Will Insley was an American abstract artist who dedicated 50 years to creating paintings, drawings, writing, models and photomontages based on his concept for a visionary city, entitled, ONECITY.

His process began in the 1960s through writing and formulations about a city somewhere in time, which contained remnants of other lost civilizations. Will’s consuming thoughts of civilizations were prominent during his years as a part-time photo clerk at the Metropolitan Museum of Art. The archiving system required a photo information card for every work of art, including any shards, pieces or remnants of art and objects. On one occasion, Will created cards for several broken pieces of a 5th century Greek vase, which influenced the development of his ‘Civilization Theory.’

During the early formative years, Will looked to the earth art of Robert Smithson, Michael Heizer and Alice Aycock and the conceptual structures of Ronald Bladen, Tony Smith, Robert Irwin, Sol LeWitt, Frank Stella, Carl Andre, Piet Mondrian and the writing of Kazimir Malevich. He was also influenced by fellow artist-architects such as Étienne-Louis Boullée (1728-1799), Simon Rodia (1879-1965), Vladimir Tatlin (1885-1953), Le Corbusier (1887-1965), Hans Luckhardt (1890-1954), Frederick John Kiesler (1890-1965), and even Michelangelo (1475-1564). His artist friends on the Bowery included Eva Hesse, Charles Hinman, Sol LeWitt, Louise Nevelson, Robert Indiana among many other contemporaries of his time.

Insley's artwork has been exhibited in numerous museums in the United States and Europe, with solo exhibitions at The Solomon R. Guggenheim Museum and Museum of Modern Art in New York City, as well as inclusion in Documenta 5 and 6 and is in the collections of the Brooklyn Museum of Art, Smithsonian Museum, Museum of Modern Art, Whitney Museum of American Art, Indianapolis Museum of Art, North Carolina Museum of Art, Hirshhorn Museum and Sculpture Garden and many others.

Westwood Gallery NYC owns and manages the Estate of Will Insley.

1950s-2000s: The Project of ONECITY

In Will’s manuscripts, he defined ONECITY as:

… a labyrinthine structure buried in the central North American plains, spanning over 675 miles square between the Mississippi River and the Colorado Mountains. ONECITY is designed to hold 400 million people, and has very little to do with advanced city planning theories of the present or with the projected utopian golden cities of the future, but rather with the dark cities of mythology which exist outside of normal time in some strange location of extremity.

Insley’s map of ONECITY divides the structure into six different sectors:

(1) Abstract /Buildings/ >
Religious structures found in remote areas of the country’s wilderness; they were initiated before the development of ONECITY

(2) The Outer Fields >
Stretches of countryside which are pulled into the center of the city by the building spirals of the Outer City.

(3) The Outer City >
A chain of buildings composed of four spiral arms which contain a possible 14,000 building units devoted to city living and working.

(4) The Inner Fields >
A 135 mile square of wasteland at the center of the Outer City structure.

(5) The Inner City >
An empty building which is not connected to the practical network of electricity, plumbing and communications and is bereft of all utilitarian systems; it holds analogous properties to the abstract /buildings/ outside of ONECITY.

(6) The Opaque Library >

Buried in the center of the Inner City, the Opaque Library holds the seed and soul of ONECITY. No one is allowed access to the space; however they may peer through the brief slits in its upper shell, which lets the viewer spy on the mystery. Some bits of information have been accidentally uncovered in our own time, and these pieces are viewed in facsimile as fragments of the Library walls.

The Early 1960s: Developing ONECITY

In the 1960s, Insley created large scale modular paintings, exploring the meanings of the elementary geometric forms painted in bright acrylics. In the 2007 leading art publication, The New American Abstraction 1950-1970, Claudine Humblet writes the following on Will Insley's early series of paintings:

"The universe of fragments opened up between 1961 and 1963 with a multitude of cutout forms, flat shapes with four elements symmetrically arranged around a central opening (...) The shaping of the external form was to serve the path taken by art as "object". Insley's personal concentration in isolating his "object" from its context (architectural and pictorial) was to lead him in gradually, during an enthralling investigation of the inner field of painting, to rediscover the hidden significance of the "fragment". This became the sole tangible sign of the link between the "painting" (wall fragment) and architecture, the overall project of which was to be revealed only in the course of numerous stages inviting the viewer to decipher the secret meaning of the work presented.". In Insley's own words, "Between '61 and '63 I did my first series of shaped paintings, using cloverleaf forms around a central hole. My painting quickly shed all its "painting" aspects save its diagrammatic nature and moved into the mind in search of the source of its fragments."

As Insley moved into 1967, he started to consider the lost civilization. It is during this time that Will moved from his more painterly wall fragments of the early 1960s, to his 1968 Ruler Series. The rulers illustrate the context of Minimal Art and Conceptual Art in their own way by symbolizing inaccessible space.

By the end of the 1960s, Will began to outline the basic ratio theories which influence the creation of his later 1990s Wall Fragments. The linear fragments in his drawings act in progression as an extension of real space while constrained to the area of the grid.

The 1970s: Discovering Architectural Abstraction

While developing his late 1960s Ruler Series, Will started to discover the abstract /buildings/ outside of ONECITY. Through models, drawings and photomontages, Will numbered and captured each /building/ in wilderness. In his unpublished manuscript, Insley writes:

“The complex formal vocabulary of ONECITY has its origin in a series of /buildings/ located in remote areas of the countries wilderness. A parallel can be drawn between their nature and mythological considerations and they could thus be regarded as religious structures.”

The abstract architectural qualities of the /buildings/ brought Will back to revisit the early Wall Fragments. In his 1975 series, Insley developed a basis of subdivisions subjecting the fragments to arithmetic progressions as well as mirror-image inversions upon which the form, interior design, and the color of the fragments depended.

The Early 1980s: Elaborating on the ONECITY structure

As Insley moved into the 1980s, he began to conceive and create ONECITY through elaborate ink drawings. Many of these drawings pull diagrammatic language from his school years studying formal architecture, while incorporating the abstract mythological visions seen in his abstract /buildings/ outside of the city center.

The Seminal Wall Fragments: the late 1980s-2000s

After the creation of ONECITY, Insley returned to his vocation as a painter in 1986 with his series of shaped paintings in acrylic on Masonite combining pictorial material and the power of the grid. These paintings represent fragments recovered from the Opaque Library’s walls, in relation to understanding the mathematical and mythical construction of the greater ONECITY structure. They offer insight into the visual and metaphorical depth of ONECITY and the civilization, while detailing a relationship between order and disorder.

Landmark exhibitions of Will Insley's work

1984 Guggenheim Museum, New York City

Solo exhibition "The Opaque Civilization"

The exhibition traces the evolution of Will Insley's oeuvre from 1960s paintings to 1980s drawings of ONECITY, his labyrinthine architectural project conceived for an imaginary society. Through Wall Fragments, drawings, models, plans and studies, as well as a monumental floor drawing created especially for the museum rotunda, Insley elaborates the myth of a dark and mysterious civilization location outside of normal time.

1977 documenta 6 Kassel

dOCUMENTA 6 played on the thematic exhibition concept following the encyclopaedic concept of the preceding edition. Manfred Schneckenburger, former director of Kunsthalle Cologne, attempted to rephrase the question about the position of art in the media society. Participating artists included Carl Andre, Vito Acconci, Arman, Diane Arbus, Eugène Atget, Brassai, Francis Bacon, Joseph Beuys, Fernando Botero, Margaret Bourke-White, Brassai, Will Insley, Robert Capa, Henri Cartier-Bresson, Christo, Chuck Close, Jim Dine, Andre Kertesz, Willem de Kooning, Marcel Duchamp, Dan Flavin, Lucio Fontana, Dan Graham, Eva Hesse, Jasper Johns, Donald Judd, Ellsworth Kelly, Anselm Kiefer, Sol LeWitt, Roy Lichtenstein, Dorothea Lange, Claes Oldenburg, Dennis Oppenheim, Pablo Picasso, Nam June Paik, Ed Ruscha, Robert Rauschenberg, Robert Ryman, Man Ray, Alexander Rodtschenko, Edward Steichen, Neal Slavin, Frank Stella, Richard Serra, Antoni Tapies, Cy Twombly, Bill Viola, Bernard Venet, Wim Wenders, Tom Wesselmann

1972 documenta 5 Kassel

dOCUMENTA 5, 1972 was regarded as the most important caesura in the history of the documenta exhibitions. Artistic director Harald Szeemann, former head of Kunsthalle Berne and freelance curator, decided to create an overall thematic frame instead of selecting artworks according to their individual quality. Participating artists included Vito Acconci, John De Andrea, John Baldessari, Georg Baselitz, Joseph Beuys, Mel Bochner, Christo and Jeanne-Claude, Will Insley, Chuck Close, Joseph Cornell, Robert Cottingham, Marcel Duchamp, Richard Estes, Gilbert & George, Eva Hesse, Jasper Johns, Sol LeWitt, Brice Marden, Agnes Martin, Bruce Nauman, Hermann Nitsch, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Sigmar Polke, Gerhard Richter, Edward Ruscha, Lucas Samaras, Richard Serra, Wayne Thiebaud

1971 Museum of Modern Art, New York City

Solo exhibition CEREMONIAL SPACE

The exhibition, curated by Arthur Drexler, Director, Department of Architecture and Design, included models, photographs and drawings of a project for an architectural landscape.

1968 Walker Art Center, Minneapolis & Albright-Knox Gallery, Buffalo

6 artists, 6 exhibitions: Larry Bell, Chryssa, Will Insley, Robert Irwin, Robert Smithson, Robert Whitman

Read more about Will Insley


Solo Exhibitions

  • 2015 - On the Bowery. Paintings by Will Insley, (Prints by Cy Twombly, Robert Indiana, Robert Ryman, Charles Hinman, Will Insley) Westwood Gallery NYC

  • 2012 - Foundation ONECITY. Paintings from the 1960s., Westwood Gallery NYC

  • 2010 - Will Insley: ONECITY Wall Fragments from the Walls of ONECITY, Westwood Gallery, New York City

  • 1996 - Will Insley: The Drawings, New Arts Program, Leigh Valley, PA

  • 1995 - Will Insley: Wall Sections from the Prisons of One City, Hanes Art Center, University of North Carolina at Chapel Hill

  • 1992 - Will Insley: Wall Fragments and Drawings II, Max Protetch Gallery, New York

  • 1990 - Will Insley: Wall Fragments and Drawings I, Max Protetch Gallery, New York

  • 1990 - Will Insley: Grids , Vrej Baghoomian Gallery, New York City

  • 1988 - Will Insley: New Wall Fragments, Max Protetch Gallery, New York City

  • 1988 - Will Insley: Drawings, Max Protetch Gallery

  • 1985 - Will Insley: Drawings 1985, Max Protetch Gallery, New York City

  • 1984 - Solomon Guggenheim Museum, The Opaque Civilization

  • 1982 - Section Drawings of a Building from ONECITY, Max Protetch Gallery, New York

  • 1980 - First Drawings of ONECITY, Max Protetch Gallery, New York

  • 1978 - Pläne für eine ander Welt: Gedächte und gebaute Raumvorstellungen, Gallery Orny, Munich, Germany

  • 1977 - Will Insley: Architectural Drawings, Max Protetch Gallery, New York

  • 1977 - Architectural Drawings, Protetch-McIntosh, Washington D.C.

  • 1976 - Fischbach Gallery, New York

  • 1976 - Annemarie Verna, Zurich, Switzerland

  • 1976 - Museum of Contemporary Art, Chicago, IL

  • 1975 - Allen Priebe Gallery, University of Wisconsin, Oshkosh, WI

  • 1975 - College Arts Gallery, Ohio State University, Columbus, OH

  • 1974 - Fischbach Gallery, New York

  • 1974 - Annemarie Verna, Zurich, Switzerland

  • 1974 - Württembergischer Kunstverein Stuttgart, Germany

  • 1973 - Fischbach Gallery, New York

  • 1973 - Will Insley, New York: Pläne für eine andere Welt: Gedächte und gebaute Raumvorstellungen, Museum Haus Lange, Krefeld, Germany

  • 1972 - Paul Maenz, Cologne, Germany

  • 1972 - Buildings by Will Insley, Visual Arts Gallery, New York

  • 1971 - Will Insley, Ceremonial Space, Museum of Modern Art, New York

  • 1969 - Channel Space, John Gibson Commissions, Inc., New York

  • 1969 - Will Insley: Space Diagrams, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

  • 1968 - Walker Art Center, Minneapolis, MN

  • 1968 - Stable Gallery, New York

  • 1968 - Albright-Knox Art Gallery, Buffalo, NY

  • 1967 - Weatherspoon Art Gallery, University of North Carolina

  • 1966 - Stable Art Gallery, New York

  • 1965 - Stable Art Gallery, New York

Group Exhibitions

  • 2016 - Drawn from Artists' Collections: Sol LeWitt, The Drawing Center

  • 2016 - Abstraction in New York. Will Insley and James Juthstrom, WESTWOOD GALLERY NYC

  • 2013 - Cellblock I and II, An Essay In Exhibition Form, Andrea Rosen Gallery

  • 2012 - Towards A Warm Math, On Stellar Rays Gallery NYC

  • 2012 - On the Bowery. Silkscreens by Cy Twombly, Robert Ryman, Will Insley, Robert Indiana, Les Levine, John Willenbecher, Charles Hinman, Richard Smith, Gerald Laing, John Giorno. Photographs by Eliot Elisofon, Westwood Gallery NYC

  • 2012 - Art Wynwood, Westwood Gallery NYC

  • 2011 - Art Miami, Westwood Gallery NYC

  • 2007 - Drawn from Artists' Collections, The Drawing Center, NYC

  • 2004 - Behind the facts. Interfunktionen 1968-1975, Traveled to Fondação de Serralves, Museu de Arte Contemporânea. Oporto Fundacio Joan Miro, Barcelona

  • 1998 - Masters of the Masters, Butler Institute of American Art, Youngstown, OH

  • 1996 - Extended Minimal, Max Protetch Gallery, New York

  • 1995 - American Sculptors in the 1960s. Selected Drawings from the Collection, Museum of Modern Art, New York

  • 1995 - Alchemy, Procter Art Center, Annandale-on-Hudson, NY

  • 1995 - Drawing the Line, Ackland Art Museum, Chapel Hill, NC

  • 1994 - Off Balance, Artrax, New York

  • 1993 - On Paper, TZ’Art & Co, New York

  • 1992 - The Living Object: The Art Collection of Ellen H. Johnson, Allen Memorial Art Museum, Oberlin College, Oberlin, OH

  • 1989 - Max Protetch Gallery: 20 Years, Max Protetch Gallery, New York

  • 1989 - Geometric Abstraction and the Modern Spirit, Neuberger Museum, SUNY Purchase, Purchase, NY

  • 1988 - 20th Anniversary Group Exhibition, Paula Cooper Gallery, New York

  • 1988 - Kolner Kunstmarkt, Cologne, Germany

  • 1987 - Group Show Gallery Artists, Max Protetch Gallery, New York

  • 1987 - Selections from Solid Abstractions, Saxon Lee Gallery, New York

  • 1985 - Geometric Abstractions: Selections from a Decade, 1975-1985, Bronx Museum of the Arts, Bronx, NY

  • 1985 - Between Science and Fiction, Fundaçao Bienal de Sao Paulo, Brazil

  • 1984 - Dreams and Nightmares-Utopian Visions in Modern Art, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC

  • 1984 - Winter Group Exhibition, Protetch-McNeil, New York

  • 1984 - Indiana Influence: The Golden Age of Indiana Landscape Painting. Indiana’s Modern Legacy: An Inaugural Exhibition of the Fort Wayne Museum of Art, Fort Wayne Museum of Art, Fort Wayne, IN

  • 1984 - From the Collection of Sol LeWitt, The University Art Museum, California State Museum, Long Beach, CA

  • 1983 - Abstract Painting: 1960-69, Institute for Art and Urban Resources, PS1, Long Island City, NY

  • 1983 - Connections:Bridges/ Ladders/ Ramps/ Staircases/ Tunnels, Institute of Contemporary Art, University of Pennsylvania, PA

  • 1983 - Painting and Sculpture , Max Protetch Gallery, New York

  • 1983 - Drawings 1983, Annemarie Verna, Zurich, Switzerland

  • 1982 - Post-Minimalism, Aldrich Museum of Contemporary Art, Ridgefield, CT

  • 1981 - Amerikanische Zeichnungen der siebziger Jahre/ Drawing Distinctions: American Drawings of the Seventies , Louisiana Museum of Modern Art, Humlebaek, Denmark

  • 1981 - Imaginary Civilizations , Tyler and Penrose Galleries, Tyler School of Art, Elkins Park, PA

  • 1980 - Pier + Ocean: Construction in the Art of the Seventies, Hayward Gallery, London, UK

  • 1980 - Michael Rea Collection of American Art 1960-80, McIntosh-Dysdale, Washington, DC

  • 1980 - Drawings/Structures , Institute of Contemporary Art, Boston, MA

  • 1980 - Architectural Sculpture , Los Angeles Institute of Contemporary Art, Los Angeles, CA

  • 1979 - Art and Architecture: Space and Structure, Protetch-McIntosh, Washington, DC

  • 1979 - Drawings about Drawings: New Directions (1968-1978), Ackland Memorial Art Center, University of North Carolina, Chapel Hill, NC

  • 1979 - Mind, Child, Architecture, New Jersey Institute of Technology, School of Architecture Gallery, Newark, NJ

  • 1979 - Indiana / New York, Washington Gallery, Indianapolis, IN

  • 1978 - Inaugural Exhibition, Max Protetch Gallery

  • 1978 - Dwellings, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

  • 1977 - documenta 6, Kassel, Germany

  • 1976 - American Salon des Refuses, Stamford Museum and Nature Center, Stamford, CT

  • 1976 - Jahre Museum Haus Lange: Eine Retrospektive der Ausstellungen 1955 bis 1975, Museum Haus Lange, Krefeld, Germany

  • 1976 - New Gallery Artists, Max Protetch Gallery, New York

  • 1976 - 15, John Gibson Gallery, New York

  • 1976 - Private Notations: Artist’s Sketchbooks II, Philadelphia College of Art, Philadelphia, PA

  • 1976 - Drawing Today in New York , Sewall Gallery, Rice University, Houston, TX

  • 1976 - Art That Involves Words, Max Protetch Gallery, New York

  • 1976 - Painting, Drawing and Sculpture form the 60s and 70s from the Dorothy and Herbert Vogel Collection, Philadelphia College of Art, PA

  • 1976 - Fischbach Gallery, New York

  • 1975 - 20th Century Drawings, Hawthorne Gallery, Skidmore College, Saratoga Springs, NY

  • 1975 - Drawings U.S.A. '75, Minneapolis Museum of Art

  • 1975 - Works on Paper, Annemarie Verna – Art 6/75, Basel, Switzerland

  • 1975 - Contemporary Drawings, William Paterson State College, Wayne, NJ

  • 1975 - Labyrinth: Symbol and Meaning in Contemporary Art, Watson Gallery, Wheaton College, Norton, MA

  • 1975 - Painting, Drawing and Sculpture from the 60s and 70s , the Dorothy and Herbert Vogel Collection, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

  • 1975 - Narrative in Contemporary Art , McLaughlin Library, University of Guelph, Ontario, Canada

  • 1974 - Dealer's Choice, New York Cultural Center, New York

  • 1974 - Art for Collecting , Akron Art Institute, Akron, OH

  • 1974 - Art Now 74: A Celebration of American Arts, John F. Kennedy Center for the Performing Arts, Washington, DC

  • 1974 - Recent Acquisitions , Museum of Modern Art, New York

  • 1974 - Drawings 1974, Anemarie Verna, Basel, Switzerland

  • 1973 - Art in Space: Some Turning Points , Detroit Institute of Arts, Detroit, MI

  • 1973 - Drawings 1963-1973, Whitney Museum of American Art, New York

  • 1973 - American Drawings, New Gallery of Contemporary Art, Cleveland, OH

  • 1972 - Drawings by New York Artists, Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT (travelled to Henry Gallery, University of Washington, Seattle, WA; University Art Collection, Arizona State University, Tempe, AZ; Georgia Museum of Art, University of Georgia, Athens, GA; Finch College Museum of Art Contemporary Study Wing, New York; Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA)

  • 1972 - Grids, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

  • 1972 - 7 Kolner Kunstmarkt, Cologne, Germany

  • 1972 - Making Megalopolis Matter, New York Cultural Center, New York

  • 1972 - Documenta 5 1972, Kassel, Germany

  • 1972 - Fischbach Gallery, New York

  • 1971 - Willard Gallery, New York

  • 1971 - Projected Art, Finch College Museum of Art, New York

  • 1971 - International Frujahrmesse, Berliner Galerien, West Berlin, Germany

  • 1971 - John Gibson: New York, Galerie Daniel Templon, Paris, France

  • 1970 - The Expressive Line , Hecksher Museum, Huntington, NY

  • 1970 - Documentations 1970, John Gibson Gallery, New York

  • 1970 - L’art vivant aux Etats-Unis, Foundation Maeght, St. Paul-de-Vence, France

  • 1969 - Between Object and Environment: Sculpture in an Extended Format, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

  • 1969 - Ecological Art , John Gibson Gallery, New York

  • 1969 - Will Insley, Fred Mitchell, Steve Poleskie, Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY

  • 1969 - Long Beach Island, New Jersey, Long Beach Island Foundation of the Arts and Sciences, Loveladies, NJ

  • 1969 - Simultaneously, School of Visual Arts Gallery, New York

  • 1969 - Drawings 1969, Paula Cooper Gallery, Leo Castelli Gallery, New York

  • 1969 - Drawings, Fort Worth Art Center Museum, Fort Worth Art Center Museum, Fort Worth, TX

  • 1968 - Drawings, University of Puerto Rico, San Juan, PR

  • 1968 - Drawings, Heiner Freidrich Gallery, Munich, Germany

  • 1968 - Painting Annual , Whitney Museum of American Art, New York

  • 1968 - Cool Art , Aldrich Museum of Contemporary Art, Ridgefield, CT

  • 1968 - Painting: Out from the Wall, Des Moines Art Center, Des Moines, IA

  • 1968 - First World Triennial, New Delhi, India

  • 1968 - The Art of the Real, Paula Cooper Gallery, New York

  • 1968 - The Weatherspoon Annual Exhibition: Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC

  • 1968 - J.L. Hudson Gallery, Detroit

  • 1967 - Contemporary American Painting and Sculpture 1967, Krannert Art Museum, Champaign, IL

  • 1967 - Art Objectif, Galerie Stadler, Paris, France

  • 1967 - Monuments , Richard Feigen Gallery, New York

  • 1967 - Schemata 7, Finch College Museum of Art, New York

  • 1967 - Sixth Biennial, Republic of San Marino, Brazil

  • 1967 - First Kent Invitational, College Gallery, Kent State University, OH

  • 1966 - Systemic Painting, Solomon R. Guggenheim Museum, New York

  • 1966 - Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art, New York

  • 1966 - Art in Process. The Visual Development of A Structure, Finch College Museum of Art, Contemporary Study Wing, New York

  • 1966 - Rigelhaupt Gallery, Boston, MA

  • 1966 - Park Place Gallery, New York

  • 1965 - Daniels Gallery, New York

  • 1965 - Shape and Structure 1965, curated by Frank Stella and Henry Geldzahler (Donald Judd, Carl Andre, Charles Hinman) Tibor de Nagy Gallery, New York

  • 1965 - Benefit for C.O.R.E, Graham Gallery, New York

  • 1965 - 25th Annual Exhibition by the Society for Contemporary American Art, Art Institute of Chicago

  • 1965 - A Contemporary Collection of Painting and Sculpture Selected from the Collection of Eleanor Ward, Lyman Allyn Museum, New London, CT

  • 1955 - Behn Moore Gallery, Cambridge, MA

  • Solomon R. Guggenheim Museum, New York

  • Museum of Modern Art, New York City

  • Brooklyn Museum of Art

  • Whitney Museum of American Art, New York City

  • The Drawing Center, NYC

  • Smithsonian American Art Museum, Washington, D.C.

  • Walker Art Center, Minneapolis, MN

  • Institute of Contemporary Art, University of Pennsylvania

  • Weatherspoon Art Museum, Greensboro, NC

  • North Carolina Museum of Art, Raleigh, NC

  • Indianapolis Museum of Art, Indianapolis, IN

  • Hirshhorn Museum and Sculpture Garden, Washington, D.C.

  • Henry Art Gallery, University of Washington

  • Des Moines Art Center, Des Moines, IA

  • Andrew Dickson White Museum of Art at Cornell University

  • Allen Memorial Art Museum at Oberlin College

  • Ackland Art Museum

  • Krannert Art Museum, University of Illinois at Urbana-Champaign

  • 2016 - Will Insley in Sol Lewitt's collection

  • 1990 - 'Will Insley: Max Protetch Gallery" by James Lewis

  • 1985 - "The Fragments from a Civilization" by Carter Ratcliff

  • 1984 - "A Realm of Logic Insanity" by Maurice Poirer

  • 1984 - "Art: Will Insley's Visions of a Labyrinthine City" by Vivien Raynor

  • 1983 - "Architecture: The Arts" by Vicki Lindner

  • 1983 - "The 60s in Abstract: 13 Statements and an Essay" by Maurice Poirer and Jane Nicol

  • 1983 - "An Experimental Outpost Looks Back" by Grace Glueck

  • 1980 - "New York" by J.L. Bourgeois

  • 1980 - Time and Space Concepts in Art by Marilyn Belford and Jerry Herman

  • 1977 - "Heizer's Circles: Insley's City" by William Zimmer

  • 1976 - "Review of Exhibitions: New York"

  • 1976 - "Reviews: New York" by Jeff Perrone

  • 1976 - Modern Art and the Object

  • 1976 - Unbuilt America by Alison Sky and Michelle Stone

  • 1975 - "Exhibitions Abroad: Puzzles and Illusions" by John A. Thwaites

  • 1975 - "Will Insley: Buildings / Fragments" by Donald Wall

  • 1974 - "Art Reviews" by Noel Frackman

  • 1974 - "Art Reviews" by Noel Frackman

  • 1974 - "Reviews" by Peter Frank

  • 1974 - "Austellungen"

  • 1974 - "Review" by Gunther Wirth

  • 1973 - "Pläne für eine andere Welt" by Heize Ingenplax

  • 1973 - "New York Galleries: Language and Visions"

  • 1973 - "Reviews and Previews" by William Johnson

  • 1973 - "Reviews and Previews" by April Kingsley

  • 1973 - "Reviews and Previews" by Douglas Crimp

  • 1971 - "Reviews" by Roberta P. Smith

  • 1971 - "Not for City Planners" by Ada L. Huxtable

  • 1971 - A Reading of Modern Art by Dore Ashton

  • 1970 - "Galleries" by Rosemary Mayer

  • 1970 - "In the Galleries" by Gregoire Muller

  • 1968 - "Modern Americans for Oberlin" by Ellen H. Johnson

  • 1968 - Minimal Art: A Critical Anthology by Gregory Battock

  • 1967 - "In the Galleries" by Jeanne Siegel

  • 1966 - "Art in Process Means It" by Edgar J. Driscoll

  • 1966 - ARTnews, "Reviews and Previews" by Scott Burton

  • 1965 - "Reviews and Previews: New Names This Month" by Natalie Edgar

  • It Takes One to Know One: Why Artists Make Ideal Collectors, Artnews, July 2015, Dan Duray

  • The New American Abstraction 1950-1970, Second Volume, Skira Editore S.p.A, Italy, 2007, pp. 967-1011, Claudine Humblet

  • Behind the Facts: Interfunktionen 1968-1975, Fundacio Joan Miro, Barcelona

  • “Will Insley: Max Protetch Gallery,” Artforum, Summer 1990, p. 159, James Lewis

  • “The Fragments from a Civilization,” Art in America, vol. 73, April 1985, pp. 150-159, Carter Ratcliff

  • “A Realm of Logic Insanity,” ARTnews, vol. 83, Nov. 1984, pp. 102-9, Maurice Poirer

  • “Art: Wil lInsley’s Visions of a Labyrinthine City,” The New York Times, Sept. 1984, Sec. C, p. 32, Vivien Raynor

  • “An Experimental Outpost Looks Back,” The New York Times, February 6, 1983, Sec. 2, p. 1, 29, Grace Glueck

  • “Architecture”: The Arts,” Omni, vol. 6, October 1983, pp. 34, 222., Vicki Lindner

  • “The 60s in Abstract: 13 Statements and an Essay.” Art in America, vol. 71, Oct. 1983, pp. 123-137, Maurice Poirer

  • Time and Space Concepts in Art, Pleides Gallery, New York, 1980, pp. 57-78, Marilyn Belford & Jerry Herman, eds..

  • “New York”, Artforum, vol. 8, Feb. 1980, p. 76, J.L. Bourgeois

  • “Heizer’s Circles: Insley’s City,” Soho Weekly News, vol. 4, May 26, 1977, p. 21, William Zimmer

  • Modern Art and the Object, Thames and Hudson, London, 1976, pp. 14, 79, 131, Ellen H. Johnson

  • “Review of Exhibitions: New York,” Art in America, vol. 64, May-June 1976, pp. 72-73, Michael Krugman

  • “Reviews: New York,” Artforum, vol. 14, April 1976, pp. 70-71, Jeff Perrone

  • Unbuilt America, McGraw-Hill, New York, 1976, p. 138-40, Alison Sky and Michelle Stone

  • “Exhibitions Abroad: Puzzles and Illusions,” ARTnews, vol. 50, Nov. 1975, pp. 78-79, John A. Thwaites

  • “Will Insley; Buildings / Fragments,” Arts Magazine, vol. 50, Nov. 1975, pp. 70-74, Donald Wall

  • “Art Reviews.” Arts Magazine, vol. 49, November 1974, p. 8, Noel Frackman

  • “Reviews,” ARTnews, vol. 73, October 1974, pp. 120, 122, Peter Frank

  • “Review,” Studio International, vol. 187, June 1974, p. 305, Gunther Wirth

  • “Austellungen,” Das Kunstwerk, vol. 27, July 1974, p. 75, Gunther Wirth

  • “Reviews,” Artforum, vol. 13, Sept. 1974, p. 81, William Zimmer

  • Art in Space: Some Turning Points, The Detroit Institute of Arts

  • “Reviews and Previews”, ARTnews, vol. 72, January 1973, p. 78, Douglas Crimp

  • “Pläne für eine andere Welt”, Rheinische Post, October 6, 1973., Heize Ingenplax

  • “Reviews and Previews,” ARTnews, vol. 72, May 1973, p. 16, William Johnson

  • “Reviews and Previews,” ARTnews, vol. 72, May 1973, pp. 89-90, April Kingsley

  • “New York Galleries: Language and Visions,” Arts Magazine, vol. 48, Sept. – Oct. 1973, p. 66, Rosemary Mayer

  • “Reviews,” Artforum, vol. 11, June 1973, pp. 86-87, Roberta P. Smith

  • “Pläne für eine andere Welt,” stadt Anzeiger, Krefeld, October 4, 1973, p. 1, William Zimmer

  • A Reading of Modern Art, Harper & Row, New York, 1971, p. 39., Dore Ashton

  • “Not for City Planners,” The New York Times, April 18, 1971, Sec. D, p. 22., Ada Huxtable

  • “Exhibitions: Will Insley,” Architectural Design, vol. 41, June 1971, pp. 388-9, William Zimmer

  • “Galleries,” Arts Magazine, vol. 44, Dec – Jan 1970, p. 60, Rosemary Mayer

  • “In the Galleries,” Arts Magazine, vol. 44, Dec.-Jan 1970, p. 60, Gregoire Muller

  • Minimal Art: A Critical Anthology, E.P. Dutton & Co., New York, 1968, pp. 58, 359-363, Gregory Battock

  • “Reviews and Previews”, ARTnews, vol. 67, April 1968, pp. 15- 16, Scott Burton

  • “Modern Americans for Oberlin,” The Burlington Magazine, vol. 110, June 1968, p. 356 (reprinted as “Four American Acquisitions,” in Allen Memorial Art Museum Bulletin, vol. 26, Fall 1968, p. 31), Ellen H. Johnson

  • “Reviews and Previews”, ARTnews, vol. 66, Summer 1967, p. 20, Rackstraw Downes

  • “In the Galleries,” Arts Magazine, vol. 41, Summer 1967, p. 57, Jeanne Siegel

  • “Reviews and Previews”, ARTnews, vol. 65, April 1966, p. 16, Scott Burton

  • “Art in Process Means It,” The Boston Globe, October 1, 1966, p. 9, Edgar Driscoll

  • “Reviews and Previews: New Names This Month,” ARTnews, May 1965, pp. 18-19, Natalie Edgar