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Guyton\Walker, Fruit Stickers for Artists Space, 2010, Set of 15 Inkset printed stickers, 6 in / 15,2 cm each, Signed and numbered certificate. [A 3x5 grid of false-color stickers. The top four rows depict fruits cut in half resembling a grapefruit or orange. The last row depicts a coconut cut in half. A handful of stickers have a think line of black and white checkerboard pattern added to the perimeter of the fruit.] -
Kembra Pfahler, Garden Party at the New York Marble Cemetery: In celebration of Jack Smith, 2018. Photograph: ©Paula Court [A group of people gathered outside in a semicircle around a performer. Some sit on benches, others on grass, and others stand. The performer is dressed in a long white robe and knee-length, high-heeled boots; their face is painted blue and they are speaking into a microphone.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [In the foreground, a clear and grey sculpture rests on top of a white pedestal. In the background, four additional sculptures in arranged from light to dark tones, hang in a row.] -
Catherine Ross, still from Fingering and Footing, 2005. [A split screen of two people, each visible between their nose and their chest. Both are extremely excited, with their hands raised up.] -
[A black and white line drawing of a person in an art gallery looking at a portrait on the wall. There is another piece on the wall of a person holding a rectangular box and blowing a bubble.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A book shelf displays various documents and photographs behind glass. Documents with text hang directly above.] -
Light and Shadow, City-As-School photography student exhibition, 2018 [A person looks over an exhibition of photography arranged in a grid pattern on a wall] -
Christopher Wool, untitled (wool poster between bridges), 2020, 23.5 x 16.5 inches [A black and white image featuring a large, dark shape that resembles a plus sign. The plus sign sits at the center of a white backdrop covered by various irregular markings, including a large ink blot and print markings. While the surface of the plus sign is opaque, the background markings are slightly transparent. Small black text placed at the image's lower left corner reads, "2020Solidarity - Christopher Wool," while text placed at the image's lower right corner reads, "A project by Between Bridges."] -
Aloïs Godinat: New Works. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A black cube-shaped speaker sits, tilted upwards, in the middle of a room with wooden floors and white walls. On a wall to the left of the image is a printed image of a fragment of a face with an open mouth, the skin painted in red, blue, and yellow. On a wall to the right are two printed works, one an illustration of a figure in black and white but with a section of the image above the figure's head blocked out with white space, another is a red and blue polka dot pattern in a hand-cut shape. On the wall in the middle of the room is a small white shelf with a small flat object on top of it.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Silver, italic text displayed across the top edges of two adjacent white, gallery walls reads, "Death Sentence 2009 Love It To Death 1971 Jesse… 989 Moon over Miami 1991-95 Archive." Two images hang on the wall below the text. To the right of a white column positioned in front of the wall hangs a separate drawing. Orchid plants sit to the left of the column on the ground.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Three vitrines are displayed in a light-filled gallery space with light wooden floors. The vitrines sit in between three white columns to the image's left side. On the right, a series of large, colorful prints featuring graphic, abstracted letters overlaid over various abstract shapes, patterns, and printed figures are displayed on a gallery wall.] -
David Maljkovic, Scene for a New Heritage - New Possibilities, 2004. Mixed media on paper. Courtesy Annet Gelink Gallery, Amsterdam. [A drawing of an amorphous shape with a trail of black extending out the bottom and billowing upward. There are several lines of handwritten cursive text on the lefthand side of the drawing.] -
The House that Herman Built. Installation view, Artists Space, 2007. [A freestanding room, constructed from wood and resembling a prison cell, sits in the center of a gallery space, its door ajar. A model of a building sits on a pedestal to the left of the wooden prison cell. On the wall, a vinyl quote reads: WHAT KIND OF HOUSE DOES / A MAN WHO HAS LIVED IN A / SIX-FOOT BY NINE-FOOT CELL / FOR OVER 35 YEARS DREAM OF?] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A rectangle of gold foil laying flat on a wooden floor. Light descending from a nearby window illuminates the foil.] -
Establishing Shot. Installation view, Artists Space, 2004. [A large gallery space with a wooden floor and white walls. On one wall that forms an L shape into the space, slightly distorted color portraits are arranged floor to ceiling in a tight grid. On the other white wall is a large black and white photograph, with several other small photographs with accompanying text.] -
Heji Shin, Camp Habibi II, 2013, C-print, 20 x 16 inches, Signed edition of 100, 5APs, Courtesy of the artist. [Detail view of a camel's head in profile against a palm tree and blue sky.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [A kite hangs from the ceiling of an exhibition space in front of a white gallery wall. Three yellow-toned paintings are displayed at eye level on the wall behind the kite. Three identical paintings depicting an image of a white, tent-like tarp sit at an angle on the gallery floor to the left of the yellow paintings.] -
H_edge. Installation view, Artists Space, 2006. Photo: Whitney Cox. [Close-up of a series of metal cutouts shaped like curved "x"'s hanging from lengths of metal chainlinks. The many rows of cutouts overlap, forming a hedge-like sculptural body.] -
"Identity". Installation View, Artists Space, 2011. Photo: Daniel Pérez. [Three adjacent panels, reading "pompidou", "moma", and "tate" in black text against a luminous white background hang in a dimly-lit exhibition space.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A wide shot of a gallery space with wood floors and large windows. In the foreground is a screen mounted on two metal poles on a wheeled base. In the midground, there are two screens mounted on floor to ceiling metal poles arranged at a 90-degree angle to each other. In the background, there is another screen just visible from behind a white column.] -
James Sheehan, Halcyon Days, 2000. [An oil painting of a colorful city crowded with buildings.] -
New Economy. Installation view, Artists Space, 2007. [An installation view with a deconstructed skateboard on a pedestal in the foreground with two suitcases in the background and a two dimensional depiction of a stereo system along with other small wall works.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [An installation shot of a gallery room. There are two black plinths with glass-encased tops. On the left, the glass cover has two speakers embedded in it, facing inward toward the dried grasses which it covers. On the right, the glass covers brown grasses standing in white sand. A print of green leaves encircling a yellow background is installed on the gallery wall behind the two plinths.] -
Event Poster, Topical Cream Presents, 2016. [Event poster with performers and time information on the right. On the left, an image of a person putting on full protective medical gear and a white facemask.] -
Still from Nightfall, 2011. James Benning, 97min, digital HD. [Trees in a dense forest captured at nightfall.] -
Duane Linklater, pêyakotênaw, 2018. Mixed media. Installation view, Agora, High Line Art, New York, 2018. [On an elevated walkway that overlooks a cityscape, three wooden rods form a teepee in a green space. A white rope hangs from where the structure is tied together, the other end suspends a large rock very close to the ground.] -
Lolina performing Inquiry & Investigation, 2018. [A person stands, holds a microphone to their mouth and adjusts a knob on a CDJ.] -
Demonstrations outside the opening of Witnesses: Against Our Vanishing, Artists Space, 1989 [Protesters standing in a line hold a variety of signs with statements such as "Helms impedes the 1st Amendment," "Obscene Art?", "I have no taste," and "No taxation without artistic representation"] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [The corner of a room with two white walls. On one wall, there is a white collared shirt on a hanger, a black and white abstract image, and a small white sculpture.] -
Arabic Cover of the catalogue for The International Art Exhibition for Palestine. Beirut, 1978. published by the PLO Unified Information Office [A white, square, cover with arabic text and a rainbow color grid.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands. The figure on the right speaks and gazes forward. One of their hands rests on the music stand, the other reaches out in front of themselves, their fingers extended.] -
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Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large, empty room with three white walls. The right wall displays glossy papers folded into geometric shapes. The left wall has symmetric, geometric patterns drawn on it.] -
Be Nice Share Everything Have Fun, ed. Stefan Kalmár and Daniel Pies. Kunstverein München, 2010. [A book cover design featuring large, sans-serif orange text on a white background. The text varies in size and reads "BE NICE SHARE EVERYTHING HAVE FUN."] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two white walls are suspended on six vertical poles and are arranged so that they form a right corner. A large grid-like composition composed of many small squares is mounted on the left wall. On the right wall there are many photographs and printed video stills either mounted in grid patterns or one above the other.] -
Tom of Finland, Untitled, 1987. Graphite on paper. Courtesy Tom of Finland Foundation. [A naked man lays across the frame, resting on his elbows reading a book. Another man sits in between his open legs, reading a book that is resting on his glutes.] -
Jack Smith, still from Yellow Sequence, 1963. 16mm, (sound, color), 20 minutes. [A faded image of a silhouette holding an umbrella outdoors] -
Gerhard Richter Hotel Diana , 1967 80 copies + 40 artists proofs, signed and numbered screen print, 59,4 x 80 cm Courtesy of Edition Block, Berlin [A sepia photograph of an angled, above view of two men lying in seperate adjacent beds. On the walls above them, hang two small picture frames.] -
Spread from Harun Farocki Diagrams. Images from Ten Films, stills from Images of the World and the Inscription of War, 1988 [15 images arranged in a grid, depicting close-ups of human faces and arial views of war.] -
Alvin Baltrop, The Piers (exterior view of day's end), 1975-8. Courtesy The Alvin Baltrop Trust and Third Streaming, New York. [People sitting on small wooden planks at the end of a pier. A large hole is visible in the side of the pier. ] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large, shiny black structure consisting of three columns supporting a large, irregularly shaped flat plane installed in a gallery space. A black-and-white image wraps around the rightmost, cylindrical column of the structure. The image depicts a person dressing a mannequin in an office.] -
Combined Faulty Acts. Installation view, Artists Space, 2008. Photo: Bill Ocrutt. [Five rows of bleachers built from wood, with dozens and dozens of assorted sculptures of gray, painted pigs arranged in decreasing size from the top bleacher to the bottom. Two flying pigs are hung on the wall directly behind the bleachers. Several feet away, across from the pigs, is a side view of a frame made of columns. On the wall between the pigs and the columns is a poster of hanging scales.] -
Flipside. Installation view, Artists Space, 2004. [A framed photograph with a red border of a naked man on a blue shag carpet. The man is seated, leaning slightly back on his hands with his legs extended. He is bald with a full grey beard.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two individuals seated in two wooden chairs while a third in between them holds a single headphone. They are seated in front of a TV monitor displaying Edward Snowden's image.] -
Sarah Michelson. Devotion, 2011. Photo: Paula Court. [A girl lays on a dark background. She wears a white leotard. Her arms are stretched straight out on either side, with her palms facing upwards. She gazes upwards, illuminated by a soft light.] -
Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space. [A figure in a white suit crouches on the floor of a gallery space, speaking into a microphone held in one hand while reading from a series of papers stewn about her on the ground. The ground is unevenly covered in a grainy, brown dirt-like material. A flashlight rests on the ground at her feet, pointing towards and illuminating a sculpture composed of a large glass pane wedged into the center of a square concrete block. String, golden tassles, and other sparkling ornaments hang on the glass pane.] -
Flipside. Installation view, Artists Space, 2004. [A small black table leans at an angle, one corner resting on a white wall and one leg resting on an inflated balloon with a face printed on it. Coming out of the ballon is a flowered dress, attached to a fan by an inflation tube. Beyond that, visible behind a half wall, are two red shades with holes covering two windows.] -
[Stamped yellow text spelling out "W.A.G.E" at a slight angle. Underneath that, typed pink text reads, "Working Artists and the Greater Economy."] -
The Library Vaccine. Installation view, Artists Space, 2014. [On a white table, to the left, sits a flutter book with a dot illustration increasing in density through the pages. To the right, a TV monitor displays a black and white image of a finger pressing the space bar on a type writer.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A grid of four drawings on paper displayed on a light, mauve-colored wall. The drawings contain organic shapes and linework depicting abstract forms.] -
Susan Howe, From DEBTHS, 2016, Silkscreen on archival box, 24 ¼ 20 ½ x 1 ½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered Certificate [A scan of printed text. The legible portion reads "Upon the frontier of unimaged night"] -
Goodbye to Tenth Street: A Novel by Irving Sandler, book launch, 2018. [Three people sit around a small circular white table, speaking on microphones. A small crowd gathers closely around them, listening to them speak. Many large bookshelves are stacked behind them.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A single screen showing a splitscreen image is mounted on two poles that stretch floor to ceiling. The screen stands alone in a large, open space with windows in the background.] -
[Two rectangular orange paintings, in portrait orientation, hang on a white wall. Both canvases depict slugs filling up each rectangle. In the painting to the left, the slug almost forms into a square. In the painting to the right, the slug is stretched in a long line, twisting across the surface area of the canvas. The eyes of both slugs protrude from their animated bodies like antennae, raised and peeking over the boundary of each painting's edge.] -
[An abstract image featuring monotone areas of green, red, orange, and blue color. A large green rectangle stretches across the image's center. Three red shapes resembling falling figures are arranged within the green shape. To the left of the green shape, the composition is covered with a blue checkerboard pattern. Across the top portion of the image, amorphous, pipe-like red and orange forms twist and connect on a pale green backdrop.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three floor-standing, backlit images of a woman wearing a white Adidas soccer jersey decorated with a "bc" logo. The images are identical and are arranged one behind the other. Paragraphs of text are superimposed across two of the photos.] -
Contemporary Architecture - an installation by realities:united. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [In a gallery space, a large white overhead LED-style sign acts as both a drop ceiling and overhead lighting. It displays two numbers, a 2 and a 5. Below are a black sofa and, facing it, a small television on a wooden pedestal.] -
Hito Steyerl, In Free Fall, 2010. HD video with sound, 30 mins. Courtesy of the artist and Andrew Kreps, New York. [A view down an isle, between theater seating and blue track lighting, to a projected video screen. On the back wall, a still image of a man, in a pilots uniform, gestures toward the viewers with two fingers. Hito Stereyl stands behind him with her arm outstretched.] -
Frank Ripploh, still from Taxi zum Klo, 1981. 95min. [A man sits partially undressed on a toilet, holding a red notebook while peering through a hole in the tile wall.] -
Morir ('til Death). Installation view, Artists Space, 2003. [A small, empty room with images projected on three walls. All are gray/blue shots of spinning tops on a white grid on concrete. The center image shows this from above, while the left and right images show the tops from the side.] -
Conrad Bakker, Untitled Project: Projection [ARTISTS SPACE], 2007. Painted wood and mixed media. Courtesy the artist. Photo: Bill Orcutt [On a wooden floor in a white room are a pile of objects which emulate video projectors plugged into a power strip nearby. There is a remote control on the pile. On the otherwise empty facing white wall, "EPSON" is written in green letters.] -
[Screenshot of an unnamed Financial Times video, depicting an upward-trajectory chart titled "seven lean years for value."] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink extends a heart-shaped canvas in front of her, while her eyes look away. She is surrounded by rapt audience members arranged in a semi-circle around her. There are light spots reflected at even intervals patterning the room.] -
Nick Mauss. So long, 2013. Ceramic plaque. 11 x 15 in / 38 x 27,9 x 38,1 cm. Courtesy the artist and 303 Gallery, New York [An abstract painting] -
[A warm-colored living space littered with discarded wrapping paper and boxes. A champagne bottle sits on a side table next to an orange couch.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large potted fern sits to the right of an elevator door in a light-filled gallery space. To the right of the fern is a low, round table with a pen and open booklet on top of it. A large black and white image installed on the gallery wall behind the fern shows several art books lined up next to one another on a blank surface. Text above the books reads, "histoire de l'art cherche personnages."] -
[An instagram posted 18 minutes ago by an account "tusetamer." The photo depicts an outdoor concrete wall with an air conditioner visible in the background and red handwritten text spelling "Tayyip / WINTER IS / COMING"] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A white speaker displayed on a three-legged stand in an exhibition space. To the right of the stand, a television monitor rests on the ground. An image of gravel and dirt is pictured on its screen.] -
[A red background with white text which reads: "WE ARE NOT TOOLS FOR WHITE-WASHING OCCUPATION", followed by the Decolonize This Place Logo.] -
[Red background with white text and border which reads: "DUMP THE FINE ART OF GENTRIFICATION," with the Decolonize This Place logo positioned underneath.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Six figures standing around a line of music stands in an interior space with concrete flooring and industrial columns. Some of the figures lean against the columns, their hands at their sides or casually crossed at their chests. Five of them stare at an isolated figure situated in front of the line of music stands, holding a black binder. She turns to gaze back at the others, illuminated by overhead lights as she speaks.] -
MTL+. Water Is Life, 2016. Image courtesy the artists [A flyer for the event depicting an anti-DAPL protest] -
Film still from The Whirled (aka The Four Shorts of Jack Smith), dir. Ken Jacobs, 1956-63 [Photo of a person in a white robe and headdress carrying a pole in their right hand, standing outdoors against a grey sky] -
Laura Cottingham & The Anita Pallenberg Story. Installation view, Artists Space, 2017. Photo: Daniel Pérez. [Eight large film stills are mounted on a wall, in two rows of four, leading into a dark hallway where a film projection is playing.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A display case holds materials in the middle of a neutral colored room. A black and white video is projected on a wall on the left side of the room. The projection faces a wall displaying several framed photographs and drawings.] -
DJ Princess Julia. [A black and white closeup of a person's face. They have blunt bangs and dark, dramatic eye makeup and lipstick.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A side view of a sculpture of a man leaning against a white column. He holds a book in his right hand. He is wearing a purple shirt, blue patterned shorts, and white sneakers.] -
Peter Osborne, Anywhere or Not At All (Verso Books, 2013). [A book cover with an old car vertically arranged next to Arabic writing.] -
Storm de Hirsch, still from Newsreel: Jonas in The Brig, 1964. Courtesy Anthology Film Archives. [A black-and-white photo depicting a behind the scenes view of a movie in production. A man holds the camera on the right - a cage is on the left, and two men speak in the center of the image, one facing the camera and one facing away.] -
Shayla Aviles, Untitled, 2018 [A mostly black-and-white image depicting the façades of two buildings - one is light grey with a turquoise fire escape, and the other is dark grey with a black fire escape. On the lighter building, the street-level storefront says "Mazeish"] -
Exterior of exhibition invitation. International Art Exhibition for Palestine. Beirut, 1978. Courtesy Mona Saudi. [A flyer with an abstract, colorful artwork on the left and exhibition information on the right.] -
[Four book covers, arranged into a grid. Titles, from left to right, beginning with the top, read, "Pride and Prejudice," "Negotiating for Dummies," "Revenge," and "Token Gestures."] -
Amalle Dublon & Constantina Zavitsanos, Mach Zehnder Interferometer, 2018. [Detail view of an interferometer emitting a green light onto a white wall.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Two TV monitors installed in a gallery space with wooden flooring. One monitor is installed in the image's foreground on a white plinth and displays an image of a figure walking along a sidewalk. The other monitor can be seen through a hallway at the image's center and is installed on the gallery wall. A third video plays on a gallery wall on the image's right side, showing an image of two hands.] -
Emily Richardson, Redshift, 2001. DVD Projection, 4 min. [An outdoor landscape at night. Raindrops fall from the sky, and several dots of bright light are visible on the horizon over a great expanse of water, reflecting yellow light onto the water's surface.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure looks into the viewfinder of a camera. In the background, an abstract image is projected onto a wall.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A black monitor sits on a wooden table. The image onscreen shows a hand holding a black and white paper with text. A stack of photographs lay underneath the paper.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [The floor of a gallery space divided into two sections, with wooden flooring on the left and carpeted flooring on the right. On the left, a fold-out table displays colorful documents. On the right, four minature copper squares sit on the ground next to two cream-colored foldable chairs. Multiple wires extend across the floor and under the carpet.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A room with white walls, with two windows on the back wall with shades pulled halfway down. The wall to the left of the windows has three framed photographs, and a white plinth with a glass top. In front of the windows, a television on a low table faces sideways toward a low black couch. On the far right side, a protruding corner of a wall has white text projected on it reading "cupholder mount vaio."] -
Collaborative team of students working on their design, 2018 [Several students stand around a large science room desk. One holds a model of a Delta airplane, smiling for the camera. The rest are busy at work.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Close up of two figures standing before a set of music stands, their hands turning the pages of a script. They gaze at each other while the figure on the right speaks, their arm raised towards their chest in a small gesture. This figure wears glasses and an elaborate, gold and black collar piece.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [A man gazes up at a baby doll mid-flight, holding out his right hand towards it. A group of people gaze towards the doll, smiling.] -
Collaborative team designing butterfly, 2018 [Four people pose for a photo, leaning on a table with three drawings of butterflies splayed across the surface. A papier mache butterfly composed of saturated pink and gold paper and red, yellow, black and white cotton balls hangs above the people at the top right of the image.] -
Unstretched, bound, outside mission, 2020, acrylic on linen, bubble wrap, ratchet strap, chicken wire, dimensions variable. [A large, orange and brown stuffed slug sculpture is strapped around a Greco-Roman style columns on the facade of a cast iron building. The slug’s antennae point towards the blue sky. Further down the street are additional buildings, parked cars, and a Detour sign.] -
[Flyer featuring densely collaged images of food in metal trays, renaissance-era images of saints and angels, Cookie Monster and other puppets, electric keyboards and vintage video game consoles, images of people holding vegetables and plates of food, and tree-filled landscapes. Below the collage, white sans-serif text is superimposed over an image of stars in space. The text reads: “artists space & the segue reading series invite you to a virtual reading by / Steven Seinberg / and / Darcie Dennigan / saturday, may 2nd, 5pm nyc time, zoom id: 378 232 567 / it will be robust.] -
Union Gaucha Productions. Still from Phantom Limb, 1998. 16mm film (silent, black and white), 21 min 45 sec. Courtesy of Union Gaucha Productions. [A black and white still of a hallway with a patterned balcony, which descends into stairs. Three geometric paintings are hung along the walls.] -
Deborah Willis. From Embracing Eatonville: A Photographic Survey, 2010 [A woman looking at herself in a handheld mirror while getting a haircut at a barbershop] -
Rachel Harrison, April 2020, 2020, 23.5 x 16.5 inches [A digitally-collaged image featuring an abstract drawing of a female figure. The figure has been depicted in bright pink, purple, and red hues using sporadic linework. Areas of red color frame the left and bottom sides of the drawing. White text on the red surface is partially cut off by the image's frame. Black text at the top edge of the image reads, "April 2020 1w," while white text below the drawn figure reads, "on view now." Small black text running along the image's bottom edge reads, "2020Solidarity - Rachel Harrison / A project by Between Bridges."] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three metal cutouts of hands hold neon green cards displayed on a white wall. The hand on the rightmost side of the wall is holding up its middle finger.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [A crowd of people standing outside in Cortlandt Alley surrounding several performers. The performers are mixed in with the crowd, holding metal poles, some looking at a baby doll which is photographed in midair after being thrown upwards.] -
Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in the corner of a gallery space with white walls and wooden flooring. Two darker, square photographs with large white frames are installed on the corner's left wall, while a lighter photograph of a gate-like structure is installed in a slim black frame on the corner's right wall.] -
[Close-up image of the faces of a man and a woman, both of their figures cut off by the frame. The woman stands slightly in front of the man, who stands directly behind her shoulder. She wears lipstick, jewelry, and has short hair, while the man is older and wears a suit with a stiff collar. Neither figure looks at each other, gazing elsewhere.] -
[A slightly weathered sepia photograph of a sculpture of a white cup and saucer. Printed on the cup is the text "HOT COFFEE." The sculpture is set in a desert landscape with low brush plants and brown hills in the background.] -
Social Surfaces. Installation view, Pearl River Mart, 2017. Photo: Ron Amstutz. [A large painting illuminated by lights hangs on a wall behind two black columns. A small sculpture sits on the ground in front of it. Smaller artworks are visible on the connecting walls.] -
Laura Cottingham & Leslie Singer, still from The Anita Pallenburg Story, 2000. Digital Video, 76 min. [An upward angled view of two people performing with a gray curtain behind them. One person, with black hair and a yellow jacket, is playing an electric guitar, the other, with red hair and wearing a black sequin top and blue scarf with matching eyeshadow, is singing into a mic.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A red metal sculpture displayed on a pedestal in front of a monitor installed on a freestanding wall. The monitor's screen displays an image of three people gathered around the displayed sculpture as it is pieced together.] -
Danh Vo. Installation view from Autoerotic Asphyxiation, 2010. Photo: Daniel Pérez. [A vintage, framed black and white photograph of five priests dressed in all black stiffly pose before the camera for a portrait. The two men sitting closest to the viewer hold hands.] -
Sean Snyder, still from Two Representations of a Given Place (Pyongyang), 2001-4. Courtesy the artist; Galerie Chantal Crousel, Paris; Lisson Gallery, London; and Galerie Neu, Berlin. [A slightly blurry image of a city in the evening. An outline of a tall, triangular building is visible against a sunset sky.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large exhibition space with light wood flooring, wide windows, and white columns fills with gentle daylight. The far windows and walls the space are covered in white, semi-translucent curtains, which gently glow.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Detail view of four sculptures hung on the wall. The sculptures are ordered in neutral tones ranging from light to dark. Their shapes are approximately rectangular, each divided into quadrant segments.] -
Christa Blatchford, still from See Around, 2008. [Four images arranged horizontally. From left to right: solid gray-blue, a gray-blue toned image of a shoreline, a gray toned image of a shoreline, and a gray toned image of a shoreline with a subtle pink sunrise in the sky.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [Half-eaten fruit, chocolate, and candles sit on a low, stone tabletop under dim lighting.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [An ashtray with the text, "Martini," three Schweppes bottles, six Coca-Cola bottle, and nine drinking classes arranged face down on a silver platter are displayed on a white counter top.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two people wearing headphones sit in three wooden chairs arranged in front of a TV monitor, where a person wearing a black and yellow polo speaks to the camera.] -
Limpe Fuchs, 2012. Festival Experimentelle Musik, Munich. [Black-and-white photo of a person pulling two ends of a rolled-up rope] -
Danica Barboza, From a Chapter in Acclimatization, 2019, hand-modeled clay, acrylic paint, rope, yarn, wood, plastic clothing hangers, condensed foam, PVC piping, newspaper, plastic bottle, orange plastic crates, black plastic shipping crate, signature tape-binding with protective gloss, shower curtains, child’s wooden chair, plastic child’s toy, white shelving unit, metal table leg, wooden shipping crate, cherry wood stained card-table top, Insignia TV monitor, wooden pole, metal pole, painted silicone, natural hair, painted glass. Photo: Daniel Pérez [Three sculptures grouped together in the corner of a gallery, with a street in Manhattan visible through large windows at the rear of the room. The largest sculpture stands behind the other two; clustered pieces of wood, string, cardboard, paper, metal, and plastic are propped up, arranged on top of one another, all standing on a large cardboard base. A humanoid white bust lies on top of the structure, its face cut in half. The two smaller sculptures also depict humanoid faces - one in white, the other with skin and hair - and both appear to grow out of masses of misshapen cardboard and wood standing on the floor.] -
Reinventado, exhibition at Word Up Community Bookshop, 2018 [An exhibition view of various artworks. Several stylized portraits hang on the right; in the middle, a large didactic titled "REINVENTADO." On the left, several small photos of students in a classroom hang underneath a red-white-and blue airplane suspended from the ceiling] -
Carlos Motta. We Who Feel Differently, 2012. New Museum, New York. Courtesy Mor Charpentier Galerie, Paris [Installation photograph. The floor is covered with multicolored carpet strips, some of which are raised above the floor to create seating or shelving for CRT television monitors. On the wall, several black-and-white artworks are hung, depicting human figures, and text is printed on the wall "WE WHO FEEL DIFFERENTLY." Several visitors stand and sit around the room.] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of a wooden table containing various papers, books, and documents displaying text and images. Windows to the street surround the background.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [The word "TIRANNY" is handwritten in block letters on a wall. In front of it, there is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a silver ball, a brown box, and more. The room is lit with a green hue.] -
Jean-Michel Wicker. wee willy wanted (la rivoluzione siamo me), 2013 [A black-and-white image of a man, a white bar with text, that reads "WANTED," covers his face. Below, a white bar with text that reads, "wee willy."] -
Salad Days. Installation view, Artists Space, 2004. [A red stripe is painted on a white wall. Hung in the red stripe are twenty sheets of white paper with a single figure drawn on each one.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Three yellow-toned paintings hang at eye level, adjacent to four black viewing boxes installed on a gallery wall to the right of the canvases. A kite hangs from the ceiling in the middle of the exhibition space, its tail touching the floor.] -
Still from Fifty Minutes, 2011. Moyra Davey, 50min. [A man reclines while reading on a daybed draped with green linens. Behind him are four bookcases filled with vinyl records.] -
In the Kaleidoscope Room, by Elizabeth Stone. [A book cover of In The Kaleidoscope Room by Elizabeth Stone, with the title and author written at the top in yellow text. Underneath, there is an image of a woman's face with orange lazers shooting out of her forehead in the shape of a soda bottle, with a straw coming out of the top. Behind her are light green and dark green checkered mountains. Under that is an old silver car with yellow headlights on a pink and blue checkered floor.] -
Klara Lidén, Untitled (mailbox), 2012, Archival inkjet print, 24 x 18 inches, Signed and numbered certificate. [A black and white photo captures a New York City postal service box.] -
New Economy. Installation view, Artists Space, 2007. [On the far wall is a triptych of photographic posters that show piles of logs with a bottom text, "Nothing is real, Everything is Possiblem." In the corner of the room are stacks of red crates with cola bottles and on the opposit wall is a sculpture resembling a part of bicycle that is attached to the wall.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two black display cases in the middle of a gallery space, with clear horizontal glass cut-outs, one taller than the other. Each display case houses a collection of mugs and other ephemera.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [A blue carpet decorated with colorful polka-dots fills the floor of a gallery space. Colorful, plastic chairs are arranged against the right wall. A wooden table with chairs and two monitors are displayed at the space's back wall. A kite hangs from the ceiling in the center of the space.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A yellow object painted with a green and grey cracked surface sits on a white base. There is a rectangular panel with wiring attached to the front. On top of the object sits a small yellow figure.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a wire. In the base of the object, a processing chip is embedded.] -
Installation view of She Who Is: Adrienne Kennedy and the Drama of Difference. February 29, 2020–Current. Image courtesy of Artists Space, New York. Photo: Filip Wolak [A close up image of vinyl text installed on a gallery wall. The header of the text reads, "She Who Is / Adrienne Kennedy and the Drama of Difference." Past this gallery wall, a large exhibition space is visible. Several old Hollywood films are projected on the space's far gallery walls.] -
Warnung vor einer heiligen Nutte (Beware of a Holy Whore). Dir. Rainer Werner Fassbinder. 1971. [Two people sitting in front of a window looking towards the camera, one wearing a red dress and the other a black shirt and top hat.] -
[A blue book cover with text that reads, "The Truth About Hollis, W.J. West."] -
Richard Hawkins, Sarrasine 3, 2013, Archival pigment print on Sunset Cotton Etch 285 gsm with collage element on Hahnemühle Photo Rag 188 gsm, 19 x 16 inches, Signed and numbered [A photo and drawing collage featuring the image of a man in contrapposto with a phone to one ear. In the background, stairs leads into an arched passageway.] -
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Jason Hirata, Gavroche, 2019. 5000º Kelvin industrial LED retrofit bulb, gallery power grid. [In the corner of a room, close to the ceiling, a white L-shaped wall mount holds an LED lightbulb upright. A black wire connected to the lamp is taped to the wall with black tape and disappears off to the right of the image.] -
Hito Steyerl, I Dreamed a Dream: Politics in the Age of Mass Art Production, 2013. Two channel HD video with sound, 29 mins 28 secs. Courtesy of the artist. [A monitor suspended in the middle of the room on a pole displays an image of Hito Steyerl speaking at a podium. Stacks of pillows, forming a seating area, surround the view of the monitor.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Stephen Sewell. [Several artworks installed in a gallery space with white walls. On a wall to the left of the image, three yellow toned paintings are installed at eye level. On a wall at the far center of the image, four black viewing boxes are installed on the wall in a diamond formation. On the gallery wall to the right, two painted portraits sit on the ground.] -
[A person walking down a city street, speaking into a megaphone. Around him are several cars and scattered onlookers.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An installation consisting of a series of readymade objects displayed on a wooden gallery floor. To the right, an open book rests on a wooden folding chair. One metal clamp light is attached to the chair, while a second light is attached to a reclining, green lounge chair on the left of the gallery space. Two additional clamp lights rest on the floor between the chairs. An ashy material is scattered on the ground between the chairs.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A brown paper bag, placed on a shelf at an angle, an illustration, in colored pencil, of a man wearing a ten-gallon hat, in which his strands of black hair stick out from the bottom. A graphic that reads, "Pioneer," across his hat. In the background and the side of the bag are small detailed multicolored line patterns. A single cannabis leaf, facing sideways amongst the line pattern.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. [Sixty images with dark backgrounds and a white, pixelated spot emanating from their centers arranged in a grid formation on an indigo blue gallery wall.] -
Artists Space logo designed by Louise Lawler, 1978 [Artists Space logo, a capital letter 'A' inscribed in a circle] -
[Black, lowecase text that reads, "edition hansjörg mayer."] -
Community Listening event, Listening to the LES, P.S. 140, 2018 [A photograph of a classroom environment with several students sitting around the edges of the room and a few drawing directly onto a white tablecloth in the center of the room. An image of the underside of a large bridge is shown on a monitor at the front of the room] -
Collaged postcard by Sigmar Polke and the Hoehme class to Gerhard Hoehme Not dated (ca. 1965/66) Gerhard and Margarete Hoehme-Stiftung, Museum Kunstapalast Düsseldorf [A postcard containing an illustration of a house with collaged materials on top. At the bottom is the back of the post card, with a handwritten note.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[An abstract, multicolored squareish sculpture standing on a white base. A potato sits on top of the sculpture with a wire plugged into the top. A 9v battery is affixed to the side of the sculpture, connected to two comptuer chips affixed to the front.] -
Laurie Anderson, Whirlwind, 1996. Disk, 48 speakers, electronics, computer program. [A black and white image of a large room with a round black disk suspended from the ceiling over a gray circle in the floor. It is lit from above by mounted lights.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Close-up of a rectangular, silver metal plaque hanging on a white gallery wall. The plaque is inscribed with a diagram of an exhibition space. Numbers note the location of the artworks, while a key next to the diagram notes the titles and other tombstone information of the works.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A grid of photographs displaying candid portraiture is arranged in a white frame.] -
John Neff, Authorization Sessions Set 2018: Manhattan Project, 2018. Photo: Daniel Pérez [A monitor on a wheeled stand is displayed in the corner of two white walls. The monitor projects an image of a whiteboard with hand written text that reads, "People think because, People lie others..., People ignore..." circled in red, green and blue. A green office swivel chair with headphones is placed in front.] -
[Four framed drawings on a wall depicting chaotic, colorful scenes of crowds.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [A microphone connected to a stand and an amp sit on the floor of a gallery space. The microphone stand has been adjusted such that the microphone is pointed down and hovers directly over a small answering machine on the ground. Wall vinyl installed on the wall directly behind the microphone stand displays a phone number: "+1 (212) 226-2786)."] -
Charlotte Posenenske. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Four geometric, silver metal sculptures are installed on the floors of a light-filled gallery space. The sculptures are modular, hollow, and consist of cube-like and triangular metal components.] -
Mark Morrisroe. Still from Hello from Bertha (1983). [A person is seen in profile, speaking to someone out of frame. They are wearing a glittery gold top with a pink fur neckline and beaded necklaces of different colors. They have large flower-shaped earrings and colorful makeup, including blue, shiny eyeshadow. Their dark hair appears to be covered by a bleached wig.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [Three small televisions sit on a white shelf. Each displays a timestamped video of a person eating a lollipop.] -
Whitney Claflin, Hiatus, 2015. Mixed media on linen. Courtesy the artist and Real Fine Arts, New York. [An abstract mixed-media artwork featuring three yellow circles and spatterings of multicolored paint on a white canvas. Light blue text at the top of the composition reads, "dose style."] -
[A flyer featuring a vintage orange and black computer with a small monitor and chunky keyboard set against a saturated yellow background. White, stylized text on a faded computer screen reads: "A READING BY ALAN FELSENTHAL AND BETSY FAGIN." Red text on the yellow background in the upper left corner reads: "Artists Space & the Segue Reading Series present" and in the lower right corner: "Saturday May 23rd / 5 pm NYC time / Zoom ID 378 232 567”] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A bright yellow object with a cracked surface is embedded with a computer chipboard on its front, and a multicolored fidget spinner on the top.] -
[Four images arranged in a rectangular tile formation. Each image shows a digital rendering of a large structure composed of suspended sheets of red material installed in a gray room. The red sheets are stacked on top of one another, suspended from lengths of wire that run from ceiling to floor. The sheets are arranged differently in each image, bending towards and away from each other. They arranged such that they resemble irregular layers of sedimentary rock or strata. Various digitally-rendered figures observe the structure in each image.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section "Galerie h (1966),” Artists Space, 2014. [A angled view of a grey wall with documents displayed behind glass. The closest image depicts a colorful illustration of shapes, with two, green, square documents to the left of it.] -
Erik Lavesson, Harmony Grunge Cruise control, 2012. Photo: Milena Büsch. Contribution for PROVENCE Issue E – MADAME (Autumn / Winter 2012 / 2013). [A mostly unclothed person lying face-down on a messy bed.] -
Gerhard Richter Volker Bradke , December 13, 1966 From the exhibition Hommage an Schmela (Homage to Schmela), December 9 – 15, 1966. Galerie Schmela, Düsseldorf Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of four people, one sitting, three standing in a patterned room displaying a large photograph on the left wall. On the right wall, two men stand underneath large block text, that reads, "Volker Bradk."] -
Image courtesy Anne Gillis and Blank Forms. [Photo of a woman partially obscured by a white umbrella. A light shining on the umbrella casts a large shadow of the woman's hand on its curved surface.] -
[A person in a white button-down shirt with an outline of a black tie drawn on the front of the shirt. Their hands are adjusting the collar of the shirt.] -
[A crowd of people standing outside a building] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit view of a wooden wall with scattered video-still images at varying placements. Behind the wood is a white wall.] -
Salad Expo. Performance documentation, Artists Space, 2004. [A person with sunglasses on a motorcycle. Behind him, a man in sunglasses sits on a stool playing a saxophone. There are three floor fans blowing toward the two people. The walls on either side are lit with a pink light, and the back wall with a yellow light.] -
Mariselis Rivera, Abstract Painting, 2015 [An abstract painting depicting several geometric figures against a turquoise background, arranged on either side of the canvas. Each figure has a green or brown outline and various colored patterns inside. Several outlined circles and squares grid across the background of the image] -
Edgar Oliver reading at Marble Cemetery. Photo: © Paula Court, 2018. [Man standing outside at a microphone in front of a large silver inflatable penis, reading from a purple folder.] -
[Long metal poles extend downward with several meathooks attached to their bottom ends. Behind the poles is a brick wall painted blue. Capital white letters painted across the wall read, "MEAT."] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Four clusters of photographs are mounted on a white gallery wall. Some of the photographs are black and white, while others are in color. All show images of a single or groups of figures. On the far right, a small projection of a man in a white shirt illuminates the wall.] -
Still from The Empty Plan (2010). [A man holding a clipboard at his side walks past a large, columned white wall with palm trees on either end.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to each other, the left one depicting a lush mountain view in hues of burgundy, green, and blue, and the right one depicting a vertical slit in the ground, slightly parted, revealing a light brown interior crust surrounded by a dark, rippled exterior.] -
Ethan Crenson, Fission, 1996. Mixed media installation. [A corner of a room filled with ping pong balls set atop mousetraps. They are lit from the side by a fluorescent tube light.] -
Hito Steyerl, Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015. [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, hands clasped at his waist as he faces the viewer, is on the back wall.] -
Image provided by Oki Sogumi [Two furry, brown and mahogany moths stand back-to-back, behinds touching, on a green leaf. More leaves can be seen in the background.] -
Hernan Bas, Needles (In Anticipation of the Fall), 2005, Single color hard ground etching, 26 1/4 x 21 inches (67 x 53 cm), Edition of 30, Courtesy the artist, Fredric Snitzer Gallery, Miami & Daniel Reich Gallery, New York, Printed by Julia D’Amario. [A wood framed drawing hangs on a wall. The pencil drawing depicts a youthful figure at the center of the page with abstract pencil markings surrounding them.] -
[A silver, metal plaque displayed against a bright red backdrop. Text engraved on the plaque reads, "Four hours of steady work face you. You rub blindly at one wrist with the other hand and reattach the brace, molding the various input/output feeds back into their ports, the audio, visual, haptic, mouth-smell and pure reason. It was typical, routine but aggravating, setting tons of exits dark, setting properties manually on editing, the west exit of the dining car that must be unpick able, the pencils that must be broken of their lead, the rotation speed on a deck of hypercard that must be trued with the accelerating average saccade rate. Then a bunch of identical or nearly-identical descriptions to reset on every atomically-detailed manual interaction object, re-spawning every item instanced in the idiorrhythmic skate’s mini-bar, for example, or buffering every one of the phalanstery’s refractor diodes. All it goes to show is that your’e working against the software too much, Now with three upward blinks interspersed with a short series of lip tics into the facial interface meshed into your latex balaclava respawn the set of tri-fold hologrammatic welcome brochures. You could be much more productive if you had the chance, but that’s how it goes. Athos is closed-source and always has been, the massive influx of new residents with new needs notwithstanding. Idle thoughts, ancient history, better to spend it artificially deflating the calorie currency on the skate’s all-you-care-to-eat buffet, to fuck just a bit with the schismatic flesh mercantilists in Madalay District. Set chafing capacity to maximum. What joy is there in living. You yourself had kong since ceased to register hunger. When you notice it, it’s not that you’re not hungry - you could choose to feel the effects, lightheaded every time you bend down to tap a pressure gauge, blurred vision when you stand back up, the constant headaches and fatigue. But the feeling of emptiness, that the stomach is a void to be filled with raw materials from the feed-cache or a sub auricular puff of enzyme slurry, that was gone. The propriety of that sense of internal space, of endogenous and unaccountable degrees of internal freedom for desire, bent back towards its opposite. Your tasks, the purest extension of a certain kind of unfulfillable desire, await you no less for that. If you simultaneously adjust a row of damper switches to their most neutral position, use the flat edge of your palm. The idea that in times of harsh exogenous conditions, in which so many resources are bound to sheer homeostasis, the tariff that must be extracted for the use of symbiotic system of immersion actually decreases. The last switch cannot be turned off, Paradoxically, as things get worse overall, the worsening situation costs increasingly less to maintain."]
