Bruggen, Coosje Van. BRUCE NAUMAN. 304 pp. with hundreds of color and b&w plates. 4to, cloth. New York, Rizzoli, 1988.

New York. Castelli Graphics and Lorence-Monk Gal. BRUCE NAUMAN: Prints 1970 - 89. 136 pp. with 69 color and b&w plates. Folio, wraps. 1989.
Catalogue Raisonné.

Minneapolis. Walker Art Center. BRUCE NAUMAN: A Catalogue Raisonné. Essays by Neal Benezra, Kathy Halbreich et al. 392 pp with 229 color and 500 b&w illustrations. 4to, cloth, 1994.
This comprehensive catalogue, the defining volume on this important American experimental artist, features illustrated entries for more than 500 works, including films, videos, performances, and photographic pieces. The text provides an accessible framework for understanding the context of the artist's work and his ongoing aesthetic concerns.

Minneapolis. Walker Art Center; New York. MOMA, et al. BRUCE NAUMAN. 215 pp. include 66 color plates and many other illustrations. 4to, wraps. 1993.

Kraynak, Janet (editor). Please Pay Attention Please: BRUCE NAUMAN'S Words. Writings and Interviews. xvi and 412 pp., roughly 75 b&w illustrations. 4to, cloth. Cambridge and London, MIT Press, 2003.
This book features all of Nauman's interviews from 1965 to 2001, as well as a comprehensive body of his writings, including instructions and proposal texts, dialogues transcribed from autio-video works and prose texts written specifically for installation sculptures.

Cross, Susan and Christine Hoffmann. BRUCE NAUMAN: Theaters of Experience. Preface by Dr. Tessen von Heydebreck, foreword by Thomas Krens; 72 pp., illustrated in color and b&w. 4to, wraps. Berlin, Deutsche Guggenheim, 2003.
Text in English and German.

Ketner II, Joseph D., Janet Kraynak, and Gregory Volk. Elusive Signs: BRUCE NAUMAN Works with Light. 96 pp., 71 color and b&w illustrations. 4to, wraps. Milwaukee. Milwaukee Art Museum, in association with Cambridge and London, The MIT Press, 2006.
Over the first three decades of his career, Bruce Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning. This catalogue, which accompanies a travelling exhibition, focuses on his work that uses neon and fluorescent light in signs and room installations, and it includes images of nearly all Nauman's work with light.

Lewallen, Constance M., with additional essays by Robert R. Riley, Robert Storr and Anne M. Wagner. A Rose Has No Teeth: BRUCE NAUMAN in the 1960s. xvi and 240 pp., fully illustrated in color and b&w. 4to, boards. Berkeley, Los Angeles and London, University of California Press, and Berkelley, University of California, Berkeley Art Museum and Pacific Film Archive, 2007.
Nauman spent his formative years in Northern California and this book explores the artist's relationship to the place where he created his earliest works. During this time he laid the groundwork for fundamental ideas he has addressed throughout his career. Published to accompany an exhibition.at the Berkeley Art Museum and Pacific Film Archive, The Castello di Rivoli Museo d'Arte Contemporanea, Turin, and the Menil Collection, Houston.

NAUMAN, BRUCE. Mapping the Studio II with color shift, flip, flop & flip/flop (Fat Chance John Cage). Unpaginated flip book, illustrated in color . 8vo, wraps. New York, Sperone Westwater, 2001.

Basualdo, Carlos, Michael R. Taylor et al. BRUCE NAUMAN: Topological Gardens. 240 pages, illustrated throughout in color and b&w. 4to, boards. Philadelphia, Philadelphia Museum of Art in association with New Haven and London, Yale University Press, 2009.
This catalogue accompanies the U.S. Venice Biennale entry, exploring the relationships among several specific themes that have recurred prominently throughout four decades of Nauman's work. Organised by the Philadelphia Museum of Art.
Text in English and Italian.

Blume, Eugen. BRUCE NAUMAN: Live or Die. 240 pages, illustrated throughout, mostly in color. 4to, cloth-backed boards. Munich, Dumont Verlag, 2010.
Collector's Choice Vol 10 Artist's Monographs. Friedrich Christian Flick Collection.
Exhibition in Berlin.