The Brooklyn Rail (2023) Art in Conversation: Tariku Shiferaw with Charles M. Schultz
Artsy (2022) With Spectacular Installations and Abstractions, Artists Redress...
NY Times (2022) These Artists' Hunt for Studio Space Ended at The World Trade...
The Washington Post (2022) In The Galleries: Connecting Modern Abstraction...
LA Times (2022) The Take: The Faces of Frieze...
Artsy (2021) The Artsy Vanguard 2021: Tariku Shiferaw
Brooklyn Rail (2021) It’s a love thang, it’s a joy thang
Artnet (2021) ‘Joy Can Be an Act of Resistance’: Rising-Star Artist Tariku Shiferaw on…
Cultured Mag (2021) Five Contemporary Black Artists You Should Know'
Art Papers (2020) Tariku Shiferaw
Brooklyn Rail (2020) Abstraction in the Black Diaspora
Hyperallergic (2020) Black Artists Claim Their Birthright of Abstraction
Wallpaper (2020) Five African Artists Demonstrating Creative Resilience in Challenging Times
Financial Times (2020) Could the Art World’s Experiment with Online Fairs Force A Healthy Rethink?
Hyperallergic (2020) What Does It Mean To Exhibit “Black Excellence”?
Barron's Penta Magazine (2020) "Contemporary Artists on Art and Society"
New York Times (2019) "An Ethiopian Gallery Enriches a Global Art Conversation"
The Columbus Dispatch (2019) “N.Y. artist Tariku Shiferaw draws from his surroundings in Short North show”
Art of Choice (2019) “Tariku Shiferaw Investigates Abstract Expressionism’s History”
Hyperallergic (2018) “Measured and Visually Musical, Two Artists Harmonize”
Arte Fuse (2018) “Tariku Shiferaw: This Ain’t Safe at Cathouse Proper”
Hyperallergic (2018) “Taking the Painter Out of Painting”
Hyperallergic (2017) “How To Embed a Shout: A New Generation of Black Artists Contends with Abstraction”
Art in America (2017) “Low-Risk Aesthetics: Institutional Critique at MOCA Cleveland”
The Washington Post (2017) “In the galleries: ‘Afrofuturism,’ defined in the moment, by nine artists”
BemoreArt (2017) “Afro Pasts / Afro Futures”
NY Times (2016) Collector Helper at Anthony Phillip Fine Arts
Paratext and the world of a work in public space: Eisenbach and Mansur’s Placeholders