Brilliant Discourse: Pictures and Readers in Early Modern Rome, New Haven and London: Yale University Press, 2014
The Invention of the Italian Renaissance Printmaker, New Haven and London: Yale University Press, 2000
"Gospel Lessons: Arabic Printing at the Medici Press," Art in Print, (Nov-Dec. 2014): 4-10.
“Brands of Piety,” co-author with Pascale Rihouet. University of California Davis Law Review 47:2 (December, 2013): 675-703.
“Publishing, Secrecy and Curiosity in a German Conclave Print,” Art in Print, 2:4 (November-December) 2012: 3-8.
“The Studio of Camillo Graffico, Engraver and Fountaineer,” Print Quarterly XXIX:3 (September, 2012): 259-280
“Invention and Authorship in Early Modern Italian Visual Culture,” DePaul Law Review 52:4 (Fall, 2003): 1093-1119.
“The Jew and the Worms: portraits and patronage in a 16th century how-to manual,” Word & Image 19: 1&2 (Jan-June, 2003): 86-99.
“Printing and Experience in 18th-century Italy,” in Peter Mack and Robert Williams, eds., Michael Baxandall, Vision, and the Work of Words, London: Ashgate Press (in press).
“Mattia Giegher ‘Living’” in Medina Lasansky, ed., Reviving the Italian Renaissance: Popular Culture, Icons & Significant Anachronisms, Pittsburgh, PA: Periscope Press, 2014.
“Invention, Origin, and Dedication: Republishing Women’s Prints in Early Modern Italy” in M. Biagioli, P. Jaszi, M. Woodmansee eds., Making and Unmaking Intellectual Property: Creative Production in Legal and Cultural Perspective, Chicago: University of Chicago Press: 2011, 339-357.
“The Engraved Line and the Viewer’s Imagination,” in Emily J. Peters, ed., in The Brilliant Line, Providence, RI: The RISD Museum (2009): 107-123
“The Devil’s Hem: Allegorical Reading in an Illustrated Life of St. Benedict”, in Cristelle Baskins & Lisa Rosenthal eds., Early Modern Visual Allegory: Embodying Meaning, London, Ashgate (2007):135-154.