| 2024 | New Directions: Recent Acquisitions, The George Eastman Museum, Rochester (US) |
| Condo London, Kate MacGarry, London (UK) |
| FOLDS, Project: ARTspace, New York (US) |
| 2023 | Pictures & after, MAMCO, Geneva (CH) |
| 2022 | The Gorgeous Nothings, Bartha Contemporary, London (UK) |
| Image Gardeners, McEvoy Foundation for the Arts, San Francisco (US) |
| Power Flower, Le 109 - Biennale de Nice (FR) |
| To Have Lost Something Unknown, Something Unguessable, STANDARD (OSLO), Oslo (NO) |
| #ProtectChinatown Art and History, City Group 104B Forsyth Street, New York (US) |
| 2021 | On the Basis of Art: 150 Years of Women at Yale, Yale University Art Gallery, New Haven (US) |
| True Pictures?, Museum für Photographie Braunschweig, Braunschweig (DE) |
| Fire demands its Fuel, curated by KM Temporaer, An der Stadtmauer 6, Mönchengladbach (DE) |
| RABBIT HOLE, F, Houston, TX (US) |
| Crocodile Cradle, PEER Project, London (UK) |
| 2020 | Pictures, Revisited, The Metropolitan Museum of Art, New York, NY (US) |
| Until tomorrow: Ten Years of Bureau, Bureau, New York, NY (US) |
| 2019 | Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York (US) |
| Photographie et documents, 1983-2018: Une histoire de la collection du Fonds régional d’art contemporain #2, Frac Provence Alpes-Côte d’Azur, Marseille (FR) |
| Condo New York, Bureau hosting (STANDARD OSLO), New York (US) |
| The Second Body, organized by Sam Contis, Klaus von Nichtssagend Gallery, New York (US) |
| Cut - Copy - Paste, o v project, Brussels (BE) |
| What is an edition, anyway?, McEvoy Foundation for the Arts, San Francisco (US) |
| 2018 | Anna Atkins Refracted: Contemporary Works, The New York Public Library, New-York (US) |
| The Swindle: Art Between Seeing and Believing, Albright-Knox Art Gallery, Buffalo, New-York (US) |
| Hours and Places, Bureau Gallery, New-York (US) |
| mark, Team Gallery, New-York (US) |
| The Remains of Cinema, Künstlerhaus, Halle für Kunst & Medien, Graz (DE) |
| Lever le voile, works from FRAC Ile de France collection, Le Carré, Vincennes (FR) |
| Condo London, Southard Reid hosting Bureau and Park View, London (UK) |
| 2017 | A une heure de la civilisation, Crèvecœur, Marseille (FR) |
| Threads Left Dangling, Veiled in Ink, Galerie Emanuel Layr, Vienna (AT) |
| L’art dans tous ses états – chap.8, frac île-de-france, les Réservoirs, Limay (FR) |
| Art Basel, Features, with Bureau, Basel (CH) |
| The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New-York (US) |
| AAa:Quien, BUREAU, New-York (US) |
| Tuer la marionnette, curated by Clement Delepine, CACBM, Paris (FR) |
| Take Note, Savannah College of Art and Design, Savannah (US) |
| Until It Makes Senses, Erica Baum & Ajit Chauhan, SVIT, Prague (CZ) |
| Strange Days, le Plateau, FRAC Ile de France, Paris (FR) |
| Erica Baum, Francis Baudevin, Stéphane Dafflon, Philippe Decrauzat, Blair Thurman, Galerie Nikolaus Ruzicska, Salzburg (DE) |
| 2016 | Her Crowd: New Art by Women from Our Neighbors’ Private Collections, Bruce Museum, Greenwich (US) |
| Tongue, Angela Meleca Gallery, Columbus (US) |
| Two Years of Looking, New Art Projects, London (UK) |
| Thought Patterns, Deborah Ronnen, Rochester (US) |
| Two Years of Looking, New Art Projects, London (UK) |
| For the Love of Things: Still Life, Albright-Knox Art Gallery, Buffalo (US) |
| 2015 | TWO STEPS FORWARD, A Group Exhibition to Benefit Young Jean Lee’s Theater Company , 47 Canal, New-York (US) |
| Révélations, Les Arcades, Issy les Moulineaux, FRAC Île de France (FR) |
| Photo Poetics, Solomon R. Guggenheim Museum, New-York (US) |
| Pangrammar, P!, New-York (US) |
| Reconstructions: Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New-York (US) |
| Jeux de langage, La Vitrine, Le Plateau / FRAC Ile de France, Paris (FR) |
| Body/Image, Susan Inglett gallery, New-York (US) |
| True Players, W139, Amsterdam (NL) |
| Reloaded - Konkrete Tendenzen heute, Weserburg, Bremen (DE) |
| Shoes and Purses, Rawson Projects, New-York (US) |
| After Dark, works from FRAC Île de France Collection, MAMCO, Geneva (CH) |
| Altarations: Built, Blended, Processed, University Galleries, FAU, Boca Raton (US) |
| 2014 | Infinite Tuning, Murray Guy, New-York (US) |
| Seymour, CEAAC, Strasbourg (FR) |
| Postscript: Writing After Conceptual Art, Eli and Edythe Broad Art Museum, Michigan State University (US) |
| Langue des oiseaux et coq à l’âne. Autour de Raymond Hains, FRAC Bretagne, Rennes (FR) |
| Lists, Bury Art Gallery, Lancashire (UK) |
| 2013 | Anthology, Whitechapel Gallery, London (UK) |
| Printing Out the Internet, cur. Kenneth Goldsmith, Labor, Mexico City, Mexico (MX) |
| Step Right In, Visual Arts Center, Austin (US) |
| Postscript: Writing After Conceptual Art (Extended), The Eli & Edythe Broad Art Museum, East Lansing (US) |
| Postscript: Writing After Conceptual Art (Extended), Power Plant Contemporary Art Gallery, Toronto (CA) |
| Jew York, Untitled Gallery and Zach Feuer Gallery, New-York (US) |
| Everyday Epiphanies: Photography and Daily Life since 1969, Metropolitan Museum of Art, New-York (US) |
| October 18, 1977, Klemens Gasser & Tanja Grunert, New-York (US) |
| Chick Lit: Revised Summer Reading, Tracy Williams Ltd., New-York (US) |
| Bass! How Low Can You Go?, Leila Heller Gallery, New-York (US) |
| Bureau at Independent, New-York (US) |
| The Feverish Library Cont’d, Capitan Petzel, Berlin (DE) |
| Speaking and Thinking, Galerie Nordenhake, Stockholm (SE) |
| DOWNTOWN: A View of the Lower East Side, James Cohan Gallery, Shanghai (CN) |
| 30th Bienal de São Paulo Touring Program, Sesc São José do Rio Preto, São Paulo (BR) |
| 2012 | Bureau at NADA, Miami (US) |
| Lost & Found: Anonymous Photography in Reflection, Ambach & Rice Gallery Los Angeles (US) |
| The Imminence of Poetics, 30th Sao Paulo Biennial, Sao Paulo, Brazil (BR) |
| Postscript, Denver MCA, Denver (US) |
| The Feverish Library, Friedrich Petzel Gallery, New-York (US) |
| Coquilles Méchaniques, FRAC Alsace, Altkirch (FR) |
| B-Out, curated by Scott Hug, Andrew Edlin Gallery, New-York (US) |
| Journal d’une chambre, Cur. Jean-Max Colard, Crèvecoeur, Paris (FR) |
| Slow Numbers, Showroom 170, New-York (US) |
| Erica Baum and Sara MacKillop, Bischoff/Weiss, London (UK) |
| Spelling the Image, Marc Jancou Contemporary, New-York (US) |
| (im)possibilities, Visual Art Center, Univ. of Texas at Austin (US) |
| 2011 | Library Science, Artspace, New Haven (US) |
| Summer Salt, The Proposition, New-York (US) |
| Pictures Extra and Others, Helena Papadopoulos Gallery, Athens (GR) |
| 2010 | ITEM, curated by Mamie Tinkler, Mitchell Innes & Nash, New-York (US) |
| Readers Delight, McKenzie Gallery, New-York (US) |
| Woodman, woodman, spare that tree’, Luttgenmeijer, Berlin (DE) |
| Freischuss, Kleine Humboldt Galerie Humbolt University, Berlin (DE) |
| 2009 | I know nothing of the weather when I know it is either raining or not raining. Pacific Northwest College of the Arts, Feldman Gallery Portland, Oregon (US) |
| We’ll Know Where When We Get There, Centre National de l’Estampe et de l’Art Imprime, Chatou (FR) |
| 2008 | Useful Gestures, Useless Gestures, Dipatch Bureau, New-York (US) |
| Subject Index, Malmo Konstmuseum, Malmo (SE) |
| A New Reality: Black-and-White Photography in Contemporary Art, Stedman Art Gallery, Rutgers University, Camden New Jersey (US) |
| 2006 | Re-Make/Re-Model, D’Amelio Terras, New-York (US) |
| 2002 | Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy (IT) |
| 2000 | Summer group show, D’Amelio Terras, New-York (US) |
| 1999 | Foul Play, Thread Waxing Space, New-York (US) |
| Summer Reading, Yancey Richardson, New-York (US) |
| Neither / Nor, Grand Arts, Kansas City (US) |
| 1998 | Gel, D’Amelio Terras, New-York (US) |
| Hotspots, Nassauischer Kunstverein, Wiesbaden, Germany Inventory, White Columns, New-York (US) |
| Sourpuss, Lubelski Gallery, New-York (US) |