African Ceramics: A Different Perspective, Die Neue Sammlung-The Design Museum Munich 2019-2020.

Black Womanhood: Images, Icons and Ideologies of the African Body, Hanover: Hood Museum of Art, Dartmouth College (2008).

Longing for Sea-Change: Berni Searle, Yinka Shonibare, and William Kentridge, Stanford: Cantor Arts Center, Stanford University (2009-2011).

Fred Wilson, So Much Trouble in The World—Believe It or Not!, Hanover: Hood Museum of Art, Dartmouth College (2005).

"Accumulative Sculpture" in Permutations of Power, Gainesville: Samuel P. Harn Museum of Art and the University of Florida (1997).

"Yoruba Carvers and Workshops: Names Preserved in Form and Text" in Kulte, Künstler, Könige in Afrika, Linz: Oberösterreichisches Landesmuseum (1997).

“The African Collection at the Hood Museum of Art” in African Arts, Los Angeles: University of California, Los Angeles, (Summer 2004).

“Protean Symbolism in Uganga and Mwali Rites in Northeastern Tanzania,” in Cantor Arts Center Journal, Stanford: Cantor Arts Center, Stanford University (2011).

"Cross-dressing for the Spirits in Shambaa Ughanga", in Hair in African Art, New York: Museum of African Art (2000).

“STILL-defined,” in Alison Saar: STILL…, Ben Maltz Gallery, Los Angeles: Otis School of Art and Design (2012).

Celebrating Twenty Years: Gifts in Honor of the Hood Museum of Art, Hanover: Hood Museum of Art, Dartmouth College (2005).

Dotty Attie: There Was in Egypt/Once A Traveler, Stanford: Cantor Arts Center, Stanford University (2012).

Hulleah Tshinhajinnie: Photographic Memoirs of an Aboriginal Savant, Hanover: Hood Museum of Art, Dartmouth College, (2008).

A Sense of Common Ground: Excerpts from the Photography of Fazal Sheikh, Gutman Gallery, Hanover: Hood Museum of Art, Dartmouth College (2003).

Dressing Up Culture: Molas from Kuna Yala. Hanover: Hood Museum of Art, Dartmouth College (2008).

Crossing Currents: The Synergy of Jean Michel Basquiat and Ouattara Watts, Hanover: Hood Museum of Art, Dartmouth College (2003).

Picturing Change: The Impact of Ledger Drawing on Native American Art, Hanover: Hood Museum of Art, Dartmouth College (2004).

"Collecting "Africa" at the Hood Museum of Art, Dartmouth College,” in Collections: Journal for Museum and Archives Professionals, Lanham: Rowman and Littlefield (2008).

“The Endless Potentialities of Materia Intermedica in Shambaa Arts of Healing” in Intermedia: Enacting the Liminal, Dortumunder Schriften für Kunst, Intermedia-Studien Band I Norderstedt: Books on Demand, GmBH (2004).

"A Circle of Fire: Pare Pottery in the Usambara Mountains of Northeastern Tanzania," in Sydney: Ceramics Technical (2000).

“Unearthing the Buried Identities of African Ceramic Artists” in The Art of African Clay: Ancient and Historic African Ceramics, Chicago: Douglas Dawson Gallery (2003).