His photographs have been published in many of the world's leading magazines and exhibited at the Metropolitan  Museum, the Museum of Modern Art, the International Center of Photography, New York, the Museum of Fine Arts Houston, and the Centre Pompidou, Paris. In 2005-06 at the Jan Cunen Museum in the Netherlands, his retrospective attracted a record-breaking 15,000 visitors.

In 1957, Jon Naar won the 1957 Thomas Alva Edison award for writing The Story of America. His Faith of Graffiti(1974) with introduction by Norman Mailer, is an iconic collector's item. Design for a Limited Planet (1976), the first popular book on solar energy, sold over 100,000 copies. In 1990, he co-authored with Alex J. Naar Design for a Limited Planet,winning the American Library Association Best Book of the Year for Young Adults and in 1993 This Land Is Your Land.

Published in 2005, Getting the Picture, celebrating his photography from 1955 to 2005, won Best Design Book of the Year in the Netherlands.

In 2007, Prestel published his The Birth of Graffiti,
now receiving widespread critical praise in Europe
and the United States. Buy the book at your local bookstore, strandbooks.com, here at amazon.comand/or come to a book signing! Autographed copies available from Jon Naar directly by email.

Hot off the presses:

The Faith of Graffiti is the classic, definitive look at the birth of graffiti as an art form, pairing the fascinating 1974 essay by Norman Mailer with the stunning, iconic photography of internationally acclaimed photographer Jon Naar. Back in print for the first time in three decades and expanded with 32 pages of additional photos,The Faith of Graffiti is a landmark in the history of street art: an essential, contemporary, and still-relevant meditation, in words and pictures, on the meaning of identity, property, and city life.

This new edition of The Faith of Graffiti, the first in more than three decades, brings this vibrant work—the seminal document on the origins of street art—to contemporary readers. Jon Naar has enhanced the original with thirty-two pages of additional photographs that are new to this edition, along with an afterword in which he reflects on the project and the meaning it has taken on in the intervening decades. It stands now, as it did then, as a rich survey of a group of outsider artists and the body of work they created—and a provocative defense of a generation that questioned the bounds of authority over aesthetics. 
It is available at your local bookstore or online at Amazon or BN.com