Margaret Dragu


Margaret Dragu is a celebrated Canadian artist recognized for innovation in many disciplines including performance art, contemporary dance, social practice art, video art, installation art, independent publishing, radio, and interactive platforms like social media. Her work has been performed, screened, exhibited, and published in many countries. In 1998 her European tour was supported by the Department of Foreign Affairs, Trade and Development with the German Hessiche Ministerium für Wissenschaft und Kunst and the Cultural Department of the Netherlands. She has been awarded numerous funding awards from the Canada Council for the Arts as well as other arts funding agencies in Canada and Europe. In 2002 she was the first artist to be honoured in the Canadian Performance Art Legends book series with La Dragu: The Living Art of Margaret Dragu, by Fado Performance Inc. In 2012 Margaret Dragu was the recipient of the Governor General's Award for Visual and Media Arts. In the same year Dragu was designated Éminence Grise by 7A*11D International Festival of Performance Art. In 2024 she delivered the, Simone de Beauvoir Institute, Concordia University.
WWW margaretdragu.com

Early life and career

Margaret Dragu was born in Regina, SK in 1953. Her family moved to Calgary in 1963 where from 1969 to 1971 she studied dance under Yone Kvietys Young, a Calgary-based instructor of contemporary dance. Kvietys Young ran two dance companies that Dragu was part of, Calgary Creative Dancers and Contemporary Dance Calgary. Under Kvietys Young, Dragu was introduced to German Expressionism, Dada influences, choreography by chance, and card play from John Cage and Merce Cunningham. From Calgary, Dragu moved to New York in 1971, where she trained at the  Alwin Nikolais -Murray Louis Dance School. She also studied choreography and musical composition with Laura Foreman and John Watts at the New School for Social Research. Dance studies at Louis-Nikolas Dance School were influenced by German-based modern dance including the pioneer dance artist Hanya Holm. In New York she became acquainted with the Judson Church, and participated in “happenings” The use of everyday and ordinary movement as a score for artistic work, which was prevalent in the New York scene at that time, had a formative and lasting impact on her approach to performance and art. Both dance mentors Yone Kvetys-Young and Laura Foreman demonstrated for Dragu an ease in working with visual artists and with situating their work in art galleries, and this affinity to art stayed with her throughout her practice.
In 1973 with a bursary from the Alberta government Dragu moved to Montreal to continue to study dance with Eva von Genscy and at l. During that time she met Tom Dean and performed with him in Un Petit Spectacle at Véhicule Art. At Véhicule Art, she also worked with experimental filmmakers including Bozo Moyle from the National Film Board of Canada who introduced her to the videotape Portapak, which was popular with contemporary artists in the 1970s. In 1974 Dragu contributed choreography in an art event created by Tom Dean for the exhibition Périphéries at Musée d'art contemporain de Montréal. Périphéries was produced in part with Véhicule Art and marked MAC's first collaboration with an artist-run centre.
In addition to teaching dance classes in a community art school called Art Dump Workshop and developing her contemporary art and dance practice during her time in Montreal she also began a career as a burlesque performer artist. As a sought-after stripper Dragu performed in numerous venues in Montreal, Quebec City, Chicoutimi, Trois Rivieres and Chibougamau. As an artist and burlesque performer, she honed skills in vaudeville and theatre, and developed  cross-overs between art and burlesque. In her words, “I wanted to cross-pollinate popular culture and fine art by inverting the sacred art gallery and the profane striptease club.” She also developed feminist perspectives on burlesque and sex work which she later researched and documented with co-author A. S. A. Harrison for the book Revelations: Essays on Striptease and Sexuality. With Heather Wells and Janet Walczeweski she created an NFB-supported film on the subject, Theatre for Strangers. Dragu was an organizer for strippers' rights with the help of the Canadian Labour Congress and the Association of Canadian Radio and Television Artists. The short-lived strippers’ union was called the Canadian Association for Burlesque Entertainers.
An insurance fraud-related fire that destroyed her residence in Montreal precipitated Dragu's move to Toronto in 1974. There she became affiliated with artist-run centres including A Space gallery and 15 Dance Lab. She taught dance and movement at Ontario College of Art and classes in contemporary dance, tap dance,and burlesque at A Space. In Toronto Dragu met Granada Gazelle, members of General Idea, A. S. A. Harrison, Elke Town, Rodney Werden, Judy Holm, and the artists at Coach House Press. She met Kate Craig, Eric Metcalfe, and Hank Bull from the Western Front in Vancouver when they visited A Space. When describing her time in Toronto, Dragu declared, “I was a passionate collaborator, pair-ing and trio-ing with painters, sculptors, photographers, theatre artists, writers, sound designers, scenographers, fashion designers, film makers, video artists, and activists.” She made the video Back Up in collaboration with Kate Craig at the Western Front in Vancouver on 1978. While performing in Toronto Dragu was sexually assaulted by an audience member during a performance. The incident caused Dragu to retreat from performances in Toronto for a while, and then only resume in  solo works, with police or paid security officers available.
A move to the Vancouver region in 1986 took place after Margaret Dragu performed X’s and O’s for the Canada Pavillion at Expo 86. During the Expo 86 commission she met Jim Stewart Munro. They lived together at Finn Slough, an historic fishing village at the mouth of the Fraser River in the southern reaches of Richmond, BC from 1987 to 2011. Their daughter Aretha Dragu Munro was born in 1988. Margaret Dragu was an active community member during her time in Richmond, BC. In addition to community-engaged creative projects she worked as a fitness instructor and personal trainer for the South Arm Community Centre.

Early Performance Art and Theater Productions (Toronto)

While living in Toronto, Margaret Dragu produced and performed in numerous theatrical and experimental dance and art performances that took place in theatre venues, artist-run organizations, national galleries, university theatres, and site-specific venues like botanical gardens, back alleys, and car parkades. Her works garnered critical attention and were recognized for their energy and intensity. One reviewer noted her as a “choreographer-actress” of cult status. Her performance in Angel City was recognized for displaying her versatility as a theatre performer, while recognizing her notoriety for erotic dance choreography and performance. Her work in Toronto took on audience participation, reflecting the performativity of parades, movement classes, and erotic dancing. Dragu's first international production, Her Majesty/sa majesté was performed at Le Palais des Beaux-Arts in 1981. She was featured on the covers of Toronto weekly's Now in 1982 and Broadcast Week Magazine in 1985.
1972Un petit spectacle, at Véhicule Art.
1974
  • for Tom Dean, Musée d’Art contemporarian
1975Queen of the Silver Blades, in collaboration with Susan Swan, Gretchen Haywire, and Mary Canary at St. Paul's Theatre, and with Marcella Lustig at Cinema Lumiere. Try Leather, with Michael Hayden, Marcella Lustig, artists from Toronto Arts Community, at Fifteen Dance Lab.Kresges & Woolyworths, at Fifteen Dance Lab.Canadian Folk Dance, at A Space.
1976Pick Up, at TWP Theatre.Oh True Oh Real Oh Helpless Love, in collaboration with Redlight Theater at Bathurst Theatre.Si Vite Si Vite  Fondues Les Nieges D’Antan / So Fast So Fast Melt the Snows of Yesterday, at Cinema Lumiere.
1977Canajan Burgers, in collaboration with Enrico Campana at Centre for Experimental Art and Communication (CEAC). This production traveled to Eye Level Gallery, Arton's, Manitoba Theatre Centre, Regina Modern Dance Works, Paula Ross Studio, and Espace Tournesol.
  • Performed the role of God in Charlie Leed's Tillie’s Punctured Romance, at Cafe SoHo.
1978Sunset Strippers, with Marie-Hélène Fontaine, Kathy Marielle, Elizabeth Chitty, Arnie Achtman, and David Clement at The Funnel.The Photographer's Ball, in collaboration with Susan Stewart at Arton's.
1979Beauty and the Beast Thing, with Enrico Campana and Terry Crack at the Factory Theatre Lab. This work was also produced again with Sunset Strippers as part of a Dragu production called 33 ⅓ Double Live. It later was produced at TWP Theatre and The Funnel.TV Hertz 1, with Enrico Campana at the Art Gallery of Ontario and Musée des Beaux-Art in Montréal.
1980 and 1981The A.M. Show, with Guy Allen and Arnie Achtman at Artspace, Véhicule Art, University of Ottawa Theatre in 1980, and in 1981 at Simon Fraser University Theatre, Erindale Theatre, and again at Artspace.Canada Day Concert, with Ricardo Arbreut and Shelly Oliver in an alley near Peter Pan Restaurant and an artist's studio belonging to Rick Fischer in 1980.Her Majesty/sa majesté with Tom Dean at Art Gallery of Ontario and Le Palais des Beaux-Arts in 1980.Unfit For Paradise with Elizabeth Chitty and Jane Ellison at Western Front in 1981.
  • Margaret Dragu performed the role of Spencer's Mom in Spencer’s Mom by Jim Garrard at the Salon Theatre in 1981.
  • Margaret Dragu performed in Picnic in the Drift by Tanya Mass and Rina Fraticelli at the Ice House Theatre in 1981. Airport Dance for Susan Macpherson, Jacki Burroughs, and Ricardo Arbreut at the YPT Theatre in 1981.
1982 and 1983
1984 and 1985My Wireless is Running with Colin Campbell at the Toronto Dance Theatre in 1984.D.W.I. Strike and Public Parade Event on Queen's Park Parade Route in 1984.Joy of Multidiscipline at Artcite Gallery, Niagara Artists’ Centre/NAC, Banff School of Fine Arts, Alberta College of Art in 1984, and in 1985 at Emily Carr College of Art and Design.
  • Margaret Dragu performed Peggy in Peggy’s Song by Jim Garrard at St. Paul's Theatre in 1984.Bad Apples by Alan Booth and Simon Malbogat at the Mixed Theatre Co in 1984.Bass Saxophone byJohn Roby and Kate Lushington at the Tarragon Back Theatre in 1984.Strip by Theatre du P’tit Bonheur in 1984.X’s and O’s in the Dead of Winter, at Off Centre in 1984.X’s and O’s for Friday the Thirteenth at Western Front in 1985.Moral/Passion with Elizabeth Chitty and Cultural Desire Project at the Music Gallery in 1985.Dancereading toured with Susan Swan, Shelagh Young, and was recorded for Artists’ TV Centre for National Book Festival in 1985. Joy of Multidiscipline at Véhicule in 1985.
1986Joy of Multidiscipline at Artspace.Joe Beef by with .X’s and O’s for the Canada Pavillion at Expo 86.

Mid-Career Art and Performance Art

In 1986 Margaret Dragu relocated to the Vancouver region but lived away from the artistic centre in Finn Slough. With this relative isolation and the birth of her daughter, her work in the years 1987 to 1990 took up writing, independent publishing, visual art, and video productions. With limited access to Vancouver's art events and networks, she nurtured connections with people closer to home who she met in her work as a fitness instructor and personal trainer. From her relationships with other mothers, she worked to form the Momz Radio Collective which produced the Momz Radio programs on Vancouver Coop Radio and other independent University and community radio stations in Canada and the US, and teh book Mothers Talk Back, which she edited with Sarah Sheard and Susan Swan. She provided choreography for publicly engaged productions such as Luminaries Lantern Festival and Masque of Red Death by Public Dreams at Trout Lake. The nearly 3000 stitched, printed, and painted textiles squares formed house structures in an exhibition Marginalia at the Richmond Art Gallery in 2008, and live performances in 2005, 2008, and 2010.
In 2006, Dragu first appeared as Lady Justice, a persona she would regularly present with an evolving group of participating artists. Lady Justice was a feminist intervention that took place in multiple locations in Canada and Europe. For instance, she appeared during commemoration events at the site of Marker of Change, the women's monument to those who died in the massacre at Montreal's École Polytechnique. The first performance of Lady Justice was at Niagara Artists’ Centre/NAC and SEXE!Action/VIVA!Art Action. Another long-range persona was Verb Woman whose performance took many forms, often providing unexpected artist's services or what Dragu called “Art Aktions” such as mending, wrapping, and fitness. Verb Woman was first performed at Vancouver-based galleries and the LIVE! Biennale in 2009, the 2010 Cultural Olympiad, Vancouver Art Gallery and other Canadian and international sites. Verb Woman was the major theme and title of Dragu's retrospective solo exhibition at Richmond Art Gallery in 2014.
1990Pheromones with Billy Little, Bill Smith, Jim S. Monro and Joey Meyer in Artropolis.Secret Kitchen at Artspace.
1991Secret Kitchen at grunt gallery.Masque of the Red Death by Edgar Allen Poe, produced by Public Dreams Society and grunt gallery at Burrard Bridge Public Building.
  • Performance at Vancouver Performance Poets, grunt gallery.
1992Secret Kitchen at New Performance Festival.Square Foot Real/réalité au mètre carré with Jim S. Munro at NAC, Music Gallery, Artspace and Oboro.Cabaret Vulgare with Jim S. Munro, Hank Bull, and Colin Griffiths at Western Front.Sliced Bread 1 with Jim S. Munro, Roy Kiyooka, Bill Smith, and Dana Inglis at Mayworks Arts Festival. Sliced Bread 2 at EDAM Dance Studio.
1993Sliced Bread, at EDAM, LIVE International Performance Biennale.
  • Performed in Ms. Frankenstein by Tanya Mars at Western Front.
1994The Bardo Gap at Western Front, at LIVE International Performance Biennale.Nine Suits with Jim S. Munro, Bill Smith, Dana Inglis, and David Lee at Mayworks Arts Festival.
1995Nine Suits with Paul Gibbons and Jim S. Munro at Silverton Art Gallery.Secret Kitchen at Silverton Art Gallery, and the Women in View Festival, at LIVE International Performance Biennale.
1997A Deconstructed Dollhouse/une maison de poupées en déconstruction at The @ Gallery.
1998Secret Kitchen, at Richmond Art Gallery.Eine Kleine Nacht Radio/a little night radio at Moltkerei Werkstadt, Dark.-Hallein, c.u.b.a., Carl Stipendiumin and Artis. Otzenrath Stipendium at Otzenrath Gallery of Culture and History.
1999Eine Kleine Nacht Radio/a little night radio at NAC, Artword Theatre, and grunt gallery at LIVE International Performance Biennale.Improvisation for X’s and O’s ''with guitarist Brian Krocher at NAC.Improvisation for X’s and O’s with violinist Jim S. Munro at grunt gallery.Improvisation for X’s and O’s with 25 Pounds of Potatoes, with Bobbie Kozinuk in Live at the End of the Century at Vogue Theatre.X’s and O’s for the Rites/Rights of May at Richmond Public Library and Cultural Centre.
2000Conscious Corpus: Corp Domestique and Corpus Delicious at Western Front.Cleaning and Loving at Queen's Park. Living Art at Cosmo Mall.
2001Fairy Godmother of Stretch, at City of Richmond.The Wall is in My Head/Ich habe die Mauer in meinem Kopf/le mur est dans ma téte/lu muro e dentra mia testa with Tagny Duff for ReciproCity/RéciproCité et Elle Corazon an Studio 303.The Wall is in My Head/Ich habe die Mauer in meinem Kopf/le mur est dans ma téte/lu muro e dentra mia testa, for 7a*11d International Performance Art Festival.Public/Private, for Changing Role of the Artist II, Richmond Art Gallery.Pie Performance at Hamilton Art Gallery.
2002Casting, 7a*11d International Performance Art Festival.
2003Walking Woman, at transit sites, Richmond Art Gallery, and Vancouver Art Gallery.SPLITZ at Western Front.Pie Performance at Richmond Art Gallery and grunt gallery.
2004Performology Remix - a gestural algorithm, with Tagny Duff at LIVE! Biennale, Western Front with video link to Studio XXX.Rising at Visualeyez Performance Festival, Latitude 53, Powerhouse Galerie la Centrale, and Western Front.
2005Marginalia, with Pam Hall at grunt gallery at LIVE International Performance Biennale.Biking Woman: Refuge from Metaphor at Richmond Art Gallery at LIVE International Performance Biennale.Rising at Eastern Edge Gallery.
2006Lady Justice, at NAC.Lady Justice: Pillowbook, at SEXE!Action/VIVA!Art Action.Rising at Douglas College.
2007Performology Remix - a gestural algorithm, for LIVE! At Western Front.Lady Justice: Pillowbook, in Box Salon at The Rivoli and grunt gallery.
2008Marginalia: Getting out of the House, with Pam Hall, Richmond Art Gallery.Marginalia: Getting out of the House, Richmond Art Gallery.Marginalia, with Pam Hall at Faucet Studio Residency, Struts Gallery.Lady Justice Goes Buz Buz, in Hive 2 Festival at grunt galleryLady Justice, at Magnetic North, Visualeyez Festival at Gallery Latitude 53, and on-line at Revista Sin Texto: Dia Internacional del Reloj.
2009Lady Justice, in 2010 Peace Project, Richmond Women's Centre, and in Process of Performing Circles at the Cultural Olympiad.Verb Woman, at Western Front Dance Studio, Gallery Lambton, CRAM Gallery, Hamilton Artist's Inc., Not Sent Letters Project.
2010Marginalia, with Pam Hall at Studio XX Festival HTMlles 2010.
2011Verb Woman, at Stammtisch, Month of Performance and Institute for Modern and Contemporary Culture, University of Westminster. Verb Woman and the Adjectives'', at Catalyst Art Gallery.

Later Performance Art and Exhibitions

Margaret Dragu moved from Finn Slough to Vancouver in 2021. The Richmond Art Gallery produced a retrospective exhibition of her work in 2014. Dragu's later works further emphasized collaboration and participatory events, often including aspects of care and support in ways that blend her on-going work as a therapeutic personal trainer with reflections on aging and health. This is especially highlighted in the series of works called New Normal: an embodied novel which reflected Dragu's experience of recovery from joint replacement surgeries and the pandemic lock down. In 2023, Margaret Dragu along with an international team of artist-researchers, Justine A. Chambers,, and produced an archive, performance, and on-line project resulting from 5 years of investigation and experimentation with an archive related to Dragu's 1975 performance of the same name.
2012-2014
2015The Library Project: Un-Conferences and Un-Symposia, at Akademia Sztuk Pieknych, Blauverschiebung Festival 8 with Jorn Burmester, and Kamloops Art Gallery.The Artist is Working, at Month of Performance Art - Berlin/MPA-B, Grüntaler9.Transmitting Trio A '' With Sara Wookey, with Yvonne Rainer, Sara Wookey, at Fado Performance Inc., Dancemakers, and Art Gallery of Ontario, at TPW Gallery.
2016Library Project and Commodification of Touch, in All membranes are porous at Kamloops Art Gallery.The Library Project: Un-Conferences and Un-Symposia, at Contemporary Art Gallery.The Library Project: Un-Conferences and Un-Symposia, with Jorn Burmester at Metro Theatre and City Studio .Capitalist Duets, with Francesco Gigliardi and Public Recordings at Theatre Centre.
2017The Library Project: Un-Conferences and Un-Symposia, with Fiona Griffith at 7a*11d Performance Art Festival.Tweed Curtain: making the invisible visible,, Art Gallery of Greater Victoria.
2018Lady Justice, at FUSE, Vancouver Art Gallery.
2019The Library Project: Un-Conferences and Un-Symposia, at HZT University.New Normal, an embodied novel: Chapter 4’s & Secret Services, at 7a*11d Performance Art Festival.New Normal, an embodied novel: Chapter 4, with choreography by Justine A. Chambers, at TTC Oakvale Greenspace, KINESthesis Festival 7a11*d.
2020IG Takeover and Performance Readings, grunt gallery.New Normal, an embodied novel: the bed is a portal, Chapter Four in The Pandemic is a Portal, SFU Audain Gallery.
2021New Way of Walking: a/mending of the little books, VIVO Media Arts Centre.NEW NORMAL: an embodied novel chapter 4, with Justine A. Chambers, at Digital Carnival Z.Try Leather, with Justine A. Chambers, William Locke Wheeler, Britta Wirthmüller, and Tanzfabrik Theatre.
2022New Normal, an embodied novel: Chapter 4’s, at grunthaler 9, Kulturzentrum Faust.Secret Services at Friisland Centre, Forsøgsstationen Studios, TOEM, grunthaler 9 Gallery, and Kulturzentrum Faust,.
2023Skin and Bones: A Chapter 4, with James Long, Jami Reimer, and an ensemble of theatre and performance students at Fei & Milton Wong Experimental Theatre, SFU.New Normal, an embodied novel: Chapter 4’s & Secret Services, with Brady Marks and Justine A. Chambers at School for Contemporary Arts, Toronto Metropolitan University, INTERplay Livestreaming Performance Festival, and Friisland Centre, Forsøgsstationen Studios, TOEM.More Cleaning It and Loving ...Again, with Jordan King, for Fado's Real to Reel series.
2024The Library Project: Un-Conferences and Un-Symposia, as International Women's Day Address at Contemporary Art Conversations,  Simone de Beauvoir Institute, Concordia University. Composing and Decomposing Inside of Sick Woman Theory, with Lois Klassen for Mitochondrial Ontologies: Deep Time and the Digital, Critical Media Art Studios, SFU.
2025Future Dances - Performing 2075 in 2025'', at Dancemakers & FADO.

Film

Surfacing, also starring Kathleen Beller, R. H. Thomson, Joseph Bottoms, Michael Ironside, directed by Claude Jutra, 1981.Memories of Paradise Breakthrough Films/TV Ontario production, half-hour, 1985.Conserving Kingdom Breakthrough Films/TV Ontario/Ontario Hydro production, 1987.I Vant to be Alone also starring Jackie Burroughs, Robert des Rosiers, & Claudia Moore Breakthrough Films/TV Ontario/Telefilm/OFDC production, half-hour, 1988.

Video

  • "Breath" Video Out Distribution/Western Front Video, 16:00, 1985
  • "Dance Reading" Video Out Distribution, 23:00, 1985
  • "Yo Soy Eine Kleine Shopkeeper" Video In/Video Out Distribution, 10:00, 1993
  • "Sleeping Tape" Banff School of Fine Arts, 13:00, 1985
  • "Bardo Gap" Video Out/Western Front Video, 18:00, 1994
  • "Deconstructed Dollhouse" Video Out Distribution, 20:00, 1996
  • "Living Art" Video Out Distribution, 7:00, 2001
  • "Lady of Shallot - A Surveillance Player" Video Out Distribution, 3:30, 2002
  • "More Cleaning and loving It" Video Out Distribution, 13:00, 2002
  • "Lady Justice and the Epic Burden" Video Out Distribution, 5:28, 2013
  • "Portals" Video Out Distribution, 13:43, 2013
  • Also see, "Videography", V Tape Archives, videos spanning 1981 to 2017

Broadcasting and Digital Media Art

Margaret Dragu has produced broadcasts and recordings in series as parallel or alternative to more mainstream media. In an interview with artist Jeremy Todd for VIVO Media Arts Centre, Dragu described the origins of her interest in this format as dating back to the time she was living and working in Toronto, "I have dipped and dabbled in artists making a kind of news magazine TV Talk Show many times — originally, several series with Miriam and Lawrence Adams of 15 Dance Lab in Toronto and also with them and John Faichney in the Artists’ Television Studio also in Toronto. I did hosting, writing, producing and even switching for several live TV series interviewing mostly independent dance choreographers broadcast through a live line from a local cable television station to the studios." Dragu's broadcast-style media art projects include :Momz Radio, Vancouver Coop Radio.
  • , at LIVE! Biennale Repair & Care Online, grunthaler 9, 7A*11D Performance Art Festival, MPA-Berlin, Latitude 53 Contemporary Visual Culture, 2011-2021.1
  • and Cinevolution, 2016.Frugal Friday Flyers, Mount Pleasant Community Art Screen 2021-2022, grunt Gallery Tick and Talk of Common Time, Western Front and Digital Stories Canada.Typical Day, a series of short, edited videos about how individual artists spend a typical day, that are posted on Margaret Dragu's Instagram feed, from 2024.New Normal: An Embodied Novel, from 2020.

Writing

  • Margaret Dragu and A. S. A. Harrison, Revelations: Essays on Striptease and Sexuality, London, ON: Nightwood Editions, 1988.
  • Margaret Dragu, Sarah Sheard, and Susan Swan, Mothers Talk Back: Momz Radio, Toronto: Coach House Press, 1991.
  • Margaret Dragu, Electric Storm Tale, Herotica II Feminist Erotic Theatre Festival, Ruby Slippers Production, Vancouver: Station Streets Arts Centre, 1995.
  • Margaret Dragu, "Confessions," in Brenda Lea Brown, Bringing It Home, Vancouver: Arsenal Pulp Press, 1996, 89–105.
  • Margaret Dragu, "The Passion List," in Carol Anderson, This Passion: for the love of dance, Toronto: Dance Collection Danse Press/es, 1998, 9–15.
  • Margaret Dragu, "Eye Yam, Eye Yam Not," in Brice Canyon, Live at the End of the Century, Vancouver: Visible Arts Society grunt gallery, 2000, 56–69.
  • Paul Couillard, la Dragu, Toronto: Fado Performance Inc., 2002.
  • Pam Hall and Margaret Dragu, Marginalia: Getting Out of the House, Richmond, BC: Richmond Art Gallery, 2008.
  • Margaret Dragu, "Divining Ms. Irene: The Performance Work of Irene Loughlin," in Johanna Householder and Tanya Mars, More Caught in the Act: an anthology of performance art by Canadian women, Toronto: YYZ Books, 2016, 303–336.

Independent Publishing

Margaret Dragu has issued independent publications under the publishing moniker, Same Day Edit including:A New Way of Walking: Dragu Worker International, Same Day Edit, 1987.Sans Peur, Same Day Edit, 1988Footloose, Same Day Edit, 1988.Teamster, Same Day Edit, 1991.Their End was Bacon, Same Day Edit, 1991.Yo Soy The Classics, Same Day Edit, 1992.This Order By, Same Day Edit, 1993.Breadfellows, Same Day Edit, 1993.A Deconstructed Dollhouse, Same Day Edit, 1996.The Kinder Face of Germany, Same Day Edit, 1999.Public/Private, Same Day Edit, 2001.
  • Margaret Dragu, Tweed Curtain Passport/Visa, Dragu Worker International and Art Gallery of Greater Victoria, 2017.
  • Margaret Dragu,,, Reading the Migration Library, Vancouver: Light Factory Publications, 2017.NEW NORMAL: an embodied novel,, 2024.