Bal, M. G. (1998). Seeing Signs: The use of Semiotics for the Understanding of Visual Art. In M. A. Holly, M. A. Cheetham, & K. Moxey (Eds.), The Subjects of Art History: Historical Objects in Contemporary Perspectives (pp. 74-93). Cambridge University Press.
Bal, M. G. (1998). Schweben zwischen Gegenstand und Ereignis: Begegnungen mit Lili Dujourie. Kunstverein Munchen.
Bal, M. G. (1998). Introduction to Reading "Rembrandt": beyond the word-image opposition. In W.H. Newell (Ed.), Interdisciplinarity: essays from the literature (pp. 363-387). College Entrance Examination Board.
Bal, M. G. (1998). Space, Inc.Kodikas. Supplement, 199-256.
Bal, M. G. (1998). Frame her if you can!Art Bulletin of Nationalmuseum Stockholm, 5, 137-152.
Bal, M. G. (1998). Reading Bathsheba: from master codes to misfits. In A. J. Adams (Ed.), Rembrandt's "Bathsheba reading King David's letter" (pp. 119-146). (Masterpieces of Western painting). Cambridge University Press.
Bal, M. G. (1998). Narrative and the visual and literary arts. In M. Kelly (Ed.), Encyclopedia of aesthetics. Vol. 3 (pp. 328-331). Oxford University Press.
Bal, M. G., & Bryson, N. (1998). Semiotics as a Theory of Art. In M. Kelly (Ed.), Encyclopedia of aesthetics. Vol. 4 (pp. 231-267). Oxford University Press.
Bal, M. G. (1998). Alter ego: le regard hétéropathique dans A la recherche du temps perdu. In J. Leblanc (Ed.), Iconicité et narrativité (pp. 107-125). (Texte; No. 21/22). Trinity College.
Bal, M. G. (1998). Charles Sanders Peirce. In M. Kelly (Ed.), Encyclopedia of aesthetics. Vol. 3 (pp. 448-451). Oxford University Press.