Letter to the Press, "Not Mincing Words," Art Digest (New York), June 1.
1937
"Stimulating an Appetite for Art," Association of American Colleges Bulletin (New York), November.
Letter to the Press, "The Mellon Gift: "Dear Andy", Art Digest (New York), March 1.
Letter to the Press, "Answering Bulliet," Art Digest (New York), May 15.
1942
"Artists in the Community," Art Education Today (New York).
"The Artist in Residence," The Carnegie Corporation, (unpublished report).
1946
"La Civilisation du Mouvement," LeGuet, Catherine, trans.; Jean Paul Sartre, ed. "The Mobility of Americans," Les Temps Modernes (Paris), August-September.
1948
"The Arts Program of the Association of American Colleges," College Art Journal (College Art Association, New York), Spring.
1950
Book Review, ('Art Structure' by Henry N. Rasmusen. McGraw-Hill, New York, New York, 1950) College Art Journal (College Art Association, New York), Summer.
"The Intramural Artist," College Art Journal (College Art Association, New York), Summer.
1953
Catalogue Text, Mobile Sculpture. John Herron Art Institute. Indianapolis, Indiana.
"The Training of the Artist in Colleges and Art Schools: a Symposium," College Art Journal (College Art Association, New York), Fall.
1956
"Kinetic Sculpture," Art and Artist, University of California Press. Berkeley, California.
"Scratch and Engineer and..," Columbia Engineering Quarterly (Columbia University, New York), October.
1958
"Abstract Art in Rome," The Louisvillian (Louisville), May.
1961
"The Kinetic International," Arts (New York), September.
"Kinetic Art - A Summary," Louisiana Revy (Humlebæk, Denmark), September.
1962
"Prices at Pittsburgh," The Art Journal (College Art Association, New York), Summer.
"Calder in London," Arts (New York), September.
1963
"The Morphology of Movement," Art Journal, no. 22, Summer, pp. 220-231, cover.
1964
"New Tendency (Nouvelle tendence recherche continuelle)," The Art Journal (College Art Association, New York), Summer.
1965
"Scandale de Succes," Art International (Lugano, Switzerland), May.
"The Metier," Arts Yearbook 8: Contemporary Sculpture. Art Digest, New York, New York.
"The Morphology of Movement, A Study of Kinetic Art," Kepes, Gyorgy, ed. The Nature and Art of Motion. George Braziller. New York, New York.
1965-1966
"Kinesis Continued," Art in America, December-January.
1966
"The Artist on His Work - 12," The Christian Science Monitor (Boston), March 23.
Introduction, Directions in Kinetic Sculpture, University Art Museum, University of California. Berkeley, California.
1967
Statements, Selz, Peter, ed. The Berkeley Symposium of Kinetic Sculpture. Reprinted from Art and Artists magazine (London), February-March.
Statement, Tuchman, Maurice, ed. American Sculpture of the Sixties. Los Angeles County Museum of Art. Los Angeles, California.
"Origins of Kinetic Art," Studio International (London), February.
Introduction, Hans Breder: Sculpture. Richard Feigen Gallery. Chicago, Illinois.
1969
"A Reflection: What Art is and is Not," University of Iowa Spectator, no. 9.
Introduction, Brunius, Teddy, ed. Olle Baertling: Creator of Open Form. Ake Nyblom. Stockholm, Sweden.
1970
Statement, "Letters from 3l Artists," Moore, E., ed. Gallery Notes (Albright Knox Art Gallery, Buffalo, New York), Spring.
"Uber Kinetische Kunst," Bewegung im Raum auf der Flache. Heidelberger Kunstverein. Heidelberg, Germany.
1971
Introduction, David Black in Berlin. Deutscher Akademischer Austauschdienst. Berlin, Germany.
1973
Book Review, ('Experimental Painting' by Stephen Bann. Universe Books. New York, New York, 1970), The Art Bulletin, vol. LV, no. 4.
Essay, Kurt Kranz: Bauhaus and Today. Smithsonian Institution. Washington, D.C.
1974
Catalogue Statement, Monumenta. Monumenta Newport Inc. Newport, Rhode Island.
1977
"All Good Art is Public," Educational Perspectives, vol. 16, no. 3, October.
"Naum Gabo, 1890-1977," Artforum, November.
1978
"Comments on Four Rectangles," Four Open Rectangles Excentric, Square Section. K & B Plaza. New Orleans, Louisiana.
1979
Berliner Kunstblatt, Kunst Tage Berlin, no. 22, April, pp. 3-5.
1980
Introduction, Bernard and Francois Baschet: Sonorous Sculptures. Staempfli Gallery. New York, New York.
1981
"Less is Less," Art Journal, vol. 41, no. 3, Fall.
1982
"I Remember or Do I," George Rickey: Kinetic Sculpture on Clydeside. Scottish Arts Council and Glasgow District Court. Glasgow, Scotland.
Statement, Contemporary Sculpture at Chesterwood. National Trust for Historic Preservation. Washington, D.C.
Letter to the Press, "Sculptors' Replies Help to Define 'Construction'," Artists Equity Association, October.
1983
"George Rickey on His Recent Work," Art Monthly (London), no. 69, September.
Critical essay on Olle Baertling. Emanuel, Muriel, et al. Contemporary Artists. 2nd ed. St. Martin's Press. New York, New York.
1984
Statement, Indiana Influence: The Golden Age of Indiana Landscape Painting - Indiana's Modern Legacy: An Inaugural Exhibition. Fort Wayne Museum. Fort Wayne, Indiana.
Introduction, William Dole, 1917-1983, Selected Collages. Staempfli Gallery. New York, New York.
1985
"Nulla Dies Sine Linea," The Maximal Implications of the Minimal Line. Edith C. Blum Art Institute, Bard College. Annandale on Hudson, New York.
"South Bend: Seven Decades Later....," George Rickey in South Bend. Snite Museum of Art, University of Notre Dame. Notre Dame, Indiana.
1986
"The Muse," "Scale," "Hommage a Albers," George Rickey. Maxwell Davidson Gallery, Zabriskie Gallery. New York, New York.
1987
"In the Fullness of Time," George Rickey zum 80. Geburtstag: Skulpturen, eine Werkübersicht. Galerie Pels Leusden. Berlin, Germany.
1993
"A Technology of Kinetic Art," Scientific American, Science in Pictures, February.
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