The Painted King: Art, Activism, & Authenticity in Hawai’i. Honolulu: University of Hawai’i Press. 2012.
Inside Installations: Theory and Practice in the Care of Complex Artworks. (edited with Tatja Scholte). Amsterdam: University of Amsterdam Press. 2011.
Guide to the Maintenance of Outdoor Sculpture. (with Virginia Naudé). American Institute for Conservation, Washington D.C. 1992.
ARTICLES & BOOK CHAPTERS
Managing Contemporary Art Documentation in Museums and Special Collections. (with Deena Engel). Art Documentation Journal. (forthcoming).
Museum/University Collaboration in Media Conservation Research. (with Deena Engel). The Electronic Media Review. Washington D.C.: American Institute for Conservation (forthcoming).
Pacific Studies. Book Review Forum featuring Wharton, Glenn. The Painted King: Art, Activism, and Authenticity in Hawai’i. Reviews by Stacy L. Kamehiro, University of California, Santa Cruz; Aaron Glass, Bard Graduate Center; Karen Stevenson, University of Canterbury; Author Response by Glenn Wharton. December 2016. 39:3. 375-417.
The Challenge of Installation Art. (with Harvey Molotch). Reprinted for Symposium: Fixing What Isn’t Broken: What is Reconstruction in Contemporary Art? Riga: Latvian Centre for Contemporary Art. 2016. Originally published in (A. Bracker & A. Richmond eds.) Conservation: Principles, Dilemmas, and Uncomfortable Truths. London: Elvsevier. 2009. 210-222. Download PDF.
Artist Intentions and the Conservation of Contemporary Art. Objects Specialty Group Postprints, Volume Twenty-Two. Washington D.C.: American Institute for Conservation. Download PDF.
The Artist Archives Project – David Wojnarowicz. (with Deena Engel & Marvin Taylor). Studies in Conservation. London: International Institute for Conservation. Vol. 61. 2016. S2-241-247. Download PDF.
Reconfiguring Contemporary Art in the Museum. In Erma Hermens (ed.) Authenticity in Transition: Changing Practices in Art Making and Conservation. London: Archetype Publications. 2016. 27-36.
Conserving Computer-Based Art at The Museum of Modern Art. Arte Contemporáneo en (sala de) Guardia. Buenos Aires: Fundación Telefónica. 2016.
Public Access in the Age of Documented Art. Revista de História da Arte – Série W. Lisbon: Instituto de História da Arte. 2015. 180-191. Download PDF.
Source Code Analysis as Technical Art History. (with Deena Engel). Journal of the American Institute for Conservation. 54:2. 91-101.
An Art of Social Studies. (with Harvey Molotch). In Kataoka Mami (ed.) Lee Mingwei and His Relations: The Art of Participation. Tokyo: Mori Art Museum. 2014. 121-128.
Conserving L’Idea del Cavaliere by Marino Marini at the San Diego Museum of Art. Boletim Seminário Interno de Conservação de Escultura Moderna. São Paulo: MAC USP. September 2014.
Reading Between the Lines: Source Code Documentation as a Conservation Strategy for Software-Based Art. (with Deena Engel). Studies in Conservation. London: International Institute for the Conservation of Historic and Artistic Works. 2014. 59:6. 404-415.
Disrupted Circuits: Managing Nam June Paik Video Sculpture at the Museum of Modern Art. In Nam June Paik Art Center Interviews. Seoul: Nam Jun Paik Art Center. 2013. 150-169.
Nam June Paik Center Interviews: Hanna Holling, Bernhard Serexhe, & Glenn Wharton. Soul: Nam June Paik Art Center. 2013.
A Case for Digital Conservation Repositories. (with Barbra Mack). The Electronic Media Review. American Institute for Conservation. Vol. 1. 2011. 37-58.
Sweetness and Blight: The Conservation of Chocolate Works of Art. (with Sharon Blank & Claire Dean). Proceedings from conference: From Marble to Chocolate: the Conservation of Modern Sculpture. Tate Gallery. London. 1995. Reprinted in C. Caple (ed.) Preventive Conservation in Museums. London and New York: Routledge. 2011. 456-468.
Research and Training in a Field Conservation Laboratory: Kaman-Kalehöyük. In Williams, E & C. Peachey (Eds.) The Conservation of Archaeological Materials: Current Trends and Future Directions. Oxford: Archaeopress. 2010. 33-3.
Collaboration and Community Involvement in Archaeological Conservation. In Williams, E & C. Peachey (Eds.) The Conservation of Archaeological Materials: Current Trends and Future Directions. Oxford: Archaeopress. 2010. 201-204.
The Challenge of Installation Art. (with Harvey Molotch). In (A. Bracker & A. Richmond eds.) Conservation: Principles, Dilemmas, and Uncomfortable Truths. London: Elvsevier. 2009. 210-222.
Dynamics of Participatory Conservation: The Kamehameha Sculpture Project. Journal of the American Institute for Conservation. Vol. 47. 2008. 159-173.
The Challenges of Conserving Contemporary Art. In Altshuler, Bruce (ed.) Collecting the New: Museums and Contemporary Art. Princeton: Princeton University Press. 2006. 164-178.
Indigenous Claims and Heritage Conservation: An Opportunity for Critical Dialog. Journal of Public Archaeology. 4: 2005. 199-204.
Planning Physical and Conceptual Longevity in Public Art Commissions. Public Art Review. 32. Spring 2005. 36-37.
The Role of Conservation in the Design of Conceptual Monuments. In Monuments & the Millennium Proceedings of a joint conference organized by the Stone and Metal Sections of UKIC and English Heritage. 20-22 May 1998. English Heritage. London. 2001.
A Comparative Study of Silver Cleaning Abrasives. Journal of the American Institute for Conservation. Vol. 29, 1990. 13-32.
The Conservation of an Eighteenth Century Medallion Beaker by Johann Joseph Mildner. The Conservator. London: United Kingdom Institute for Conservation. 11:1987. 42-45.
Technical Examination of Renaissance Medals: The Use of Laue Back Reflection X-Ray Diffraction to Identify Electroformed Reproductions. Journal of the American Institute for Conservation. Vol. 23. 1984. 88-100.