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The Burden of Representation. Essays on Photographies and Histories. London: Macmillan, 1988; and Amherst, Massachusetts: The University of Massachusetts Press, 1988; republished in the United States by Minneapolis: The University of Minnesota Press, 1993.
[Edited]. The Cultural Politics of "Postmodernism." Current Debates in Art History: One. Binghamton: State University of New York at Binghamton, 1989.
Grounds of Dispute: Art History, Cultural Politics and the Discursive Field. London: Macmillan, 1992; and Minneapolis: The University of Minnesota Press, 1992.
El peso de la representación: Ensayos sobre fotografias e historias. Trans. Antonio Fernández Lera. Barcelona: Editorial Gustavo Gili, 2005.
The Disciplinary Frame: Photographic Truths and the Capture of Meaning. Minneapolis: The University of Minnesota Press, 2009.
Paul Hill, Angela Kelly and John Tagg. Three Perspectives on Photography. London: Arts Council of Great Britain, 1979.
"A Response to Antoni Tápies." Studio International, vol. 179, no. 923 (June 1970): p. 246.
"Gaps-A Review of T. J. Clark, The Absolute Bourgeois and Image of the People." Studio International, vol. 186, no. 957 (July/August 1973): pp. 53-4.
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"American Power and American Painting: The Rise of Vanguard Painting in the U.S.A. Since 1945." Praxis, vol. 1, no. 2 (Winter 1976): pp. 59-79.
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"Terry Atkinson: History/Drawing." Art Monthly, no. 4 (February 1977): pp. 20-1.
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"Marxism and Art History." Marxism Today, vol. 21, no. 6 (June 1977): pp. 183-92.
"The Idea of the Avant-Garde." Artery, no. 12 (Spring/Summer 1977): pp. 4-10.
"The Idea of the Avant-Garde." In Peter Davies [ed.]. Newcastle Writings. London: Robert Self Publications, 1977.
"Sixty Years of Mining Art." Art Monthly, no. 10 (September 1977): pp. 13-15.
"Art History and Class Struggle: A Review." Red Letters, no. 8 (1978): pp. 77-8.
"Art History and Class Struggle: A Review." Art Monthly, no. 22 (December 1978): pp. 34-6.
"The Currency of the Photograph." Screen Education, no. 28 (Autumn 1978): pp. 45-67.
"Introduction" to "The International Style." In "The State of British Art: A Debate." Studio International, no. 2 (1979).
"A Socialist Perspective on Photographic Practice." In Paul Hill, Angela Kelly and John Tagg. Three Perspectives on Photography. London: Arts Council of Great Britain, 1979.
"Richard Cork and the New Road to Wigan Pier." Art Monthly, no. 30 (1979): pp. 3-7.
"Contacts/Worksheets: Notes on Photography, History and Representation." In T. Dennett, D. Evans, S. Gohl and J. Spence [eds]. Photography/Politics: One. London: Photography Workshop, 1979, pp. 187-99.
"Marxisme et histoire d'art." Histoire et critique des arts, no. 9 (1980): pp. 13-29.
"The Idea of the Avant-Garde." In Brandon Taylor [ed.]. Art and Politics. Winchester: Winchester College of Art, 1980, pp. 88-100.
"The Method of Criticism and Its Objects in Max Raphael's Theory of Art." Block, no. 2 (Spring 1980): pp. 2-14.
"Introduction" and "Annotated Bibliography." In Max Raphael. Proudhon, Marx, Picasso. Three Studies in the Sociology of Art. John Tagg [ed.]. Trans. Inge Marcuse. New Jersey: Humanities Press, 1980; and London: Lawrence and Wishart, 1980.
"Power and Photography - Part I. A Means of Surveillance: The Photograph as Evidence in Law." Screen Education, no. 36 (Autumn 1980): pp. 17-55.
"Power and Photography: A Means of Surveillance." In T. Bennett, G. Martin, C. Mercer and J. Wollacott [eds]. Culture, Ideology and Social Process. London: Batsford/The Open University, 1981, pp. 285-308.
"Power and Photography - Part II. A Legal Reality: The Photograph as Property in Law." Screen Education, no. 37 (winter 1981): pp. 17-27.
"The Currency of the Photograph." In Victor Burgin [ed.]. Thinking Photography. London: Macmillan, 1982, pp. 110-41.
"A Democracy of the Image: Photographic Portraiture and Commodity Production." For Popular Culture. Milton Keynes: Open University Audio-Visual Productions, 1982.
"The Geology of the City." Art Monthly, no. 56 (May 1982): pp. 14-15.
"Portraits, Power and Production." Ten: 8, no. 13 (1984): pp. 20-9.
"The Burden of Representation: Photography and the Growth of the State." Ten: 8, no. 14 (1984): pp. 10-12.
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"The Silent Picture Show." in Stevie Bezencenet and Philip Corrigan [eds]. Photographic Practices: Towards a Different Image. London: Comedia Press, 1986.
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Joanne Lukitsh. "Practicing Theories: An Interview with John Tagg." Afterimage, vol. 15, no. 6 (January 1988): pp. 6-10.
"The Proof of the Picture." Afterimage, vol. 15, no. 6 (January 1988): pp. 11-13.
"Occupied Territories: Reflections on the Work of Rudolf Baranik." Block, no. 14 (Autumn 1988): pp. 61-4.
"Postmodernism and the Born-Again Avant-Garde." In John Tagg [ed.]. The Cultural Politics of "Postmodernism". Current Debates in Art History: One. Binghamton: State University of New York at Binghamton, 1989, pp. 1-12.
"Totalled Machines: Criticism, Photography and Technological Change." New Formations, no. 7 (Spring 1989): pp. 21-34.
"Practicing Theories: An Interview with John Tagg." Reprinted in a revised form in Carol Squiers [ed.]. The Critical Image: Essays on Contemporary Photography. Seattle: Bay Press, 1990, pp. 220-37.
"The Discontinuous City: Picturing and the Discursive Field." Strategies: A Journal of Theory, Culture and Politics, no. 3 (1990): pp. 138-58.
(With Marcos Sanchez-Tranquilino). "The Pachuco's Flayed Hide: The Museum, Identity and Buenas Garras." In Richard Griswold Del Castillo, Teresa McKenna and Yvonne Yarbro-Bejarano [eds]. Chicano Art: Resistance and Affirmation, 1965-1985. Los Angeles: Wight Art Gallery, University of California at Los Angeles, 1991, pp. 97-108.
(With Marcos Sanchez-Tranquilino). "The Pachuco's Flayed Hide: Mobility, Identity and Buenas Garras." In Larry Grossberg, Cary Nelson and Paula Treichler [eds]. Cultural Studies. London and New York: Routledge, 1991, pp. 556-70.
"Globalization, Totalization and the Discursive Field." In Anthony King [ed.]. Culture, Globalization and the World System: Contemporary Conditions for the Representation of Identity. Current Debates in Art History: Three. Binghamton: State University of New York at Binghamton, 1991; and London: Macmillan, 1991, pp. 155-60. New edition: Minneapolis: University of Minnesota Press, 1997. Japanese translation: 1999. Arabic translation: Cairo: El Gezira, 2005.
"Maps of Modernity: Art Histories and Cultural Theories." Center 11. Washington: National Gallery of Art, 1991, pp. 104-106.
"A Discourse (With Shape of Reason Missing)." Art History, vol. 15, no. 3 (September 1992): pp. 72-94.
"Occupied Territories: Tracking the Work of Rudolf Baranik." Translated for a special issue on "Art and Public Space" of Studio. Ariela Azulay [ed.]. Givat Haviva, Israel (October 1992).
"Der Zeichenstift der Geschichte." Trans. Sebastian Wohlfeil. Fotogeschichte: Beiträge zur Geschichte und Ästhetik der Fotographie, Jg. 13, Heft 49. Hubertus von Amelunxen and Victor Burgin [eds]. Marburg: Jonas Verlag, 1993, pp. 27-42.
"The Discontinuous City: Picturing and the Discursive Field." Reprinted in Norman Bryson, Michael Ann Holly and Keith Moxey [eds]. Visual Culture: Images and Interpretations. Hanover and London: Wesleyan University Press/University Press of New England, 1994,pp. 83-103.
"The Pencil of History." In Patrice Petro [ed.]. Fugitive Images: From Photography to Video. Bloomington and Indianapolis: Indiana University Press, 1995, pp. 285-303.
"A Discourse (With Shape of Reason Missing)." Reprinted in Stephen Melville and Bill Readings [eds]. Vision and Textuality. London: Macmillan, 1995/Durham, N.C.: Duke University Press, 1995, pp. 90-114.
"The Proof of the Picture." Translated into Swedish. Stockholm: Alfabeta Bokforlag.
"This City Which Is Not One." In Anthony D. King [ed.]. Re-presenting the City. London: Macmillan, 1996, pp. 179-82.
"The World of Photography or Photography of the World?" Reprinted in revised form with a new introduction in Jessica Evans [ed.]. The Camerawork Essays: Context and Meaning in Photography. London: Rivers Oram Press, 1997, pp. 64-73.
"Ein Diskurs (dem die vernünftige Form fehlt)." Trans. Christian Höller. In Christian Kravagna [ed.]. Privileg Blick: Kritik der visuellen Kultur. Berlin: Edition ID-Archiv, 1997, pp. 175-200.
"What Do the Images Do?" Interview by Jelena Stojanovic. Handwerker Gallery (Winter 1998).
"Evidence, Truth and Order: A Means of Surveillance." In Jessica Evans and Stuart Hall [eds].Visual Culture: The Reader. London: SAGE Publications/Open University, 1999, pp. 244-73.
"The Violence of Meaning." Crossings: A Counter-Disciplinary Journal of Philosophical, Cultural, Historical and Literary Studies, no. 3 (1999): pp. 187-212.
"Der Zeichenstift der Geschichte." In Hubertus von Amelunxen [ed]. Theorie der Fotografie IV: 1980-1995. "Signatur und Archiv." München: Schirmer/Mosel, 2000, pp. 297-322.
"The Currency of the Photograph." In Manuel Alvarado, Edward Buscombe and Richard Collins [eds]. Representation and Photography: A Screen Education Reader. London: Palgrave, 2001, pp. 87-118.
"Eine Rechtsrealität: Die Fotografie als Eigentum vor dem Gestz." Trans. Wilfried Prantner. In Herta Wolf [ed.]. Paradigma Fotografie. Fotokritik am Ende des fotografischen Zeitalters, Volume One. Suhrkamp taschenbuch wissenschaft 1598. Frankfurt am Main: Suhrkamp Verlag, 2002, pp. 239-54.
"Melancholy Realism: Walker Evans's Resistance to Meaning." Narrative, The Journal of the Society for the Study of Narrative Literature, vol. 11, no. 1 (January 2003): pp. 3-77.
"The Monstrous and the Human." Catalogue essay for Ronald Gonzalez: Small Sculptures, Tower Fine Arts Gallery, State University of New York at Brockport, 2003.
"Evidence, Truth and Order: Photographic Records and the Growth of the State." In Liz Wells [ed.]. The Photography Reader. London and New York: Routledge, 2003, pp. 257-60.
"A Discourse (With Shape of Reason Missing)." In Derek Robbins [ed.]. J. F. Lyotard. 3 Vols. Vol. 2, Part Two: Substantive Implications. London: Sage Publications Ltd., 2004.
"Power and Photography--A Means of Surveillance: The Photograph as Evidence in Law." In Peter Hamilton [ed.]. Visual Research Methods. London and Oxford: Sage Publications, 2006.
"Vanessa Jackson: The Private Persistence of Public Art." Catalogue essay for Short-Circuit Since '79: Vanessa Jackson Paintings 1979-2006. Poussin Gallery, London, 26 October--11 November 2006.
"Power and Photography: A Means of Surveillance" and "The Pencil of History." Translated into Korean in Young-June Lee [ed.]. Mapping Contemporary Theories of Photography: A Reader in New Approaches to the History of Photography, 1964-1995. Seoul: Noonbit Press, 2006, pp. 169-206, 242-66.
"The Capture of Meaning." In Jonathan Harris [ed.]. Value: Art: Politics. Criticism, Meaning and Interpretation after Postmodernism. Liverpool: Liverpool University Press, 2007, pp. 327-45.
"In the Valley of the Blind." In Robin Kelsey and Blake Stimson [eds]. The Meaning of Photography. Williamstown, Massachusetts and New Haven, Connecticut: Clark Art Institute and Yale University Press, 2008, pp. 118-29.
"Mindless Photography." In Jonathan J. Long, Andrea Noble and Edward Welch [eds]. Photography: Theoretical Snapshots. London and New York: Routledge, 2009, pp. 16-30.
"Crime Story: Walker Evans, Cuba and the Corpse in a Pool of Blood." Photographies, vol. 2, no. 1 (March 2009): pp. 79-102.
“Neither Fish Nor Flesh.” History and Theory: Studies in the Philosophy of History, Theme Issue 48, Photography and Historical Interpretation, vol. 48, no. 4 (December 2009): pp. 77–81.
“For Translation: A Call for Global Histories of Photographies.” Chinese Photography, no. 10 (September 2010): pp. 92–3.
“Vanessa Jackson: The Private Persistence of Public Art.” In Terry R. Myers [ed.]. Painting. Documents of Contemporary Art Series. London and Cambridge, MA: Whitechapel Gallery and MIT Press, 2011.
“The Mute Testimony of the Picture: British Paper Photography in India.” In Ali Behdad [ed.]. Zoom Out: The Making and Unmaking of the “Orient” Through Photography. Getty Publications [in preparation].
“The Archiving Machine, Or, The Camera and the Filing Cabinet.”
Maps of Modernity: A Primer in Art History and Cultural Theory. London: Macmillan. (In preparation). An introduction to the history and intellectual formation of art history and to the critiques of the discipline associated with the impact of critical theory and the emergence of the so-called New Art History.
Translations of The Burden of Representation: Essays on Photographies and Histories into Romanian and into Korean, with Hakgojae Press, are currently being prepared.
