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Laura Cottingham & The Anita Pallenberg Story, Installation view, Artists Space, 2017. Photo: Daniel Pérez [A dim-lit room with black chairs facing a projection on the wall. The projection depicts the title slide of a film, with purple gothic text that reads "The Anita Pallenberg Story", with an unfocused image of three people in the background.] -
Vigilance: An Exhibition of Artists’ Books Exploring Strategies for Social Concern, after an exhibition curated by Mike Glier and Lucy R. Lippard, from The Library Vaccine, Artists Space, 2014 [A man sits at one of 3 tables in a cornered room, reading material. He sits in front of rows of documents and books displayed behind glass. To his left on an adjacent wall is a banner with red, painted text that reads, "Pessimism of the inte..."] -
Sam Pulitzer, Installation view from A Colony for "Them", Artists Space, 2014 [A gray square of text is displayed on a white wall that extends the left half of the frame. On the right, in the background, a series of colorful panels stagger around the room in front of a red wall. On one of the visible panels, text reads, "We're all going to really miss doing your work for you."] -
The Defaced Library Books of Kenneth Halliwell and Joe Orton, from The Library Vaccine, Artists Space, 2014. [A series of books sit at eye level on a wall that displays a black and white photographic collage graphic behind them.] -
Still from Target City Hall, 1989. DIVA TV Collective, 27min [Onlookers and news reporters with cameras crowd around helmeted police officers surrounding a graffitied truck.] -
Richard Prince, Oedipus Schmedipus, 1994, Screenprint on white T-shirt Stretched over canvas in white lacquer frame, 25 1/4 x 19 1/2 in (64.1 x 49.5 cm), Edition of 26, Signed & numbered. [The image shows a white t-shirt in a frame with text printed on top in a wavy text that says, "A mother is having a very tense relationship / with her fourteen year old son. Screaming and / fighting are constantly going on in the house. / She finally brings him to a psychoanalyst. After / two sessions, the doctor calls the mother into / the office. / "Your son," he tells her, "has an Oedipus / complex." / "Oedipus, Schmedipus," the woman answers. / "as long as he loves his mother."] -
Nathan Carter, Static Cipher Signal Beacon for Inbound Flights, 2007, Wood, steel, enamel and acrylic paint, 28 1/2 x 40 inches (72.4 x 101.6 cm), Series of 10 Signed, Courtesy the artist & Casey Kaplan. [A sculpture affixed to the wall made of a red steel rod with red steel rod arms that project out from the top to make shadows against the wall.] -
Cory Arcangel, $10 Applebee’s Gift Card, 2013, Plastic gift card with $10 value, 2 x 3 in 5 x 7,6 cm, Signed and Numbered [Gift cards features Applebee's branded logo of a red apple. Verso of the card shows the apple design with an American flag and says "THANK YOU"] -
Emily Garcia, Princess Swan, 2013 [An abstract, colorful drawing, with several geometric patterns overlaid with freehand flowing shapes.] -
Union Gaucha Productions Still from Totloop , 2003 16mm film (silent, color), 4 min 49 sec Collaboration with Fabio Kacero Courtesy of Union Gaucha Productions [A man lies on the street in a horizontal position, centered within the frame. Behind him is a playground, with an Argentinian flag waving in the background.] -
Cobus Jagdeo, Orange Hate, acrylic and gouache painting, 2018 [The top half of this painting shows a blue building ablaze on left. The building foregrounds an orange sky, grey clouds, a white car, and a black skyline. The bottom half uses a grey background with eight figures separated by a white rectangle in the center and an ambulance in the bottom right corner.] -
Allora & Calzadilla, Bandage, 2011, Painted cast white metal, 3 x 3/4 x 1/16 in / 7,6 x 2 x .16 cm, Signed certificate. [A small, tan bandage lying face-down on a white background.] -
George Clinton, Peter Larkin, Jules Fisher The Mothership , 1990s Collection of the Smithsonian National Museum of African American History and Culture, Gift of Love to the planet [Sculpture of an alien spaceship made out of sheet metal, with a red and blue LED light, sitting in a gallery.] -
Installation view of Jack Smith: Art Crust of Spiritual Oasis, June 22 – September 9, 2018. Courtesy of Artists Space, New York. Photo: Daniel Pérez [An angled view of the display case containing framed drawings. In the right background, three old televisions project video. Framed documents and photographs hang along the back wall on either side of a doorway.] -
[A man in a white shirt and pinstriped vest and pants casually holds a black jacket over one shoulder. "Undoolay" is in pink script on the bottom of the image, crossing over "Elective Affinities".] -
Robert Mangold, Untitled, 1995, Etching with aquatint, 24 x 30 inches (61 x 76.2 cm), Editions of 50, Signed & numbered. [The image shows a quarter of a circle on a white background that is colored half-brown, half-blue with two black ovals of different sizes etched on top.] -
Aaron Flint Jamison, Safety Blanket, 2012, chiffon, emergency blanket, cotton blend. Courtesy collection Nicolas Trembley, Geneva. [A man stands at a copy machine with the hood lifted, light on. On the wall to the right, black fabric hangs from a small, horizontal pole.] -
Installation view from Richard Hollis, Artists Space, 2013 [An angled view of 4 book stands perpendicular to a wall, all displaying various books, documents, and papers.] -
Susan Cianciolo, Flowers, 2018, 25 x 21 x 1 1/2 inches, Silkscreen on book cloth on bespoke archival box, Signed edition of 100, 5APs Courtesy of the artist [A portfolio box with a flowered pattern on the lid is shown on a white ground with the lid slightly askew.] -
Roman Catholic Jacuzzi, by Michael Bullock - 2012, Karma Publishing - ISBN 9780983730750 [A blue and teal book cover] -
Emily Jacir, woman to woman, 2003/2009, C-Print, Sheet size: 12 x 16 inches (30.5 x 41 cm), Framed size: 14 3/4 x 18 1/2 inches (37.5 x 47 cm), Printed by Laumont. [A photo in a black frame shows a person in military uniform, leaning against a concrete wall looking at a person who faces away from the camera with a patterned headscarf, red sweater, and light-yellow blanket.] -
Opening at the Tanager Gallery, NY, 1959. [A black and white photograph of a crowded room filled with people conversing.] -
Flyer by Bill Hayden [An irreverant cartoon promotional poster for It's Get Better] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [A black cord sticks out from underneath a tan carpet. Wires are visible running underneath the carpeted floor throughout the frame.] -
[A screenshot of the google images search results page for the query "a history of negations"] -
Everything is About to Happen: An ongoing archive of artists’ books selected by Gregorio Magnani, from The Library Vaccine, Artists Space, 2014. [An angled view of table's length, on which are various organized documents, books, and papers displaying images and text. In the background are bookshelves and tables.] -
11 Cortlandt Alley Tote Bag. Produced by Artists Space. Edition of 150. 2019. $24 [A black tote bag against a white background. Small white, all-caps sans-serif text in the middle states "ARTISTS SPACE"] -
Installation view from Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. 55 Walker, Artists Space, 2013 [A wooden bar with three chairs and a palm tree in a pot is displayed against a white wall.] -
Andrea Zittel, Perfected Pillow, 1995, Pair of fringed velvet pillows, 80 x 40 inches (203 x 102 cm); 18 x 36 in (46 x 91 cm), Edition of 39. [The image shows a rectangular bed-like cushion with a black pillow that lays diagonally across the image patterned with two green and two black triangles of fabric.] -
Installation view of Social Surfaces at Pearl River Mart, New York, October 26 - November 1, 2017. Photo: Ron Amstutz [An angled view of paintings and photographs against multiple walls. In the background, a pink wall installation is mounted.] -
Slab works, c. 1978–1980. Cast concrete sculptures with acrylic paint. Dimensions unknown. Courtesy of the Frances Mulhall Achiles Library, Artist File, Whitney Museum of American Art [Installation view of three cast concrete blocks - the middle one leaning against the last one - standing on a wood floor.] -
[A yellow, deflated balloon, folded at the neck, with white text that reads, "Living with Pop."] -
Zilia Sánchez, Topología Erótica, 1976, (Erotic Topology), Acrylic on stretched canvas. Courtesy collection Alberto Hernández, Puerto Rico. [Two white panels of canvas, display an organic pink shape positioned together to make a square. Shapes positioned inside the canvas stretch it outwards.] -
Hito Steyerl, November, 2004, Digital video with sound, 25 mins, Courtesy of the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015. [A dim room with four benches in front of a large video screen. A black and white image of a woman in front of a red star and a wreath is projected.] -
Union Gaucha Productions Still from A Vida de Infra - Tunga , 1999 16mm film (sound, black and white), 10 min 17 sec Sound: Paulo Vivacqua Courtesy of Union Gaucha Productions [A black and white close of of a person, with slightly scraggly hair and amblyopia, looking into the camera.] -
Tom of Finland Untitled , 1985 Graphite on paper Collection John McConnell, San Diego [A man wearing a POLICE cap and aviator glasses, straddling half-naked. Two men wearing glossy leather jackets and boots, hold him close with their pants down. One takes the policeman from behind while the other holds the policeman's genitals in his hand.] -
Installation view from Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. 38 Greene, Artists Space, 2013 [A sculpture of a man holding a book is leaning against a column in an empty, open room. He is wearing a purple shirt, patterned blue shorts, and is crossing his legs, wearing white sneakers.] -
Tauba Auerbach, Reciprocal Helix (Z), 2014, 3D printed matte gold steel, 5 1/2 x 1 1/4 x 2/5 in / 14 x 3,2 x 1,1 cm, Signed and Numbered Certificate. [A gold helix sculpture.] -
Union Gaucha Productions, Installation view, Artists Space, 2015. Photo: Daniel Pérez [Two people seated with their legs outstretched on a green carpet in front of a small television monitor, wearing headphones.] -
Devin Kenny, Stop following me/follow me, 2016, Artists Space, New York, 2018. Photo: Daniel Pérez [An angled view of the illuminated stage of a overhead projector. A red flashlight descends from the lamp onto a flat pile of objects including: photographs, drawings, transparents material, and more.] -
K8 Hardy , Sharing 2014, 2014 , C-print, 23 ½ x 18 ½ in / 59,7 x 47,1 cm (image size), 24 x 18 4/5 in / 60,1 x 47,8 cm (paper size), Signed and Numbered. [A framed photo of a hand in the lower left corner adjusting a skewed image of K8 Hardy partially undressed in a windowed room, looking over her shoulder with her left arm held aloft.] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [Gray silhouettes are displayed on adjacent walls. Miscellaneous items are displayed on gray tables. A microphone and its extended wire lays on the floor in front of a speaker.] -
Seth Price, Embrace of Tradition, 2007/2013, Collage with combination photo relief and inkjet print, 16 3/4 x 13 inches (42.5 x 33 cm), Edition of 10 + 1 AP, Signed & numbered on front. [A white framed image hangs on a wall. The image shows line-drawn diagrams of lightbulbs. Above the diagrams it reads, "Fig. 1" and "Fig. 2." Above that it reads, "(no. model) T.A. Edison / Incandescing electric lamp / No. 341839 Patented May 11, 1886." Below the diagram it says, "Attest [with signatures below] inventor [with signatures below]." collaged on top of the print is a saturated red and blue flower at the bottom right and the word "light" in cursive on the top left.] -
Louise Lawler Tote Bag. Produced by Artists Space. 2017. $20 [A pink tote bag with the black Louise Lawler-designed Artists Space logo in the middle - A black circle around a black "A", with small, pink, all-caps text, "ARTISTS SPACE" in the middle of the A.] -
Tobias Kaspar, Lumpy Blue Sweater, 2010. 18 c-prints with embossed text, mannequin,. booklet, blue sweater. Courtesy the artist and Silberkuppe, Berlin [A angled view of a paneled wall displaying photographs on the left. A white mannequin wearing a blue shirt stands in front of it. Towards the right of frame, a red carpet covers the ground.] -
Morton Livingston Shamberg and Elsa von Freytag-Loringhoven. God, 1917. Philadelphia Museum of Art [A black pipe coming out of a concrete slab beneath it, twisting around, pointed up and cut off, against a whitish slab behind it, as if to frame the pipe.] -
[A sculpture of a man holding a book, right leg crossed over left, standing, against a white background. He is wearing a purple shirt, patterned blue shorts, and white sneakers.] -
Invitation for Yves Klein. Propositions monochromes Galerie Schmela, May 31, 1957 Archiv Kunstmuseen Krefeld [Black text on paper that reads, "Yves, Propositions Monochromes."] -
City-As-School students critiquing images, 2019. [A photo of students sitting around a table, watching a YouTube video and speaking to one another.] -
Zona. Carga y Descarga, Issue 3, 1973Courtesy Rosario Ferré [A blue and yellow promotional flyer with text in Spanish] -
Kembra Pfahler. Photograph: ©Paula Court, 2018. [A person with their face painted blue, framed by a large black mane of hair.] -
Sarah Morris. Still from Strange Magic, 2014. REDCODE HD digital video, 45 min 8 sec. Courtesy the artist [A foregrounded bottle of golden Dior perfume.] -
Anonymous action at the Solomon R. Guggenheim Museum, October 10, 2016. [An image of a gold public bathroom toilet with a red Decolonize This Place sticker placed at the top of the toilet seat.] -
Untitled (scrapbook), date unknown, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [A light colored paper with four photographs. Two images are the same, which feature a scene involving people and various props. The photograph at the top right features a man with a blue face posing next to a black and red sign. The image at the bottom left includes three people posing near one another.] -
Sam Pulitzer, Installation views from A Colony for “Them”, Artists Space, 2014 [A gif of installation images from Sam Pulitzer's, A Colony for "Them."] -
Zilia Sánchez, Mujer (de la Serie el Silencio de Eros), 1965, (Woman of the Series the Silence of Eros), Acrylic on stretched canvas. Courtesy collection of the artist. [A square grey canvas with a large white circle centered towards the bottom, hangs on a neutral colored wall. At the bottom center of the circle, the canvas is stretched outward in a verticle line.] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [Divided into two sections, wooden floor on the left and carpet floor on the right. On the left, a 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.] -
Installation view, Miyoko Ito: Heart of Hearts, April 7- May 6, 2018, Artists Space, New York. Courtesy of Artists Space, New York. Photo: Daniel Peréz. [In the foreground, a painting hung on a white wall features warm hues. A television monitor is installed in an alcove, and a woman's face is visible on the screen. Two paintings can be seen in the background.] -
“Chinatown Is Not for Sale.” Installation by Chinatown Art Brigade. Artists Space Books & Talks, Saturday, October 22, 2016. Courtesy Chinatown Art Brigade, Decolonize This Place and Artists Space, New York. Photo: Marz Saffore [Chinatown anti-gentrification paraphrenelia posted on the wall, with phrases like "Tenants Unite!", "Housing is a Human Right!", "Stop Gentrification Now!" and "Who did you Displace to open your Gallery?", written in English and Mandarin. A monitor displaying a person holding a megaphone at a protest is fixed on the wall, the handouts surrounding it.] -
Still from Werner Schroeter, Maria Callas Portrait, 1968 [A black-and-white photo of a woman wearing a large black hat, holding her hand loosely to her neck, against a black background.] -
Louise Lawler, Egg and Gun (distorted for the times, dire), 2008/2017 [A composited image of a gallery scene, building from a street view, hand gun, and a blue rose against a yellow back ground, distorted through buldges and pulls.] -
Lukas Duwenhögger, Restive Childhood, 2016, Archival inkjet with silkscreen on 320 gsm Hahnemühle Photorag Pearl paper, 20 ¾ x 15 ¾ inches (52,7 x 40 cm), Edition of 10 + 3 AP, Signed & Numbered. [A framed image with black text, white background, and a black & white photo in the center hangs on a wall. The photo depicts a cop on the left who reaches towards a man holding a gun and a young child on the right. Above the photo it says, "Out of the blue: / Children march on capital / demanding homo-adoption / innumerable casualties / heart-wrenching scenes." Beneath the photo, the text repeats but in Turkish.] -
Detail of Coop Fund, 2018, Artists Space, New York, 2018. Photo: Daniel Pérez [An angled view of the surface of a white table. A galvanized bucket, an iPad with documents, a stack of papers reading "COOP FUND" and an illustration of a bucket are visible. To the right, a set of three papers sit with text reading, "COOP FUND, Purpose, Principles, Participation" and following respected information.] -
Lawrence Weiner. WITH A SHIFT, 2013, Silkscreen on archival box, 24 ½ x 20 ½ x 1 ½ in 62 x 52 x 4 cm, Signed and Numbered. [A doubled arrow points to the top left corner of the image. In the bottom left, a diagonal yellow stripe outlined with red lines is overlaid with curving text that reads "WITH A SHIFT SIMULTANEOUS REALITIES COLLIDE"] -
Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus, 1963 (Living with Pop – A Demonstration for Capitalist Realism) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of two men sitting in a living room. The furniture is elevated on white pedestals. The man on the left sits on a chair; on the right on a sofa. A table with items sits inbetween them.] -
Installation view from Richard Hollis, Artists Space, 2013 [A view between two book stands, perpendicular to the wall, displaying books, documents, and papers. On the wall, posters are staggered including various text and images.] -
Michaela Eichwald, Ten Top Photographs for Artists Space, 2015, Series of ten inkjet prints, Assorted dimensions range from 5 x 7 in to 5 x 7 ½ in / 12,7 x 17,8 cm to 12,7 x 19 cm, each Signed and Numbered Certificate [An arrangement of 10 colored photos, each showing a different outdoor and indoor settings, including settings of nature, animals, a red trailer, an overexposed lecture hall, and a portrait of a woman.] -
Pictures. 1977, Catalogue, 29 pages, black and white. Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo, Philip Smith. Text by Douglas Crimp; acknowledgements by Helene Winer -
Miyoko Ito at the opening of Miyoko Ito: A Review, The Renaissance Society at the University of Chicago, 1980 [Faded photograph of artist Miyoko Ito standing with her arms crossed in front of two of her paintings.] -
Dara Birnbaum. Technology/Transformation: Wonder Woman, ©1978/9. Still from the videotape [VHS-distorted image of Wonder Woman holding up her fist, creating a burst of energy.] -
Rent check envelope prop, c.1970s. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels [A discolored envolope, stained and frayed, with cursive handwriting that reads "The Lobster Lucky Landlord Paradise".] -
[A screenshot of the google images results page for the search query "institution".] -
Whitney Claflin, Hiatus, mixed media on linen, 2015. Image courtesy the artist and Real Fine Arts, New York [An abstract mixed-media artwork, with three yellow circles and the text "dose style"] -
Installation view from Richard Hollis, Artists Space, 2013 [A small television on top of a vitrine shows John Berger looking at the viewer. In the vitrine, several books and documents are opened for display.] -
5000 Artists Return to Artists Space: 25 Years, 1998. [A blue book cover with white and black text] -
Installation view from Richard Hollis, Artists Space, 2013 [A grid of 6 documents sitting opened on a table.] -
Alza Tu Voz, back porch, exhibition at Dykeman Farmhouse Museum, 2017 [A photo of the exterior of a building, with several colorful portrait paintings lying on the wooden porch. One has text stating "no te dejes oprimir." A large poster hangs on the door to the building, with the title "Alza tu Voz"] -
Union Gaucha Productions, Installation view, Artists Space, 2015. Photo: Daniel Pérez [Five projections playing on a wall at different heights. Two are completely visible and three are partially visible. In the center of the image is a black and white projection of a gallery, with a painting placed in between the entrance of a hallway. To its right is a projection of a Jonas Mekas facing left, his face slightly golden in tone, wearing a fedora. A projection to its right partially shows four dark skinned people, nude and posing.] -
Ryan Gander, What the postman brought, 2007, Mixed media Variable size, Edition of 17, 3 AP, Courtesy the artist, STORE London and Annet Gelink Amsterdam. [The photograph shows a framed image with black geometric patterns mounted on a white wall with a black sculpture to its left sitting on a white plinth.] -
[An empty wild-west style ranch] -
Louise Bourgeois Jitterbug, 1998 Lithograph, 18 x 24 in / 46 x 61 cm, Signed & Numbered. [Two red and blue spidery forms interlace, floating in the center of the page atop a blank sheet of staff paper.] -
Ken Okiishi, detail from Wish I Were Here, 1997 – 2001. Five archival inkjet prints. Courtesy the artist [Two small items in a white glossy frame, one is a photograph and the other a postcard. The photograph is a black and white image of a man standing, slightly hunched over, pasted on top of an image of a sailor. Beneath the photograph, a faded handwritten postcard reads in blue ink, "11 July 1997, Dear Cindy Sherman, I am lost - not physically, but emotionally. I am on a cruise ship to Greece with my straight best friend, who I am in love with. Acting like "The Girl" is getting me nowhere with him. Did it get you anywhere? Sincerely, Ken Okiishi."] -
The Library of Helen DeWitt, from The Library Vaccine, Artists Space, 2014. [A book shelf, of the center are four shelves, filled with books whose covers contain small printed text. In the center of the second from the bottom shelf, a book sits horizontal.] -
Union Gaucha Productions Still from As Long As it Lasts , 2010 Digital video on six screens (silent, color), 191 min Film production and editing assistance: Francisca Caporali and Lior Shvil Originally commissioned by The Museum of Modern Art Courtesy of Union Gaucha Productions and The Museum of Modern Art [A man is shown in front of a Jackson Pollock painting wearing a frilly baby bonnet, sunglasses, a pacifier, a white t-shirt and a white cloth that resembles a diaper.] -
Installation view of Social Surfaces at Pearl River Mart, New York, October 26 - November 1, 2017. Photo: Ron Amstutz [A wooden bench with a white, dome-like structure attached to its corner. Two framed drawings hang on the wall in the background.] -
Installation view of Social Surfaces at Pearl River Mart, New York, October 26 - November 1, 2017. Photo: Ron Amstutz [A wooden platform on wheels surrounded by a border of small poppy red brick-like sculptures, that continue to surround the base of a white pole. Sculptures and paintings are visible on the back wall behind the wooden platform.] -
Devin Kenny, Not This, featuring Betty Shelby, Brian Encinia, Jason Stockley, Jeronimo Yanez, and Peter Liang, 2018. Single channel video. [A screencapture from a video taken on a phone in Times Square, depicting a person facedown beside a car, still in motion, in the street.] -
Installation view from Lukas Duwenhögger: Undoolay, Artists Space, 2016. Photo credit: Jean Vong [Two paintings and several sculptural elements are installed in a corner. The paintings, one in an oval frame and the other rectangular, have figurative subjects of humans and animals. A whimsical end table is illuminated by a light fixture shaped like a flowering plant whose stem extends from a patterned curtain hung against the wall.] -
Installation view of Social Surfaces at Pearl River Mart, New York, October 26 - November 1, 2017. Photo: Ron Amstutz [An opened case, with camera equipment resting inside gray foam, is displaye in the center of a room. A large black and white painting with text is hung on a wall underneath a hanging sculpture. In the background, individual papers of beer logos displayed behind glass stretch across two connecting walls.] -
Yates McKee - Strike Art: Contemporary Art and the Post-Occupy Condition. Verso, 2017. [A book cover with the title "Strike Art: Contemporary Art and the Post-Occupy Condition" and author Yates McKee in black and grey on white ground. In the upper right corner, a red-toned image shows a group of standing men.] -
[A 30-cm ruler] -
Strike Art: Contemporary Art and the Post-Occupy Condition. Yates McKee. Verso Books, July 2017 / 9781784786816 [Two book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," alongside images of banners for "Decolonize This Place" and "Free Education to All"] -
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Nam June Paik Young Penis Symphony from Wolf Vostell, décollage No. 3 , 1962 © Nam June Pak Estate Collection Peter Wenzel [Red text that reads, "Young Penis Symphony, -curtain up-, the audience sees only a huge piece of white paper stretched across the whole stage mouth, from the ceiling to the floor and from the left to the right wing. Behind this paper, on the stagem stand ten young men... ready, -after a while- The first sticks his penis out through the paper to the audience..., The second sticks his penis out through the paper to the audience..., The third sticks his penis out through the paper to the audience..., The fourth sticks his penis out throught the paper to the audience..., The fifth sticks his penis out through the paper to the audience..., The sixth sticks his penis out through the paper to the audience..., The seventh sticks his penis out through the paper to the audience..., The eight sticks his penis out through the paper to the audience..., The ninth sticks his penis out throught the paper to the audience..., The tenth sticks his penis out through the paper to the audience..., N.J. Paik, Expected world premier about 1984 A.D., ref. Taiyono Kisetza Ishihara"] -
John Neff, Authorization Sessions Set, 2018, Proof prints from Time Dust, 2013 – 2018, Artists Space, New York, 2018. Photo: Daniel Pérez [Five photographs arranged in a pane of glass lean on bolts against a wall. The images in the photographs (from left to right) include a man exhaling smoke, a man looking towards the viewer, a man in a bathtub, a man, turned away from the camera, in a hospital gown, and an empty dinner plate.] -
Christopher Binifacio, Oil Spill, 2018 [A painting depicting a blue tree and landscape with a turquoise lake against a peach-colored sky. Several areas of the water are black] -
Art Day, Photo Club exhibition, PS 140, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
Guy de Cointet: The Complete Plays, Hugues Decointet, François Piron, Marilou Thiébault, eds. Published by Paraguay Press with the support of the Guy de Cointet Society and a publishing grant from CNAP-Centre National des Arts Plastiques Designed by Laure Giletti & Gregory Dapra, 2017. [A red and grey minimal book cover. Front and back.] -
Laura Cottingham & The Anita Pallenberg Story, Installation view, Artists Space, 2017. Photo: Daniel Pérez [An empty dim-lit room with black chairs playing a projection on the wall. The projection features two people lying in bed wearing David Bowie-style makeup, with a pale green wall behind them] -
Juan Downey. Hepewe, 1976 - 77. Photograph by Juan Downey. Courtesy of the Juan Downey Estate, Marilys B. Downey. [A shirtless man holding a film camera outdoors] -
Flyer for Inquiry & Investigation, 2018. [A piece of stretched cloth with painted words: "Inquiry" and "Investigation," along with digitally superimposed event information.] -
Installation view from Documenting Cadere: 1972 - 1978, Artists Space, 2013. Photo: Daniel Pérez [A book shelf displays paper documents containing black and white images. Above, smaller documents, and a similar paper displayed in a white frame.] -
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] -
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.] -
Asia Negron, untitled, digital print, 2019 [A photograph depicting a street in New York. A fire hydrant with some graffiti supports a leaning concrete pole, which has fallen over, lifting up a piece of the sidewalk] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [A miniature clay sculpture sitting on a gray table. The sculpture depicts a woman folding over, cross-legged, on carpet. Miscelaneous items are dispersed across the carpets.] -
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.] -
Installation view, Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space 2013. Photos: Daniel Pérez [Two gold picture frames with black and white portraits of a woman (left) and a man (right) face eachother on a shelf.] -
Installation view from Tom of Finland: The Pleasure of Play, Artists Space, 2015 [Four pornographic illustrations of men in jail cells are framed on the wall.] -
CaptionKari Altmann. Still from XOMIA, 2015 Courtesy the artist. and Ellis King Gallery [A man and a woman crouch next to two abstract artworks standing on the floor of a gallery space. Both people have dyed hair and half-blue facepaint.] -
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Jim Hodges, Untitled, 1999, Etching and aquatint with chine-collé, 22 x 30 inches (55.9 x 76.2 cm), Edition of 30, Signed & numbered. [A white image with a faint grey line that bisects the page lengthwise. In small text, the word "with" Iies at the center of the image.] -
Union Gaucha Productions, Installation view, Artists Space, 2015. Photo: Daniel Pérez [A dimly lit room where two people are seated in chairs on the right, looking at a projection. The projection displays a yellow-hued image of a city skyline.] -
Book cover for The Stagnant Society by Michael Shanks. Design by Richard Hollis. Published by Penguin Books, London, 1961. Courtesy Richard Hollis [A red background, half the Union Jack poisitoned behind sillhouette's of five men and a car, and text that reads, "The Stagnant Society, Michael Shanks."] -
Installation view, Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space 2013. Photos: Daniel Pérez [A white wall with gray text running along the top reads, "Tier 3 1980 Dallas 1963 Cabins 2007 Color TV 1954 TITMH 2013 Alexis de Tocqueville 1992." An image of the moon in a black sky hangs in a white frame with a letter next to it.] -
Hito Steyerl, Red Alert, 2007, Installation on 3 computer monitors. Courtesy of the artist. Hito Steyerl. Installation view, Artists Space, 2015. [Three red-orange panels in white frames hang on a white wall in an open space.] -
John Knight, The Right to Be Lazy, 2008. (Hamburger Bahnhof Museum für Gegenwart, Berlin). [The façade of a large, stone museum] -
[A cartoon illustration of a girl suspended inside a bubble, infront of an opened yellow envelope. She is present with other bubbles against a blue background.] -
Cover of the Happy Hipocrite, Issue 6 - Freedom [A magazine cover depicting a grid of international stamps] -
Installation view of Jack Smith: Art Crust of Spiritual Oasis, June 22 – September 9, 2018. Courtesy of Artists Space, New York. Photo: Daniel Pérez [On the left, three paper collages hang on a two-toned wall. Two videos are projected onto the right wall, descending into the exhibition space. A doorway, in the background, frames a black and white projected video, featuring a man.] -
Laura Poitras: 9/11 Trilogy, Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two people sit in wooden chairs, wearing headphones and facing either sides of the room where TV monitors are displaying images.] -
[A warm colored room, surrounded by windows across two walls with view to a dimly lit horizon. String lights illuminate a scene of miscellaneous items scattered across a living space furnished with a table and chairs.] -
Adam and Zack Khalil, Still from INAATE/SE/ [it shines a certain way. to a certain place./it flies. falls./], 2016. [An image of a person with long brown hair pointing a pistol at the camera is superimposed on top of an image of a picturesque lake.] -
[A text banner with a warm pastel yellow and green border, which reads "IT CLOSES AT SUNSET", in a rounded-word Art style font. The shadows behind each letter are visible.] -
Art Day, Blue Sky Gallery, P.S. 140, 2019 [Several students and two teachers smiling for the camera in front of their artwork hanging on the wall] -
Zilia Sánchez, Amazonas, 1972, (Amazons), Acrylic on stretched canvas. Courtesy collection of the artist. [7 vertical light blue panels, positioned together, each containing a white circle at about it's center. Within each circle, the canvas of the panel is stretched outward by a dowel.] -
The Colin de Land Library, from The Library Vaccine, Artists Space, 2014. [An angled view of grey, metal book shelves sat towards left frame in the center of a room. The shelves are populated with books of various sizes and colors. In the background, right frame, a table with charis and books sits infront of a wall opening leading to an entrance/exit.] -
Alza Tu Voz, exhibition at Washington Heights Public Library, 2017 [A photo of a front desk in a library - several desks with computers, bookshelves, and a couch are also visible. Four paintings lie on top of the bookshelves, depicting stylized figures against block color backgrounds] -
[A crowd of people standing outside a building] -
Critical Art Ensemble. Public Misery Message: A Temporary Monument to Global Economic Inequality, at Documenta 13. -
Konrad Lueg with Balloons July 1962 Zero Festival, Rhine Meadows, Düsseldorf-Over-Kassel 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 a man in sunglasses holding a large cluster of balloons tied to strings above his head with his left hand.] -
Duncan Campbell Big Fires Start Small, 2010, 3 color screenprint on poster, 25 1/2 x 16 1/2 inches (64,8 x 41,9 cm), Edition of 100, Signed and numbered. [The phrase "big fires start small" is written diagonally against a black background. "Big fires" appears in large bubble text surrounded by flames and "start small" appreas below in white blocky type.] -
["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."] -
Installation view of Jack Smith: Art Crust of Spiritual Oasis, June 22 – September 9, 2018. Courtesy of Artists Space, New York. Photo: Daniel Pérez [A video is projected onto a freestanding wall in the middle of the room. A mannequin wearing a decorative orange costumes stands to the left. In the background, a video monitor sits on a table and framed documents hang on the walls.] -
MTL+. Water Is Life, 2016. Image courtesy the artists [A flyer for the event depicting an anti-DAPL protest] -
Kent Monkman, Still from Dance to Miss Chief, 2010 [Two skewed images of Native American men holding drums on either side of a person in a sheer red dress and mask, posing for the camera.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [A portrait of a purple buffalo photocollaged with of images including objects and people.] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [A metal cutout of a hand, holding up its middle finger with others bent, is used as a holder for neon cards displayed on the wall. The card reads in black text, "High five, girls earned the point, they have a good feel."] -
YAP (Young Artist Perform), P.S. 140, 2019 [Several students sit on the edge of a wooden stage holding printed sheets of paper. One girl reads from her paper while holding a microphone] -
Rirkrit Tiravanija, untitled, 2011 (print mo’ money), 2011, Copper etching plate, Signed certificate. [A printing plate for a $100,000 bill, featuring a portrait of Woodrow Wilson.] -
Union Gaucha Productions Still from Totloop , 2003 16mm film (silent, color), 4 min 49 sec Collaboration with Fabio Kacero Courtesy of Union Gaucha Productions [A still from Totloop, set during the night, featuring an empty model house being light on fire, with a small tree visible to its right.] -
K8 Hardy , Sharing 2014, 2014 , C-print, 23 ½ x 18 ½ in / 59,7 x 47,1 cm (image size), 24 x 18 4/5 in / 60,1 x 47,8 cm (paper size), Signed and Numbered. [A framed photo of a hand in the lower left corner adjusting a skewed image of K8 Hardy partially undressed in a windowed room, looking over her shoulder with her left arm held aloft.] -
Nayiel Walker, Self Portrait, 2018 [An abstract painting, mostly blue, purple, and black, with splashes of yellow and pink. Several of the brush strokes take on a vaguely anthropomorphic association.] -
Bernadette Corporation, Poor BC, 2011/2013, Color inkjet print 10 x 13 ½ in 25,4 x 34,7 cm, Signed and Numbered Certificate. [A halved potato with the letters "BC" is captured on a white ground. In the foreground, "BC" is stamped several times in black paint.] -
Konrad Lueg Boxer , 1964 (Boxers) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Daniela Steinfeld [A painting of two boxers engaged in a match. The bodies of both figures are depicted in grey monochrome with colorful attire. The figure on the left wears orange shorts with blue piping while the one on the right wears green shorts with yellow trim. Both are wearing red and white boxing gloves.] -
Installation view of Jack Smith: Art Crust of Spiritual Oasis, June 22 – September 9, 2018. Courtesy of Artists Space, New York. Photo: Daniel Pérez [On the left, a video is projected onto a whitle wall. A vitrine with documents stands in the middle of the room next to a freestanding wall where a grid of 12 drawings and one to the right hangs. In the background, framed images hang on a black wall.] -
Asia Negron, Untitled, 2018. [A photo of a crosswalk with a red car standing halfway in it, and a small puddle of water in the foreground.] -
Installation view, Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space 2013. Photos: Daniel Pérez [A white wall that reads, "Death Sentence 2009 Love It To Death 1971 Jesse… 989 Moon over Miami 1991-95 Archive," across the top into it's adjacent wall. On the left hang two images; to the right of a column hangs a drawing. Orchid plants sit to the left of the column on the ground.] -
Installation view from Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. 55 Walker, Artists Space, 2013 [A view from behind an angled bar with blue walls. Shelves full of Coca-Cola, liquor, and glasses are visible. On the counter, more Coca-Cola bottles, glassware, and an esspresso machine. A palm leaf is positioned beyond the counter top.] -
[A black and white scan of an invoice from Corcraft Products issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details a net purchase of $603.10] -
Nick Relph, A List of Incorrect Things, 2010, Offset print 6 2/3 x 11 inches, Signed and numbered by Stuart Bailey and David Reinfurt, Text by Nick Relph. [Two pages of red sans-serif text on a white background, titled "Notes:"] -
Metahaven, Transparent Camouflage, 2013. Vinyl prints on dibond, silk scarves, vinyl print,. t-shirts, fenced metal frames. Photo: Meinke Klein. Courtesy the artists [Wired fence is hung in the middle of the room with black frames. Colorful textiles and t-shirts are displayed on the fencing.] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [Three metal cutouts of hands, each displaying a different finger expression, hold stacks of white, blue, and purple cards on the wall.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [Four collages, framed in a grid on a wall. Each collage features the same backdrop of a man stopped in the middle of the road opening the hood a car, the drivers seat door opened. Each collage features a different colored filter, arranged with images of various Indigenous people on reservations, European historical paintings, animals, gags, signs, objects, and detritus.] -
Still from Rainer Werner Fassbinder, Warnung vor einer heiligen Nutte (Beware of a Holy Whore), 1971. [Two men sit at a bar discreetly discussing an event that occurs off-screen. Two other men appear in the background, focused on a separate activity.] -
Laura Poitras: 9/11 Trilogy, Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays a courtroom depiction of two individuals, one with blonde hair and fair skin wearing a suit, the other tan with dark facial hair wearing a keffiyeh. Behind the seated men is an image of a man sitting on the floor, in what appears to be solitary confinement.] -
Felix Gonzalez-Torres. Julie Ault, Miwon Kwon, Robert Storr. steidldangin, 2008. Hardcover, 400 pages. $200. at the Artists Space Bookstore [A blue book cover that reads, "Felix Gonzalez-Torres, Julie Ault."] -
Show and Tell: A Chronicle. of Group Material. Doug Ashford, Julie Ault, Sabrina Locks. Four Corners Books, 2010. Hardcover, 272 pages. $35 . $120 Signed. at the Artists Space Bookstore [A red room containing a pile of miscellaneous items. Yellow text that reads, "Show and Tell: A Chronical of Group Material, Edited by Julie Ault."] -
“Decolonize This Place” sticker outside of The White House [A person's hand holding up a Decolonize This Place sticker in front of the White House, with a security guard visible in the background.] -
Michael Asher, Untitled. Installation view, Artists Space, 1988. [In the corner of a room, close to the ceiling, is an industrial light fixture. The lightbulb is on and faces up towards the ceiling.] -
Paul Chan, Wht is the nture of lw, 2011, Inkjet print and silkscreen on paper, 19 1/3 x 16 1/8 in / 49 x 48,6 cm, Signed and numbered. [A collage-style image. The background is a 19th century-style painting titled "Start of the Famous Race between the Natchez & Robt," drawing from an actual race between two steamboats named the Nachez and the Robert E. Lee in 1870 New Orleans. The painting depicts a maritime scene. It appears slightly ripped at the top, with a black background, and black, blue, and yellow opaque squares appearing in each corner. At the bottom, "THE END" is printed in a square formation. In the center, a printed, black, numbered list is overlaid on top of the painting, with 20 elements. The text reads: "1. Dylan quote: To be just, one has to be against the law / 2. Artist are "natural" lawbreakers / 3. Art synonymous with freedom (against law) / But art is not lawless, it simply followed another law (law as tendency) / 5. Expression is the following of a more natural law (perhaps higher law in line with nature and non-man made law / 6. Diotima? Marcus Aurelius? Hardot / Natural law, nature) / 7. Artmaking is when one discovers a law that one already follows (science) / 8. In the end, it is law against law. / 9. But still, law is sin (St. Paul) and death. / 10. Petrified unrest / manic energy / overproduction / 11. What is truly against the law? / 12. Duchamp / against one's taste / contranatural / (perverse) / 13. Kant = Contranatural is Anti-Christ / 14. His anti-art was in fact a private pleasure forced to live on for others. / 15. Crime and pleasure (≠ happiness) / 16. Crime is what is pleasing only to onself? / 17. Real art is what is pleasing to oneself? / 18. Real art is a real crime? / 19. Adorno quote as Nietzschean bluster / 20. The real crime is that what we do for ourselves is pleasing"] -
Installation view, Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space 2013. Photos: Daniel Pérez [A rectangle of gold foil laying flat on a wooden floor. Light decends through a window and illuminates the foil.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [A large red pole with matching brackets stretches from floor to ceiling, holding up an spread of Artists Space's 1987 *We The People* exhibition catalog. To the left of the pole, a brown paper bag with an illustration of an Indigenous man wearing a ten-gallon hat sits on top of a white desk. To the left of the pole, a bookshelf with floating shelves is partially visible, holding many colorful books.] -
Installation view from Lukas Duwenhögger: Undoolay, Artists Space, 2016. Photo credit: Jean Vong [Multiple paintings are hung on white walls, some in rounded frames, depicting various people in outdoor settings. Suspended from the ceiling is a sculpture in the shape of an inverted cone and covered in artificial plants. Multicolored streamers hang from the base of the sculpture.] -
Laura Poitras: 9/11 Trilogy, Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of a man with tan skin and facial hair, wearing a keffiyeh.] -
Still from Nancy Spero: An Interview, 1982. Lyn Blumenthal and Kate Horsfield, 35min -
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] -
Turning Inward. Sternberg Press, 2015. [A book cover depicting an upside-down photo of a section of Manhattan, taken from above.] -
Installation view of Jack Smith: Art Crust of Spiritual Oasis, June 22 – September 9, 2018. Courtesy of Artists Space, New York. Photo: Daniel Pérez [An image of a man with a Coca-Cola reflection is projected onto a black wall. To the right, a black sculpture with red feathers is displayed on a shelf.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to eachother.] -
Kate Shephard, Paper Bedroom, 2006, Cut paper collage, 13.75 x 10.25 inches (34.0 x 26 cm), Edition of 30. [The image shows a cut paper collage that uses saturated color blocks to define the architecture of a bedroom, including a bed, desk, reclining chair, and other abstracted shapes and figures.] -
Sam Pulitzer, Installation view from A Colony for “Them”, Featuring work by Viral Graphics, Artists Space, 2014 [A black and white illustration of a hand extends upwards, palm facing the viewer, with tentacle like creatures escaping a slit on its wrist. The illustration expands the height of the wall.] -
Rachel Harrison, What the world needs now, 2009, Inkjet print on Ilford Galerie Gold Fibre Silk, 310 gsm 22 x 17 in / 55,9 x 43,2 cm, Signed and numbered [A black-and-white scan of a page of The New York Times newspaper, folded in half lengthwise. A translucent geometric pattern is visible across the image, with washed out pinks, greens, blues, and yellows. The visible story is a continuation from the story featured on the first arts page, titled "Foundation's New Prize To Honor Artists Under 35." Above the title is a photo of Victor Pinchuk, a Ukrainian businessman and art collector. Below the title is six images of "artist-mentors:" Andreas Gursky, Jeff Koons, Damien Hirst, Takashi Murakami, and institutional board members Nicholas Serota and Glenn D. Lowry of the Tate and MoMA, respectively. Each of the six figures has a color wig, bright lipstick, and two have glasses, giving each a goofy appearance.] -
Installation view of Social Surfaces at Pearl River Mart, New York, October 26 - November 1, 2017. Photo: Ron Amstutz [A view of paintings and photographs across three walls in the space. Black columns divide the room, to the left, a sculpture is displayed on the ground.] -
[A screenshot of the google images search results page for the query "the problem with contemporary art is not the contemporary"] -
Louise Lawler, Who Says, Who Shows, Who Counts, 1990. [Three empty wine glasses in a row, each engraved with two words: "who says," "who shows," "who counts."] -
Invitation from Hommage an Schmela (Homage to Schmela) December 9 – 15, 1966 Galerie Schmela, Düsseldorf Estate Konrad Lueg [A scanned image of paper, angled at its forlds, that reads, "Hommage en schemla." On the bottom page are sections of dates with handwritten information.] -
Visit to Nathaniel Mary Quinn exhibition at Studio 94 [Two people hold up reproductions of a painting below the original that hangs on the wall. The painting depicts a collaged face obscured in parts by red, blue, and brown geometric shapes.] -
Detail from “Untitled” (A Portrait), 1991. Felix Gonzalez-Torres, 5min [A grid of 15 black and white monitors, each displaying a unique text that names objects, phenomena, or other nouns characterizing an unidentified subject, such as "a silver sea," "civil disobedience," and "a new lesion."] -
[A flyer for Concert's tour, ending at Artists Space on June 30. The yellow flyer features two black speakers mounted on stands.]
