2004

• If Direction Is a Look, Galleria Javier Lopez, Madrid
• Besides, Popularity Is a Rather Lumpy Concept, No?
Kunsthalle Düsseldorf
• Curious Crystals of Unusual Purity, PS1, New York
• Tapestry from an Asteroid, Golinko Kordansky Gallery, Los Angeles
• Cave Canem, John Connelly Presents, New York

2003

• Talking Pieces, Text and Image in Contemporary Art, Museum
• Morsbroich, Leverkusen (cat.)
• Late to Work Everyday, DuPreau Gallery, Chicago
• Melvins Spring Tour, Anton Kern Gallery, New York
• I’m Afraid of Everything, Blonde Revolution, and New York
• Escape from New York, Summit Art Center, New Jersey
• My people were fair and had cum in their hair (but now they’re content to spray stars from your boughs), Team Gallery, New York
• Attack, The Kult 48 Klubhouse, Deitch Projects, New York

2002

• Dark Spring, Ursula Blickle Stiftung, Kraichtal
• Open City 16, Open City Magazine, New York

2001

• Dedalic Convention, MAK, Vienna
• Out of Place, UKS Biennial, Norway
• Wall Labels +, New School University, New York

2000

• Luggage, Galerie Max Hetzler, Berlin
• Soft Rock, Künstlerhaus Bethanien, Berlin @ – PPOW Gallery,New York

1999

• The Wight Biennial, The New Wight Gallery, Los Angeles,
• Made Especially for You, Artist’s Space, New York

1998

• 1 + 3 = 4 x 1, Galerie für
• Zeitgenössische Kunst Leipzig

1997

• This Description, Theater Space, New York
• Fuck Yourself, Theater Space, New York

1996

• Paint as Purpose, Galerie Purple, Los Angeles,

1994

• The 1995 Banale, RE:Solution Gallery, Los Angeles

Conclusions:
Matthew Brannon’s work investigates media imagery as a cultural interface, exploring the gap between expectation and inadequacy. Using topical problems such as substance abuse, body image, and class divide as metaphors for social and psychological fractioning, Brannon pits visual ‘ideals’ versus internalised corruption to create conceptual instances of breakdown

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