rekonstruált országimázs. Galántai György betiltókról és betiltottakról [Reconstructed country brand image. György Galántai about censors and censored], 168 óra [168 Hours], November 29, 2001, pp. 39–41.
￭ Hock, Bea: Számok az Artpool jövőjéből. A jövő emlékei: a 10 éves Artpool dokumentum-kiállítása [Numbers from Artpool’s Future. Memories of the Future: the Documentary Exhibition of the 10-year-old Artpool], Új Művészet [New Art], August 2002, pp. 25–26.
￭ Galántai, György: Artpool from the Beginnings: A Personal Account, in: Bismarck, Beatrice von – Hans-Peter Feldmann – Hans Ulrich Obrist et al. (eds.): Interarchive. Archivarische Praktiken und Handlungsräume im zeitgenössischen Kunstfeld / Archival Practices and Sites in the Contemporary Art Field, Verlag der Buchhandlung Walther König, Köln, 2002, pp. 393–395.
￭ Klaniczay, Júlia: Afterword to the Publications by Artpool. in: Phillpot, Clive – Sune Nordgren (eds.): Outside of a Dog, Paperbacks and Other Books by Artists, BALTIC, The Centre for Contemporary Art, Gateshead (Newcastle), 2003, p. 9.
￭ Klaniczay, Júlia – Sasvári, Edit (eds.): Törvénytelen avantgárd. Galántai György balatonboglári kápolnaműterme 1970–1973 [Illegal Avant-garde, the Chapel Studio of György Galántai in Balatonboglár 1970–1973], Artpool–Balassi, Budapest, 2003, 460 p.
￭ Hajdu, István: Illegal Avant-garde: The Balatonboglár Chapel Studio of György Galántai 1970–1973, Praesens, No. 3., 2003 November, pp. 114–118.
￭ Bodor, Judit: Artpool Art Research Centre, in: B+B at Home, Occasions, No. 8. (special issue), Austrian Cultural Forum London, 2004, p. 4.
￭ Mourik Broekman, Pauline van: Relational History, MUTE. Culture and Politics after the Net, No. 27., 2004 Winter / Spring, pp. 24–25.
￭ Tranberg, Dan: Budapest Rising, Angle. A Journal of Arts + Culture, Vol. 1., No. 11., 2004, pp. 12–17.
￭ Badovinac, Zdenka – Tamara Soban (eds.): Interrupted Histories. Arteast Exhibition (catalog, ca. 68 p.) and Piskur, Bojana (ed.): Arhivi Samizdatov / Samizdat Archives (supplement, 16 p.), Moderna galerija / Museum of Modern Art, Ljubljana, 2006
￭ Sugár, János: Schrödinger’s Cat in the Art World, in: IRWIN (ed.): East Art Map. Contemporary Art and Eastern Europe, Afterall Books, London, 2006, pp. 208–221.
￭ Devic, Ana / WHW: Artists’s Books in (what was formerly known as) Eastern Europe, Printed Matter, New York, 2006, http://printedmatter.org/researchroom/essays/whw.cfm
￭ György Galántai responds to questions. Fluxus + Conceptual = Contextual, in: Fluxus East. Fluxus-Netzwerke in Mittelosteuropa / Fluxus Network in Central Eastern Europe, Künstlerhaus Bethanien GmbH, Berlin, 2007, pp. 141–156.
￭ Parastamp. Four Decades of Artistamps, from Fluxus to the Internet (exhibition catalog with essays by Peter Frank, Kata Bodor, interview with György Galántai), Museum of Fine Arts, Budapest, 2007, 108 p.
￭ Forgács, Éva: Does Democracy Grow Under Pressure? Strategies of the Hungarian neo-avantgarde throughout the late 1960s and the 1970s, Centropa [Nationalism and Democracy], Vol. 8, No. 1, January 2008, pp. 36–48.
￭ Schwarz, Isabelle: Archive für Kunstlerpublikationen der 1960er bis 1980er Jahre, Schriftenreihe für Künstlerpublikationen, Band 4, Salon Verlag, Köln, 2008, pp. 298–339.
￭ Röder, Kornelia: Topologie und Funktionsweise des Netzwerks der Mail Art. Seine spezifische Bedeutung für Osteuropa von 1960 bis 1989, Schriftenreihe für Künstlerpublikationen, Band 5, Salon Verlag, Köln, 2008, pp. 159–163.
￭ Dózsai, Mónika: “Fußspuren in der Luft”. Kunst im öffentlichen Raum in den 1980er Jahren in Budapest, in: Boden, Doris – Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus, Verlag Otto Sagner, München, 2008, pp. 283–299.
￭ Havasréti, József: Széteső dichotómiák. Színterek és diskurzusok a magyar neoavantgárdban [Dichotomies Falling Apart. Scenes and Discourses in the Hungarian Neo-avantgarde, Gondolat – Artpool – PTE Budapest – Pécs, 2009, pp. 42–95.
￭ Piotrowski, Piotr: In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945–1989, Reaktion Books, London, 2009, pp. 246–285.
￭ Creating Context: Zdenka Badovinac on Eastern Europe’s Missing Histories (Interview), ARTMargins online, August 2009
￭ Badovinac, Zdenka: Contemporaneity as Points of Connection, e-flux journal, No. 11., December 2009
￭ Kálmán, Rita – Katarina Šević (eds.): We are not Ducks on a Pond but Ships at Sea. Independent Art Initiatives, Budapest 1989–2009, Impex, Budapest, 2010, pp. 11, 114.
￭ Art always has its consequences, What, How & for Whom / WHW, Zagreb, 2010, pp. 38–39, 48–50, 54–59.
￭ Hegyi, Dóra et al. (eds.): Parallel Chronologies. How art becomes public – “Other” revolutionary traditions. An exhibition in newspaper format, tranzit.hu, Budapest, 2011, 56 p.
￭ Interview with Artpool Cofounder Júlia Klaniczay by Juliane Debeusscher, ARTMargins online, June 2011
￭ Sasvári, Edit: A Moment of Experimental Democracy in the Kádár Era. György Galántai’s Chapel Studio in Balatonboglár and the Social Milieu of Counter-Culture in Hungary in the 1960s and 1970s, in: Removed from the Crowd: Unexpected Encounters I, [BLOK] – DeLVe, Zagreb, 2011, pp. 82–101.
￭ Tumbas, Jasmina: International Hungary. György Galántai’s networking strategies, ARTMargins, Vol. 1., Issue 2–3., 2012 (June–October), pp. 87–115.
￭ Detterer, Gabriele – Maurizio Nannucci (eds.): Artists-Run Spaces. Nonprofit collective organizations in the 1960s and 1970s, JRP / Ringier, 2012, pp. 17, 30–31, 44, 84–109.