Meyer established a fine art editioning studio in London during the 1970s at 10 Martello Street, Hackney, and printed for many artists including Genesis P'Orridge and Cosey Fanni Tutti making posters for the infamous Prostitution show at the Institute of Contemporary Arts in London in 1976, as well as conceiving and creating photo-events with Genesis and Cosey as performers and models. He has since continued to use photography, film and music in his work. He has worked with a large number of Australian artists at Port Jackson Press publishing in Melbourne. During the eighties, while he was a committee member, and later when he was president of the Print Council of Australia, Meyer curated travelling exhibitions including the controversial Print as Object. He also created Gapscape, an exhibition of his prints and drawings which toured twenty-four regional Australian galleries. In 1995 he participated in The Wandering Jew. Myth and Metaphor, curated and toured for the Jewish Museum of Australia, an organisation with which he has collaborated in numerous other curated and solo projects. Recent work includes the 105 metre charcoal on paper installation, A Special Place - HaMakom, and experiments with Lamda photographic digital prints.
1989; New Paintings - A Reason for Being, Gretz Gallery, Melbourne
1999; Chaim (Bill) Meyer, The Jerusalem Drawings
1999; Eva Eden, 'Bill Meyer, Survey Exhibitions'. Imprint The Print Council of Australia Journal, vol. 34, pp. 6–7.
1999; Untitled Booth and Survey, Convent Gallery, Daylesford.
2006; Chaim (Bill) Meyer, A project of Kollel Beis Ha Talmud-Yehuda. A Special Place – HaMakom. (Jewish Art and Symbolism, a decade of Meyer’s Drawings & installations), edited by Yisroel Greenwald, Fishman Institute, Melbourne, ISBN 1-875670-38-6,