Ruth Markus, Woman Artists in Israel 1920-1970, Tel Aviv: Hakibbutz Hamehuchad Publishing House, 2008 (Hebrew).
Ruth Markus, Sculpting with Line and Space, Tel Aviv: Hakibbutz Hamehuchad Publishing House, 2003 (Hebrew).
Ruth Markus, "Retour a l’ordre and the Classical Language of French Modern Architecture", Kalathos: Studies in honour of Prof. Asher Ovadiah, Tel Aviv University, 2007, pp. 171-186.
Ruth Markus, "Line and Space as New Artistic Language in Modern Sculpture", Pictorial Languages and Their Meaning, Edited by Christine B. Verzar and Gil Pishhof, Tel Aviv University, 2006, pp. 305-320.
Ruth Markus, "Artists: Yishuv and Israel, 1920-1970", Jewish Women, A Comprehensive Historical Encyclopedia, Edited by E. Hayman and D. Ofer, Jerusalem: Shalvi Publishing Ltd., 2006.http://www.jwa.org/encyclopedia
Ruth Markus, "Light and Dynamism in Futurist Art and Scenography",Scenography International, no 5 - Tradition and Innovation (2002). http://www.lboro.ac.uk. 2nd version to be published in Assaph, Studies in Art History, 9, Tel Aviv University (2004-5).
Ruth Markus, "Femme Fatale at the Turn of the 20th Century", Femme Fatale, Tel Aviv: Tel Aviv Art Museum, 2006, 179-188.
Ruth Markus, "Giacometti’s The Palace at 4 AM (1922-32) as a Stage Design, Scenography International, 8, 2004.
Ruth Markus, Clair Yaniv - The Woman and the Bird", Clair Yaniv, The Woman and the Soul Bird, Ein Hod: Janco-Dada Museum, 2006, pp. 76-82.
Ruth Markus, "What Does the Mask Cover in Alberto Giacometti’s The Invisible Object (1934-5)?", The Metamorphosis of Marginal Images: From Antiquity to Present Time, Tel Aviv University, 2001, pp. 213-224.
Ruth Markus, "Sex and Gender in Giacometti’s Couples", Assaph, Studies in Art History, 5, Tel Aviv University, 2001, pp. 81-102.
Ruth Markus, "Futurist Scenography: From Revolutionary Theory to Established Practice", Assaph, Studies in Theatre, 15, Tel Aviv University, 2000, pp. 153-163.
Ruth Markus, "Surrealism’s Praying Mantis and Castrating Woman",Woman’s Art Journal, 21 (1), 2000, pp. 33-39.
Ruth Markus, "Picasso’s Guitar, 1912, and his Transition from Analytical to Synthetic Cubism", Assaph, Studies in Art History, 2, Tel Aviv University, 1996, pp. 233-246.
Ruth Markus, "The Contribution of Arnon Adar to the Israeli Theatre", Assaph, Studies in Theatre, 6, Tel Aviv University, 1990, pp. 141-158.