“Living Labor: Between Marxism and Performance Studies,” Special Issue: Living Labor Guest edited by Aliza Shvarts and Joshua Lubin-Levy. Women and Performance, a journal of feminist theory, (February 2017). London: Routledge, Taylor & Francis. [Living Labor.pdf]
“Nonconsensual Collaborations: Notes on a Shared Condition,” Special Issue: A Gun for Every Girl, Guest edited by Trista Mallory, Jen Kennedy, and Angelique Szymanek The Journal of Feminist Scholarship. (Spring 2017). University of Massachusetts, Dartmouth, http://www.jfsonline.org/issue12-13/articles/shvarts/ [Nonconsensual Cllaborations.pdf]
“Troubled Air: SunnO)))’s Metal Maieutic”. Special Issue: The Haptic, Guest edited by Rizvana Bradley. Women & Performance, a journal of feminist theory. Vol. 24, No. 2-3 (2014): 203-219. London: Routledge, Taylor & Francis. [Troubled Air.pdf]
“How I Learned to Stop Worrying and Love the Rape Kit”. Extensions: The Online Journal of Embodiment and Technology. Special Issue: “Anxieties of Overexposure: Enlargements, Contagions, and the Dark”. Issue 6 (October 2011). Republished in Feminist and Queer Information Studies Reader. Ed. Patrick Keilty and Rebecca Dean (Sacramento: Litwin Press, 2013). [How I learned.pdf]
“Atomic Time: On Karin Schneider’s Black Paintings” (catalogue essay), Situational Diagram, Ed. Karin Schneider and Begum Yasar (Berlin: Sternberg Press, 2016). [Atomic Time.pdf]
“KANNON/CANON” (liner notes for studio album). Kannon. SunnO))) (Southern Lord: November 2016). [KANNON_CANON.pdf]
“On Sabotage” catalogue essay for Bodies Burning at the Edges (with Kiki Smith, Jacolby Satterwhite, Robert Montgomery, and Thomas Beale. Curated by Sarah Victoria Bothwell Fels and Jonah King). Leroy Neiman Gallery, Columbia University. New York, NY (October 2015). [On Sabotage.pdf]
“Black Wedding,” The Brooklyn Rail, Special Issue: Polyphony (Brooklyn, February 2015). http://www.brooklynrail.org/2015/02/criticspage/black-wedding
“Fatherfucker” SALT: Contemporary Art and Feminism Magazine, Issue 7: Heterophobia (London: Montez Press, 2015). http://otdac.org/static/salt/issue7.html
“The Con”. TDR/The Drama Review. Summer 2014, Vol. 28, No. 2 (T222): 2-3. Cambridge: MIT University Press. [The Con.pdf]
“A seam that sutures the biological to the aesthetic.” Special Issue: Non-Reproduction: Politics, Ethics, Aesthetics, Studies in the Maternal, Vol. 1, Issue 6 (2014), Birkbeck University of London. http://www.mamsie.bbk.ac.uk/
“On Intimacies and Writing Histories of Performance: An Interview with Amelia Jones”, Oratures Vol 1 (2013), Performance Studies NYU. http://performance.tisch.nyu.edu/object/OratureVolI.html. [On Intimacy.pdf]
200 Women. (New York: Limited edition zine produced by Cage in affiliation with Andrew Roth Gallery for the New York Art Book Fair at MoMA PS1, 2013).
“Figuration and Failure, Performance and Pedagogy: Reflections Three Years Later”. Women & Performance, a journal of feminist theory. Vol. 21, No. 1 (2011): 161-168. London: Routledge, Taylor & Francis. [Figuration and Failure.pdf]
“Shvarts Explains [...]”. The Yale Daily News, April 18 2008. http://www.yaledailynews.com/news/2008/apr/18/shvarts-explains-her-repeated-self-induced/. [Yale Daily News.pdf]
“The Ming Period”. My Little Red Book. Ed. Rachel Kauder Nalebuff (New York: Twelve, 2009): 43-45.
Andrew Kachel, "Aliza Shvarts," Out of Order Magazine (Summer 2017): 257-267. [alizashvarts.pdf]
Nikki Cesare Schotzko. Learning How to Fall: Art and Culture After September 11. (New York: Routledge 2015). [Schotzko_Learning How to Fall.pdf]
Ana Grahovac. “Aliza Shvarts’s Art of Aborting: Queer Conceptions and Reproductive Futurism.” Studies in the Maternal, 5(2), 1-19. http://www.mamsie.bbk.ac.uk/articles/abstract/10.16995/sim.17/
Jennifer Doyle. Hold it Against Me: Difficulty and Emotion in Contemporary Art. (Durham: Duke University Press, 2013). [Doyle_Hold it Against Me.pdf]
Lisa Hall Hagan. “A performance ethics of the ‘real’ body: the case of Aliza Shvarts and ‘Untitled [Senior Thesis], 2008.” Performing Ethos, 2:1 (2012).
Rosemary Candelario. Abortion Performance and Politics. CSW Update, UCLA Center for the Study of Women. 2012: http://escholarship.org/uc/item/7sv5h222
Joseph Roach, “Deep Play, Dark Play: Framing the Limit(less).“ The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum. Ed. James Martin Harding and Cindy Rosenthal. (New York: Palgrave MacMillan, 2011): 275-283.
Wendy Steiner. The Real Real Thing: The Model in the Mirror of Art. (Chicago: Chicago University press, 2010).
Carrie Lambert-Beatty, “Make-Believe: Parafiction and Plausability”, October No. 129 (Summer 2009): 51-84. Cambridge, MA: MIT University Press. [Lambert-Beatty_Make-Believe.pdf]
Charlie Finch, “Mission Aborted” Artnet Magazine (May 2008): http://www.artnet.de/magazine/mission-aborted/.
Amanda Marcotte “A+ For Abortion Art”, Reproductive Health Reality Check (2008): http://www.rhrealitycheck.org/blog/2008/04/21/a-for-abortion-art.
Seth Kim-Cohen, “Art Lecturer: Yale erred in banning Shvarts’ art” Yale Daily News, April 23 2008: http://www.yaledailynews.com/news/2008/apr/23/art-lecturer-yale-erred-in-banning-shvarts-art/.