- History of postwar art and exhibition practice (Europe; US)
- Canonization and historicization
- Documenta studies
- "Premises of a History of Exhibiting" GAM.14., 2018.
- "Lebender Pop. Bild und Performance im Kapitalistischen Realismus," OwnReality, 31 (2017), URL: Lebender Pop. Bild und Performance im Kapitalistischen Realismus (accessed 02.04.2019).
- "Autorappresentazione come 'autospossessamento'? Epigonalità e singolarità ne L'Eroe da camera di Vettor Pisani a Documenta 5, 1972", in Vettor Pisani. Eroica/Antieroica: una monografia, ed. Laura Cherubin et al., Milan 2016, pp. 104–113.
- "Kapitalisierungen des Marginalen", kritische berichte, 3 (2015).
- "Modes of Making Art History. Looking back at documenta 5 and documenta 6", Stedelijk Studies Issue, 2 (2015), URL: Modes of Making Art History. Looking back at documenta 5 and documenta 6 (accessed 02.04.2019).
Bremer is a Minerva Fast Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome. Her current research explores the historiographical potential of the exhibition medium. After studying Art History in Milan, Tours and Berlin, she obtained her Ph.D. at Freie Universität Berlin in 2017, with a thesis on the documenta editions of the 1970s. From 2016 to 2017 she was a Fellow at the Center for Italian Modern Art in New York. From 2011 to 2015 she contributed as a Research associate to the ERC-project OwnReality at the German Forum for Art History in Paris. In 2013, she worked on the Harald Szeemann Papers at the Getty Research Institute in Los Angeles as a Library Grantee. Her research interests lie in postwar art and exhibition practice, in exhibition history and theory, with a focus on authorship, canonization, and historiography. Among her forthcoming publications is the book Individuelle Mythologien. Kunst jenseits der Kritik, which will be published in 2019 with Edition Metzel/Verlag Silke Schreiber, Munich.