| Alexander, George | Primed Suspects: Gail Hastings' Sculptural Situations, But is it Art?: Sculptural Situations by Gail Hastings, The Cross Art Projects, Sydney, November 2003, n.p. |
| Barnes, Carolyn | The Identity of Art, Octopus, University of South Australia, Adelaide, September 1992 |
| Barnes, Carolyn | dis-location: a parallel text, dis-location, Royal Melbourne Institute of Technology, Melbourne, 1990, p. 6 (image of work, only) |
| Barton, Christina, Zara Stanhope and Clare Williamson | Speaking of Strange Bedfellows, Close Quarters: Contemporary Art from Australia and New Zealand, Monash University Museum of Art, Melbourne, October 1998, pp. 4-12 |
| Birrell, James | Abstract Distractions, Space Affects: The art and architecture of James Birrell and Gail Hastings, Metro Arts, Brisbane, September 1999, 23-25 |
| Clabburn, Anna | Who is art for?, 1996 Moët and Chandon Touring Exhibition, Moët and Chandon Australian Art Foundation, Melbourne, 1996, p. 10 |
| Cramer, Sue | MCA Collection: 1994 Selection, Museum of Contemporary Art, Sydney, March, 1994, n.p. |
Crawford, Ashley |
'loaded', Loaded, 13 Verity Street, Melbourne, 1990, n.p. |
| Cruthers, John | Undone by Art, In the Company of Women: 100 Years of Australian Women's Art from the Cruthers Collection, Perth Inistitute of Contemporary Arts, Perth, 1995, p. 21 |
| Curnow, Ben | objects + ideas: revisiting minimalism, MCA Collection: 1997 Selection, Museum of Contemporary Art, Sydney, April 1997, n.p. |
| Delany, Max | Strolling - the art of arcades, boulevards, barricades, publicity, Museum of Modern Art at Heide, Melbourne, October 1998, p. 27 |
| Engberg, Juliana | Love Tokens, Lovers, Museum of Modern Art at Heide, Melbourne, 1995 |
| Engberg, Juliana | The Angelic Space: Working in the way of Metaphors and Enigmas, The Angelic Space: A Celebration of Piero Della Francesco, Monash University Museum of Art, Melbourne, 1992, p. 50 |
| Freybourg, Anne Marie | On Dialogue, Haus am Waldsee / Jovis, Berlin, May, 1997 |
| Goldenstein, Uwe | To complete a work of contemporary art, Kunst Nach Kunst, Neues Museum Weserburg Bremen, Bremen, Germany, August 2002, p. 120 |
| Hastings, Gail | Store 5 is ..., Anna Schwartz Gallery, Melbourne, vol. 2, 2005, pp. 18-21 |
| Hastings, Gail | Sculptural Situations, Plans, Heide Museum of Modern Art, Melbourne, volume, 2003, n.p. |
| Hastings, Gail | Another conversation with Gail Hastings, All This And Heaven Too: Art Gallery of South Australia, Adelaide, 1998, p. 38 |
| Hastings, Gail | A conversation with Gail Hastings, On Dialogue, Haus am Waldsee / Jovis, Berlin, May 1997, p. 158 |
| Hastings, Gail | end note: four coincidences, Gail Hastings: four coincidences, April 1997, Anna Schwartz Gallery, Melbourne, 1997 |
| Hastings, Gail | Gail Hastings: a page torn from a secret, Australian Centre for Contemporary Art, Melbourne, August 1993, n.p. |
| Hastings, Gail | This Performance - A Passing Thought, 200 Gertrude Street, Melbourne, November 1989 |
| Holmes, Jonathon | Let me tell you a story, Plimsoll Gallery, Hobart, April 1994, p. 6 |
| Kent, Rachel | Minimalism: past and present, The Infinite Space: Women, Minimalism and the Sculptural Object, The Ian Potter Museum of Art, Melbourne, September 1998 |
| Koop, Stuart | mission: untitled (blue), Australian Centre of Contemporary Art, Melbourne March, 2001, also Gail Hastings, red: Text / Images / Sounds, The Australian Centre for Contemporary Art, Melbourne, 2001, p. 61 |
| Koop, Stuart | Gail Hastings, Australian Perspecta 1991, Art Gallery of New South Wales, Sydney, August 1991, p. 50 |
| Lynn, Victoria | Gail Hastings, Passing Time - Moët & Chandon exhibition 2000, Art Gallery of NSW, Sydney, February 2000 |
| Lynn, Victoria | Introduction, Australian Perspecta 1991, Art Gallery of New South Wales, Sydney, August 1991, p. 9 |
| McKenzie, Robyn | The Local Group: Store 5 1989-1993, Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, Monash University Museum of Art, Melbourne, June 2005, pp. 38-47 |
| McNamara, Andrew | Making space for the invisible architecture of the social, Sculptural Situations: Gail Hastings, Art Gallery of New South Wales. Sydney, #2.07, 2007, unpaginated |
| McNamara, Andrew | hall of mirrors, In Conversation, University Art Museum, Brisbane, May 2003, pp. 38-43 |
| McNamara, Andrew | Monochromes: The beautiful sublime?, Monochromes, University Art Museum, Brisbane, 2001, pp. 53,60 |
| Michael, Linda | No time like the present, Gail Hastings: To make a work of timeless art, Artspace, Sydney; Experimental Art Foundation, Adelaide; David Pestorius Gallery, Brisbane, Sydney, June, 1996 |
| Michael, Linda | Gail Hastings, Pimavera: The Belinda Jackson Exhibition of Young Artists, Museum of Contemporary Art, Sydney, September 1992, p. 7 |
| Pestorius, David | Monochromes, University Art Museum Brisbane, 2001 |
| Pestorius, David | Gail Hastings: Five Sculptures 1989-1995, David Pestorius Gallery, Brisbane, 1995 |
| Stanhope, Zara | Hothouse: The flower in contemporary art, MUMA: Monash University Museum of Art, Melbourne, May 2003, p. 6 |
| Stanhope, Zara | Collective Space, Works from the Collection, Monash University Museum of Art, Melbourne 1993 |
| Wardell, Michael | Art in the Age of Lost Innocence, 1998 Moët & Chandon Touring Exhibition, Moët & Chandon Australian Art Foundation, Melbourne, 1998, p. 7 |
| Wiehager, Renate | Gail Hastings, Sammlung DaimlerChrysler : February 2002, DaimlerChrysler AG, Berlin, February, 2002, p. 30 |
| Wiehager, Renate | Gail Hastings, Sammlung DaimlerChrysler : Juni 2001, DaimlerChrysler AG, Berlin, Juni 2001, p 14 |
| Wiehager, Renate | Sculptural situation with Varvara S., BE, Künstlerhaus Bethanien, Berlin, 6, 2000, 83-6 |
| Wiehager, Renate | Gail Hastings, The Space Here is Everywhere: art with architecture, Galerien der Stadt Esslingen am Neckar, Esslingen, August 1999, pp.68-9 |
| Wiehager, Renate | 'Close your eyes, let your hand fall and select an object': About some of Gail Hastings' more recent Sculptural Situations, Gail Hastings, Renate Wiehager, Esslingen, May 1998 |