香港，AllRightsReserved，〈KAWS: Passing Through〉，2010年10月4日－12月24日（同系列他版作品） 多倫多, Design Exchange，〈This is Not a Toy: Designer Toys as Contemporary Culture〉, 2014年2月7日 - 5月25日 （同系列他版作品）
文學
Margaret Atwood與Simon Maidmen，〈KAWS：孤獨時代的陪伴〉，墨爾本，2019年，第62頁（同系列作品圖版）
To understand the work of KAWS is to understand his roots in the skateboard and graffiti crews of New York City. Brian Donnelly chose KAWS as his moniker to tag city streets beginning in the 1990s, and quickly became a celebrated standout in the scene. Having swapped spray paint for explorations in fine art spanning sculpture, painting and collage, KAWS has maintained a fascination with classic cartoons, including Garfield, SpongeBob SquarePants and The Simpsons, and reconfigured familiar subjects into a world of fantasy.
Perhaps he is most known for his larger-than-life fiberglass sculptures that supplant the body of Mickey Mouse onto KAWS' own imagined creatures, often with 'x'-ed out eyes or ultra-animated features. However, KAWS also works frequently in neon and vivid paint, adding animation and depth to contemporary paintings filled with approachable imagination. There is mass appeal to KAWS, who exhibits globally and most frequently in Asia, Europe and the United States.