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Campaign
Shrigley, G. 2012. Campaign. Monaco Magazine. 5.

Permanent marker
Shrigley, G. 2011. Permanent marker. Monaco Magazine. 3.

By dint of a coarse inscription
Shrigley, G. 2011. By dint of a coarse inscription. in: Hewish, A. (ed.) Thomas Müller: touching relating dividing London The Centre For Recent Drawing.

The incredible simultaneity console
Shrigley, G. 2010. The incredible simultaneity console. Monaco Magazine. 2.

Without residue
Shrigley, G. 2010. Without residue. Cardboard Folly. 1.

Max Bill: Hfg Ulm, Drawing and Redrawing
Reinke, T. and Shrigley, G. 2007. Max Bill: Hfg Ulm, Drawing and Redrawing. London Marmalade publishers of visual theory.

To begin (and end with line)
Shrigley, G. 2006. To begin (and end with line). Miser and Now. 6.

For Thomas Reinke and Sara Preibsch (but I guess for different reasons)
Shrigley, G. 2002. For Thomas Reinke and Sara Preibsch (but I guess for different reasons). in: Joly, J.B. and Vilter, A. (ed.) und zehn – und fünf Stuttgart, Germany Edition Solitude.

Rue des Martyrs
Shrigley, G. 2000. Rue des Martyrs. in: Solitude im solitude Stuttgart, Germany Hadje Cantz.

Insignificance, a short discourse on the physical and ideational economy of line within architectural representation
Shrigley, G. 1998. Insignificance, a short discourse on the physical and ideational economy of line within architectural representation. Stuttgart, Germany Edition Solitude.

Drek
Shrigley, G. 1998. Drek. in: Quijano, M. (ed.) Hfg Ulm: program wird bau Stuttgart, Germany Stadt Museum, Ulm and Edition Solitude.