“The Forgotten Radicalism of Mary Cassatt,” The Atlantic (May 8, 2026).

“European Women Artists from Antiquity to the Early-Twentieth Century,” with Eliza Goodpasture, Yasemin Altun, and Melissa Hyde, in Oxford Research Encyclopedia of Gender (Oxford Academic, 2026).

“‘La touche d’une femme’: Women Artists in the Age of Revolutions,” in Thinking Women and Art in the Long Eighteenth Century: Strategic Reinterpretations, ed. Mechthild Fend, Jennifer Germann, and Melissa Hyde (Amsterdam University Press, 2025).

“Maria Hadfield Cosway’s ‘Genius’ for Print: A Didactic, Commercial, and Professional Path,” in Female Printmakers, Publishers and Printsellers: The Imprint of Women in Graphic Media, 1735-1830, ed. Cynthia Roman and Cristina Martinez (Cambridge University Press, 2024).

“Why Do We Think There Have Been No Great Women Artists? Revisiting Linda Nochlin and the Archive,” The Art Bulletin (December 2022), https://doi.org/10.1080/00043079.2022.2070397.

“Mary Wollstonecraft” and “Élisabeth Vigée Le Brun,” in Women Who Changed the World, 4 vols., ed. Candice Goucher (Santa Barbara, CA: ABC-CLIO, 2022).

“Mary Moser: Portraitist,” Journal18, Issue 8 Self/Portrait (Fall 2019), http://www.journal18.org/issue8/mary-moser-portraitist/. 

“Exceptional, but not Exceptions: Public Exhibitions and the Rise of the Woman Artist in London and Paris, 1760-1830,” Eighteenth-Century Studies 51, no. 4 (Summer 2018): 393­-416, https://muse.jhu.edu/article/699954.

“‘The Fullest Imitation of Life’: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution,” Journal18, Issue 3 Lifelike (Spring 2017), http://www.journal18.org/1438.

 “A Princely Education through Print: Stefano della Bella’s 1644 Jeux de Cartes Etched for Louis XIV,” Getty Research Journal, no. 9 (Spring 2017): 1-22, https://www.journals.uchicago.edu/doi/abs/10.1086/691284?mobileUi=0. Honorable mention, Association of Print Scholars’ Schulman and Bullard Article Prize.

“On Margaret Cavendish,” essay reflecting on Margaret Cavendish’s The Blazing World (1666), Los Angeles Review of Books (March 2017, print edition): 99-104.

“Living, Breathing Expressions of Self: On Jennifer Higgie’s The Mirror and the Palette,” Los Angeles Review of Books (January 18, 2022). Review of Jennifer Higgie, The Mirror and the Palette: Rebellion, Revolution, and Resilience: Five Hundred Years of Women’s Self Portraits (Simon & Schuster, 2021). 

“Peintres Femmes: A Review,” Journal18 (October 2021). Review of Peintres femmes, 1780-1830: Naissance d’un combat (Musée du Luxembourg, 2021).

“Fortyish Woman Seeks Meaning of Life,” Los Angeles Review of Books (March 4, 2021). Review of Mia Kankimäki, The Women I Think About at Night: Traveling the Paths of My Heroes (Simon & Schuster, 2020). 

Review of Mark Phillips and Jordan Bear, eds., What Was History Painting and What Is It Now? (2019), The Journal of Interdisciplinary History 51, no. 3 (Winter 2021): 467-469. 

“‘Don’t Regret. Remember’: Frictions of History and Gender in Céline Sciamma’s Portrait of a Lady on Fire,” Los Angeles Review of Books (May 11, 2020). Review of Céline Sciamma, Portrait de la jeune fille en feu, 2019.

“Women Landscapists in the Public Eye: Labels, Losses and the Challenges of Classification,” in A View of One’s Own: Landscapes by British Women Artists 1760-1860, ed. Rachel Sloan (Paul Holberton/Yale University Press, 2026).

“Maria Cosway: The Duchess of Devonshire as Cynthia from Spenser’s ‘The Faerie Queene’,” catalogue essay for Maria Cosway: L’itinéraire singulier d’une artiste (Snoeck, 2024).

“Art and Politics: Women Artists and the Rulers of the Revolutionary World,” catalogue essay for Making Her Mark: A History of Women Artists in Europe, 1400-1800 (Goose Lane Editions, 2023).

“Painting: History,” catalogue essay for Making Her Mark: A History of Women Artists in Europe, 1400-1800 (Goose Lane Editions, 2023).

“The Year 1800: The Growing Presence of Female Exhibitors at the Royal Academy,” in The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (London: Paul Mellon Centre for Studies in British Art, 2018)

“The Year 1812: Gender and the ‘Present State of…Public Taste’,” in The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (London: Paul Mellon Centre for Studies in British Art, 2018)

“Brushes with History: Women Artists in Revolutionary France and Britain,” Age of Revolutions (August 1, 2022)

“Exhibiting Women: The Art of Professionalism in London and Paris, 1760-1830,” Art Herstory (July 5, 2022)

“Colonialism in the Photographic Archive,” PMC Notes, The Paul Mellon Centre for Studies in British Art (January 2022)

“Archival Silence and Historical Bias,” People and the Photo Archive [Paul Mellon Centre Photo Archive], The Paul Mellon Centre for Studies in British Art (November 2021)

“Marie-Guillemine Benoist, Revolutionary Painter,” Art Herstory (December 18, 2020)

“Towards a Historically Representative Canon: Integrating Gender and Data for a Revised Model of the Past,” in Jeffrey Collins, Elizabeth Fraser, Elizabeth Mansfield, Amelia Rauser, Kristel Smentek & Wendy Bellion, Paris Spies-Gans, Nancy Um, Amy Freund, “Reflections on HECAA at 25: A Roundtable Discussion,” Journal18 Issue 9 Field Notes (Spring 2020) Roundtable on the state and future of the art historical field.

Interview with Heather McPherson, ASECS at 50 Interview Series, Eighteenth-Century Studies 52, Special Issue: ASECS at 50 (Winter 2020)

“‘Let the Southerns come here’: Letters of a Slaveholding Father and Son,” The Princeton & Slavery Project (November 2017) 

“James Madison,” The Princeton & Slavery Project (November 2017)

“Shock Dog! New Sculpture at the Met,” Journal18 (2015)

“‘The Air of a Real Tour’: Women Writers and the First Narrative Geographies for Children, 1790-1828,” Princeton University Library Chronicle 74, no. 2 (Winter 2013): 210-251