| 2002 | Toilet Training, Susanne Vielmetter Los Angeles Projects, Los Angeles, California |
| A Pictorial Guide to Sanitary Defects, Susanne Vielmetter Los Angeles Projects, Los Angeles, California |
| 2001 | Hotel Australia, commissioned for 'The Australia Projects' by Juliana Engberg, Curator, Visual Arts Program, Melbourne Festival; for The Federation Festival, May; see press release, article |
| 2000 | Neues Wassercloset, P77, Projectraum für Kunst, Zürich, Switzerland |
| Church, Susanne Vielmetter Los Angeles Projects, Los Angeles, CA; see press release
|
| Traps, Robert V. Fullerton Museum, curated by Eva Kirsch, San Bernardino, CA |
| 1999 | Porcelain, Römerturm, Galerie Inge Baecker, Cologne, Germany |
| Porcelain, POSTdowntown, Los Angeles, CA |
| Century, The Living Room, Santa Monica, California |
| 1998 | Child's Play, organized by Jennifer Katell, The Dollhouse, Los Angeles, CA |
| Non-Specific Bathroom, SITE, The Brewery, Los Angeles |
| 1997 | Out of Order, Australian Centre for Contemporary Art, Melbourne, Australia |
| Every Tap and Plughole Is a Mark of Progress, William Mora Galleries, Melbourne |
| 1995 | Plumb; Tools for Modern Living, Artspace, Sydney, Australia |
| Western Painting, Gallery 482, Brisbane, Queensland, Australia |
| 1994 | Western Painting, William Mora Galleries, Melbourne |
| Too Much Leverage Is Dangerous: Modernism and Plumbing, Fine Arts Gallery, U. C. Irvine, CA |
| 1993 | Fixtures: Modern People, Places, Things, Fine Arts Gallery, University of California, Irvine, CA |
| Guildford-Liverpool-Penrith/Modernity, Space YZ, University of Western Sydney, Australia |
| Portraits of Modern Men (Lest We Forget), William Mora Galleries, Melbourne |
| Domestic Moderne, Women’s Resource Center, University of California at Irvine, CA |
| 1992 | A Hung Jury, William Mora Galleries, Melbourne |
| A Little History, William Mora Galleries, Melbourne |
| 1991 | from A Hung Jury, Mori Gallery, Sydney |
| 1989 | Rhyme and Reason, Mori Gallery, Sydney |
| In Love and Language, Canberra School of Art, Canberra, Australia |
| 1988 | the place I see you, installation, Dance Theater Workshop, New York, NY |
| 1987 | Between the Lines, Jon Gerstad Gallery, New York |
| 1986 | Lovers Leaps, Mori Gallery, Sydney |
| Untitled, Avago Gallery, University of Sydney |
| 1984 | Peggy Went to Market, Mori Gallery, Sydney |
| 1982 | Baguette and Vegemite, Drew Gallery, Canterbury, England |
| 1981 | Urban Exclusive, Mori Gallery, Sydney |
| 1980 | Views of the Suburbs, Mori Gallery, Sydney |
| 2001 | 'Toilet Training', video in EAST International, juried by Mary Kelly and Peter Wollen, Norwich Gallery, Norwich School of Art and Design, Norwich, United Kingdom; also screened at Cinema City, Norwich; and at Enter, organized by Johannes Meier, Baden-Wurttemberg Foundation, Stuttgart, Germany |
| Video for 'Taste My Vampire', in Song Poems, produced by Steven Hull, Cohan Leslie and Brown, New York |
| MCA Unpacked, Museum of Contemporary Art, Sydney, Australia |
| 'In the Name of the Place', member of GALA committee initiated by Mel Chin, with Spelling Television in Tele[visions], Kunsthalle Vienna, Guest Curator, Joshua Dechter |
| Representing LA, organized by Gordon Fuglie, Laguna Museum of Art, Laguna, California |
| Basel Liste, represented by Susanne Vielmetter LA Projects, Basel, Switzerland |
| Frankfurt Art Fair, represented by Susanne Vielmetter LA Projects, Basel, Switzerland |
| ‘In the Name of the Place’, member of GALA committee initiated by Mel Chin, with Spelling Television, in Tele[visions], Kunsthalle Vienna, Guest Curator, Joshua Dechter |
| 2000 | Representing LA, organized by Gordon Fuglie, Frye Art Museum, Seattle, WA and Art Museum of South Texas, Corpus Christie, Texas |
| Neue Fotographie, Galerie Schedler, Zürich, Switzerland |
| MoCA Art Auction, Los Angeles, CA |
| Frankfurt Art Fair, represented by Susanne Vielmetter Los Angeles Projects, Frankfurt, Germany |
| One Night Stand, curated by Annetta Kapon and Leonardo Bravo, Park Plaza Lodge Hotel, Los Angeles, CA |
| 1999 | Drawing the Line, curated by Kirk Delman, Ruth Chandler Williamson Gallery, Claremont, CA |
| Building History, curated by Maureen Connor, Apex Curatorial Projects, New York |
| The Bathroom Show, curated by Marsea Goldberg, New Image Art, Los Angeles, CA |
| Millenial Tension, POSTwilshire, organized by Habib Kheradyar, Los Angeles, CA |
| Frankfurt Art Fair, selected by Susanne Vielmetter LA Projects, Frankfurt, Germany |
| 1998 | Mother Smother Other Lover, curated by elin slavick and Beth Grabowski, Hanes Art Center, University of North Carolina at Chapel Hill, NC |
| Zurich Art Fair, selected by Susanne Vielmetter, Zurich, Switzerland |
| Different Looks: Reconsidering Vision, Authorship and the Mark of Pleasure, curated by Ken Gonzales-Day, Sweeney Art Gallery, University of California at Riverside, California |
| Bathroom, curated by Wayne Koestenbaum, Thomas Healy Gallery, New York, NY |
| All this and Heaven too, Adelaide Biennial of Australian Art, curated by Juliana Engberg and Ewen McDonald, Art Gallery of South Australia, Adelaide, Australia; see review |
| Frankfurt Art Fair, in conjunction with Newspace/ Susanne Vielmetter LA Projects, Frankfurt, Germany |
| Trash, curated by Catherine Lord, Barnsdall Art Center, Los Angeles, California |
| Mid Sized Median, curated by Crosby Haffner, Übermain, Los Angeles, CA |
| Lemon Sky, curated by Jane Hart and Bill Radawec, Los Angeles |
| 1997 | ‘In the Name of the Place’, member of GALA committee initiated by Mel Chin, with Spelling Television, in Uncommon Sense, curated by Julie Lazar and Tom Finkelpearl, Museum of Contemporary Art, Los Angeles; Kwangju Biennial, Korea; Grand Arts, Kansas City, Missouri |
| Hollywood Premiere, organized by Popular Mechanics, Hollywood Premiere Motel, Los Angeles |
| Girlfriends, curated by John Kirkman, Casula Powerhouse, Sydney |
| Fibro, in conjunction with Australian Perspecta, Casula Powerhouse, Sydney |
| March Six, curated by William Radawec, Ikon, Los Angeles |
| 1996 | LACE Annuale, curated by Suzanne Ghez of Renaissance Society, the University of Chicago, for Los Angeles Contemporary Exhibitions, Los Angeles |
| Detours ’96, Side Street Projects, Santa Monica, CA |
| The Object of Existence, curated by Clare Williamson, Australian Centre for Contemporary Art, Melbourne |
| 1995 | Lovers, curated by Juliana Engberg, Museum of Modern Art at Heidi, Melbourne |
| From the Collection, National Gallery of Victoria, Melbourne, Australia |
| The Smorgon Collection, Museum of Contemporary Art, Sydney |
| Working Girls, curated by Suellyn Luckett, Campbelltown City Art Gallery |
| In The Company of Women, curated by Belinda Carrigan, Perth Institute of Contemporary Arts, Perth, WA |
| Non-Criminal Criminals, organized by Debra Porch, Philip Kent, Hyde Park Barracks, Sydney |
| Persona Cognita, curated by Juliana Engberg, Museum of Modern Art at Heide, Melbourne |
| Bodily Functions, curated by Carol Mavor and Elin Slavick, Hanes Art Center, UNC, Chapel Hill, NC |
| 1994 | Interaction of Science and Art, curated by K.W.M. Ko, University of Hong Kong, Hong Kong |
| Focus: Women in Society Over the Past 100 Years, Adelaide Central Gallery, South Australia |
| Group show, curated by J.S.M. Willette, Claremont Graduate School of Art, Claremont, CA |
| Far Bazzar, juried by Foundation for Art Resources, the Brewery, Los Angeles |
| Superwoman, curated by Claire Kalemkeris, Fine Arts Gallery, U. C. Irvine, CA |
| 1993 | Out Auction, Benefit for LA Gay and Lesbian Community Services Center, Los Angeles |
| 1992 | Ten Steps, in conjunction with Saul Ostrow, Horodner-Romley Gallery, New York |
| 1991 | Her Story, Images of Labor in Australian Art, curated by Anne Loxley, S.H. Irvin Gallery, Sydney |
| Frames of Reference, Aspects of Feminism and Art, curated by Sally Couacaud, Artspace, Sydney |
| Moët and Chandon Art Fellowship, Australian National Gallery, Canberra, and touring |
| The Cigar Box Show, curated by Sandra Drew, Drew Gallery, Canterbury, England |
| 1990 | Untitled, curated by Winston C. Robinson, Momenta Gallery, Philadelphia, Pennsylvania |
| Post - Hype, curated by Winston C. Robinson, 88 Room, Allston, Massachusetts |
| Exhibition of Miniatures, Mori Gallery, Sydney |
| The Complex Picture, curated by Tim Morrell, College Gallery, South Australian College, Adelaide |
| Acquisitions curated by Nancy Underhill, University Art Museum, University of Queensland, Brisbane |
| The J-Curve, curated by Juliana Engberg, George Paton Gallery, U. of Melbourne, and touring |
| 1989 | Irony, Humor, and Dissent, curated by Alison Carroll, Manly Art Gallery and Museum, Sydney; and touring |
| Moët and Chandon Art Fellowship, National Gallery of Victoria, Melbourne, touring |
| 1988 | The Naked City, curated by Margot Osborne, Contemporary Art Centre of South Australia, Adelaide |
| No More Blue Horizons, Flaxman Gallery, London |
| From Margaret Preston to Margaret Morgan, Art Gallery of Western Australia, Perth |
| 1987 | Selected Contemporary Drawing, Heide Park Gallery, Melbourne |
| Small Works, Jon Gerstad Gallery, New York |
| Anti-Ego Show, Minor Injury Gallery, Brooklyn, New York |
| Mori Gallery at United Artists Gallery, Melbourne |
| Australian Drawing: the Eighties, Australian National Gallery, Canberra |
| A New Romance, curated by John McPhee, Australian National Gallery, Canberra |
| Domestic Contradictions, curated by Julie Ewington, Power Gallery, Sydney and touring |
| 1986 | The Repeated Image, Brisbane Civic Art Gallery and Museum, Brisbane |
| Australian Drawing Now, Holdsworth Contemporary Gallery, Sydney |
| Forbidden Fruit, First Draft Gallery, Sydney |
| 1985 | Australian Perspecta, Art Gallery of New South Wales, Sydney |
| Heartland, Woollongong City Gallery and touring |
| 1983 | Australian Perspecta, Art Gallery of New South Wales, Sydney |
| 1982 | Urban Images, Ivan Dougherty Gallery, Sydney |