[7] Reise was one of the small group in London who worked for the reception of American conceptual artists, others being Lynda Morris and Anne Seymour.
At the open hearing held by the AWC on 10 April 1969 at the School of Visual Arts, she read out a statement by Barnett Newman, not able to attend.
[24] In a 1971 article on exhibitions by Hans Haacke and Robert Morris, Reise criticised Thomas M. Messer, Director of the Solomon R. Guggenheim Museum.
[25][26] Her article contained an interview with the Guggenheim associate curator Edward Fry, dismissed as a result of the Haacke show cancellation, and then supported by the AWC.
[21][29] Reise attended the Mail Action performance on 5 April 1975 by Genesis P-Orridge, with Colin Naylor (1944–1992), Ian Breakwell and other "avant-gardistes".
[35] At the time of her death she was working with Colin Naylor on the stalled first issue of a new magazine, ArtstrA, to feature COUM Transmissions (Genesis P-Orridge and Cosey Fanni Tutti) and Philip Glass.
[36] John McEwen's obituary stated: Barbara's legacy of accurate and often innovatory articles on some of the international avant-gardists of the day, her two or three ventures into reportage, is the evidence of a witness we can trust.
[37] Reise made an intervention in the debates on minimalism and conceptual art in an article "Greenberg and the Group: a retrospective view", published in Studio International.
[39] "Greenberg and the Group" was understood to include also Jane Harrison Cone, Michael Fried, Rosalind Krauss and Sidney Tillim, who were not spared her strictures.
[38] At this period Townsend was actively seeking out women contributors: besides Reise, Lynda Morris and Lippard, there were Dore Ashton, Rosetta Brookes, Suzi Gablik, Catherine Lampert, Jasia Reichardt, and Jeanne Siegel.
[43] On the staff of the magazine Charles Harrison, a colleague and sparring partner, disagreed with Reise's emphasis on subjectivity in judgements.
She rejected the reasoning of Achille Bonito Oliva, that the Serb group at the Belgrade Student Center was "marginal" rather than "alternative", as ideologically constructed, and set up to diminish the value of non-Western art.
[50][51] Barbara Reise left six filing cabinets of research notes, for example detailed accounts of performance art by Gilbert and George, and correspondence.
Nicholas Serota had the Reise family lawyer, in London to deal with her estate, agree to a donation of this archive to the Tate Gallery.