Marina Abramović’s recent exhibition at MoMA, The Artist is Present, received a great deal of attention, and certainly constituted a landmark for the reception of performance art within the museum and the media. On The Artist is Present, see for example:

• The Artist is Present catalog
• “Walking through Walls,” Judith Thurman profile in The New Yorker (Mar. 8, 2010)
• Arthur C. Danto, “Sitting With Marina,” Opinionator blog, NYT, 5/23/10
• Dialog between Michael Benson and Brian Holmes, Networked_Performance, 5/31/10
• Interview with Tobias Timm, Die Zeit, 3/23/10
• Report by James Westcott, The Guardian, 3/19/10
• “An Obsessive’s Guide,” Artinfo, 5/25/10
• Note by Anne K. Yoder, The Millions, 6/10/10
• Marina Abramovic Made Me Cry, Tumblr
• three articles in Artforum, May 2010, on “The Next Act: Issues in Contemporary Performance,” including text by Carrie Lambert-Beatty and Joe Scanlan (not online), and “Staged Presence,” by Caroline A. Jones.

 Reviews in the press began appearing in March and continued through the final days of the show in May, including:

• Kirsten Swenson, Art in America
• Holland Cotter, “700-Hour Silent Opera Reaches Finale at MoMA,” (NYT 5/30/10)
• Jerry Saltz, “In the End, It Was All About You,” (NY Mag 5/23/10)
• Mark Beasley, “Why Marina Abramovic’s MoMA Show Underperforms,” Artinfo, 3/29/10
• Linda Yablonsky, Bloomberg, 3/15/10
• Ariella Budick, Financial Times, 3/22/10
• Holland Cotter, New York Times, 3/11/10
• Blake Gopnik, Washington Post, 4/18/10
• Karen Matthews, AP, 3/16/10
• Andrea Köhler, “Die Pythia der Performance,” Neue Zuercher Zeitung, 4/3/10
• Anna Grau, ABC (Spain), 3/17/10

Although not always discussed in reviews of the recent show, Abramović’s performance at the Guggenheim in 2005 provoked wide discussion of issues related to “re-performance,” or re-enactment of earlier performance pieces. (See the catalog, the website, and Seven Easy Pieces, film by Babette Mangolte, 2007.) Reviews included Jessica Santone in Leonardo; Johanna Burton in Artforum; report by Shinya Watanabe at spikyart.org; Marla Carlson, “Marina Abramovic Repeats: Pain, Art and Theater”; and as scholarship, Francesco Giuseppe Gagliardi, “Performance documents: Marina Abramovic’s ‘Seven Easy Pieces,’ and the photographic documentation of performance art,” (MFA thesis, SUNY Buffalo, 2009).

Three years previously, the artist had presented “Marina Abramovic: The House With the Ocean View,” at the Sean Kelly Gallery in New York (see catalog, and interview with Laurie Anderson, Bomb 54). It was reviewed by RoseLee Goldberg, Artforum; C. Carr, Village Voice; and James Westcott, TDR.

Aside from exhibitions and exhibition reviews, a remarkably large number of publications have been devoted to Abramovic in recent years, including several books published in 2010 alone. Samples include:

• Phaidon monograph (2008) with survey by Kristine Stiles, interview with Klaus Biesenbach, and focus by Chrissie Iles
• James Westcott, When Marina Abramovic Dies: A Biography (MIT Press, 2010), (see note by Meredith Blake, “Book Bench,” The New Yorker, review by Leigh Kamping-Carder, Brooklyn Rail, review by Alexandro Segade, The Fanzine, and interview with Maria Galperina, Art Fag City)
• Thomas McEvilley, Art, Love, Friendship: Marina Abramovic and Ulay, Together and Apart (McPherson, 2010)
• Paula Orrell, Marina Abramovic and the Future of Performance Art (Prestel, 2010)
• Volume 23 of Hans-Ulrich Obrist’s Conversation Series (Walther Koenig, 2010)
• Mary Richards, Marina Abramovic, in the Routledge Performance Practitioners series (2009)
• A series of books published by Charta: Marina Abramovic: Performing Body (1998); Marina Abramovic: Artist Body: Performances 1969-1998 (1998), Marina Abramovic: Public Body (2001), Marina Abramovic (2002), Marina Abramovic: Student Body (2004) and Marina Abramovic: The Biography of Biographies (2005)

Much other scholarship including dissertations and articles has also appeared, some within departments of art history, but much in other disciplines and interdisciplinary programs concerned with the body and performance. See for example:

• Patrick Anderson (Communication, UC San Diego), So Much Wasted: Hunger, Performance and the Morbidity of Resistance (Duke UP, 2010)
• Nevenka Stankovic, “An Institutional Travesty: Risk as a Strategy in Marina Abramovic’s Performance Role Exchange,“ Third Text 23:5 (September 2009)
• Jovana Stokic, “The Body Beautiful: Feminine Self-Representations 1970-2007,” (Ph.D. dissertation, IFA/NYU, 2009 [list of theses])
• T. Nikki Cesare, “The Aestheticization of Reality: Postmodern Music, Art, and Performance,” (Ph.D. dissertation, performance studies, Tisch/NYU, 2008)
• Anna Novakov, “Point of Access: Marina Abramovic’s 1975 Performance Role Exchange,” Woman’s Art Journal 24:2 2003-2004)
• Maureen Turim, “Marina Abramovic’s Performance: Stresses on the Body and Psyche in Installation Art,” Camera Obscura 18:2 (2003)
• Charles Green, “Doppelgangers and the Third Force: The Artistic Collaborations of Gilbert & George and Marina Abramovic/Ulay,” Art Journal 59:2 (summer 2000) and The Third Hand: Collaboration in Art from Conceptualism to Postmodernism (Minnesota, 2001)
• Samantha Krukowski, “Performing History: Walking Along Ulay and Abramovic’s The Lovers,“ (Ph.D. dissertation, UT Austin, 1999)
• Janet A. Kaplan, “Deeper and Deeper: Interview with Marina Abramovic,” Art Journal 58:2 (summer 1999) 
• Jennifer Fisher, “Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramovic,” Art Journal 56:4 (winter 1997)