Bal, M. G. (1998). Seeing signs: the use of semiotics for the understanding of visual art. In M. A. Cheetham, M. A. Holly, & K. Moxey (Eds.), The subjects of art history: historical objects in contemporary perspectives (pp. 74-93). Cambridge University Press.
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.
Bal, M. G. (1998). Back to the future: art and its history. Semiotica, 119(3/4), 287-308.
Bal, M. G. (1998). Semiotics and art history: a discussion of context and senders. In D. Preziosi (Ed.), The art of art history: a critical anthology (pp. 242-256). (Oxford history of art). Oxford University Press.
Bal, M. G. (1998). Túl a szó-kép oppozíción (an adaptation of Ch. 1 of Reading "Rembrandt": Beyond the Word-Image Opposition). Enigma, 14/15, 132-164.
Bal, M. G. (1998). Frame her if you can!Art Bulletin of Nationalmuseum Stockholm, 5, 137-152.