-
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Two gray silhouettes displayed next to each other on a white wall. In front of them, a gray table displays colorful documents.] -
Seth Price,Postcard Style Place, 2018, 23.5 x 16.5 inches [An image featuring an oblong golden form whose top portion has a shiny, defined metallic surface. Its bottom half, however, has a liquid-like, transparent, and cracked texture. It sits on white background decorated with a swirling yellow line. Blue text that reads, "NEWYORKCITY" emerges from the image's bottom edge and is arranged such that the text reads vertically. Lines composed of small blue dots radiate out from the text's right side, running over the golden form. Small black text at the image's lower left corner reads, "2020Solidarity - Seth Price."] -
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.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Paintins appear on white gallery walls with two sculptures on pedestals on the gallery floor.] -
Jack Smith, still from Hamlet in the Rented World (A Fragment), 1970-73. 16mm transferred to video, (sound, color), 27 minutes. [A figure wearing all black clothing, a black hood, heavy eyeshadow, and a fake mustache looks at the floor.] -
[Collaged image of two naked figures crouching on the shore of a beach as the sun sets. One reaches out to grasp the other’s arm as they stare into each other’s eyes. Below them is a collaged image of a metal, machine-like contraption with looping wires sitting on the ground next to a craggy rock.] -
[A red background with white text which reads: "BDS IS THE FLOOR NOT THE CEILING", followed by the Decolonize This Place Logo.] -
Alan Michelson, Permanent Title, 1993. [Eleven beige sacks of various sizes, depicting text and illustrations, are arranged on a wall.] -
James Sheehan, Halcyon Days, 2000. [An oil painting of a colorful city crowded with buildings.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [Three glass vitrines displaying books, photographs, and other paper ephemera in the center of a gallery space. A film is being projected on the back wall of the exhibition space.] -
Wages of Whiteness in the Art Economy. Poster. Decolonize This Place, 2016. [A black and white flyer with various slogans, from "Black Lives Matter" to "Abolish White Supremacy," printed on the front.] -
Benkert, Ernst. Bars, 1981. [A painting with 5 black vertical rectangles in the center srrounded by indvidually outlined white squares inside a larger black rectangular outline on a white canvas hanging on a white wall.] -
Theresa Hak Kyung Cha, still from Mouth to Mouth, 1975. Video, black and white; 8 minutes. Courtesy University of California, Berkeley Art Museum and Pacific Film Archive. [A mouth silently forms the shape of the eight Korean vowel graphemes while video noise or ‘snow’ threatens to drown it out.] -
Edited by Sophie Collins, Currency & Emotion: Translations (Test Centre, 2016). [A brown and white book cover depicting several forearms and hands wrapped around each other against a dark background.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A female mannequin stands in a gallery space. It is wearing blue trousers and a grey fur coat over a blue checkered shirt. The shirt and jacket are left unbuttoned, exposing the mannequin's breasts, obscured by a large bone necklace.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large white wall with symmetric, geometric patterns drawn on it.] -
Beverly Buchanan, slab works, c. 1978–1980. Cast concrete sculptures with acrylic paint. Dimensions unknown. Courtesy the Frances Mulhall Achiles Library, Artist File, Whitney Museum of American Art. [Installation view of several cast concrete blocks arranged on top of one another and leaning against each other, in two groups, standing on a wood floor.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Small sculptures on pedestals are lined up diagonally in front of a map and various images.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A bookcase displays documents within as well as on top of its glass. Above, right of center, three black and white photographs are hung, in white frames, on the wall.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A grey object with brown surface sits on a white base. A metal antenna extends out on a diagonal.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A silver and gold object sits on a white base. A flat, multicolored surface is attached to the left side, and a metal antenna extends out on a diagonal.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person bends over an electric piano, her hair falling over her face. She is illuminated from behind by a brightly lit wall.] -
Jeff Koon. Installation view, Artists Space, 1983. [A black and white Duratrans on a lightbox of a portrait of a child holding a crayon with a box of crayons and a small book lie on a desk in front of them under their crossed arms. This is on a wall with the plug for the box coming from under the left side.] -
[Catalogue cover design featuring a black and white photograph of a series of animal skulls arranged on a back backdrop. The skulls vary in size and shape, and many have large, fang-like teeth. Small white text running along the cover's lower edge reads, "reconstructions Jim Rittimann march 14 - may 4, 1991 Artists Space."] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of four framed mixed media collages installed on a gallery wall with light shining on them from above.] -
Marlon Riggs, still from Tongues Untied, 55 min, 1989. Credit: Signiyin' Works. [Two men embrace in the background, while a man wearing a black top hat stands in the foreground gazing at the camera.] -
Leila Torres, Self Portrait, 2015 [The bust of a teenage girl looking up and away from the viewer's perspective, with a green, grey and yellow background. On the green section, white text reads, "We have lingered in the chamber of seas. With seaweed both red and brown. Till Human Voices Wake us. And we drown"] -
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] -
Darren Wardle, Jailbreak, 2002. [A symmetrical image of windowless houses rendered in inverted colors with tones of purple, yellow, and pink.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink, holding several sheets of paper, speaks into a microphone. Her arms are draped with masses of cords. A crowd of audience members surrounds her, some seated and some standing.] -
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.] -
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 in front of a seated audience. The figure on the right is speaking, her hand pinched in a small gesture at her torso.] -
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.] -
Local Transit. Installation view, Artists Space, 2006. [Three red, orange, and green fabric rolls are arranged vertically on a white wall. Further along the wall, two marbled, gray and red sheets have been hung low on the wall such that their lower halves drape on the gallery floor.] -
[A man in a sleeveless Metallica shirt stands in front of a makeshift music studio, looking at the camera.] -
Mitchell Syrop. Work Environment Safety Poster, 1982. Photo collage. 30 x 42 inches. [An image with a white background of a large printing machine with black text that reads "ALL MEN ARE CREATED EQUAL..." in the upper left corner and on the bottom right reads "...but only machines have guarantees."] -
Gerhard Richter Party , 1963 © Atelier Gerhard Richter [A black and white painting of five people, dressed in party attire, smiling at the camera. Red paint conveys cuts, stitches, and injuries across their neck, face, and limbs. The woman second to the right of the frame is portrayed with red-toned legs.] -
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.] -
Flyer for Segue Reading Series featuring Hannah Black and Tongo Eisen-Martin. [[Bright mint green colored background with black text in the top half of the image that reads, "Segue Reading Series / Hannah Black & Tongo Eisen-Martin / February 6 / 5-6:30pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."]] -
Louise Lawler. Installation View. Artists Space, 1986 [A yellowish image of a fireplace with paintings, a mirror and a TV monitor next to a line of text that reads: "Once there was a little boy and everything turned out alright. The End."] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dark room with a screen projection showing an image of a man with a partially cut out button down shirt. The sleeves and top button are intact, with the chest and torso bare except for three elastic strips spaced out spanning the torso.] -
Installation View from Recent Art From Chicago, Artists Space, March 8, 1986 - April 5, 1986. [Dirt appears on the edges of the floor and in the plastic clear cases hanging above them in a gallery setting.] -
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.] -
Log Cabin. Installation view, Artists Space, 2005. [Several photographs and TV monitors installed along the length of a white wall in a gallery space. Black vinyl text on the wall's far right side reads, "LOG CABIN" and lists a series of artists. Six photographs are installed to the left of the wall vinyl and depict portraits of clothed and nude figures. A yellow composition on a wooden panel is installed directly above the line of photographs. Three TV monitors are installed on the wall to the left of the photograhs.] -
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.] -
Joel Katz, History Lessons, 1990. Installation view, Artists Space, 1990. [A photograph, taken from above, of rows of school desks facing a television with a map behind it.] -
Charles Harbutt. Calle 59, Merida, Yucatan, 1982. [A city street is visible with a items and people driving by and a motorcyclist. On the sidewalk are people walking toward the camera, but looking in different directions. On the building behind the road is writing that reads, "Estufas Peninsulares, S.A.".] -
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 aviators, talking to a soldier.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large room with a wooden table in the foreground. A standing screen is centered between two white poles, showing a projected image of a white sign with handwritten text reading "DELOREAN DREAM WORKERS NIGHTMARE."] -
[A young deer made out of puzzle pieces with red streamers coming out of its eye and hip, as if bleeding. It is on a multimedia background showing bricks and grass.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A miniature clay sculpture of a man sitting, cross-legged, in an armchair is displayed on a carpeted floor. A curled wire extends from underneath the edge of the carpet where it meets the wooden floor below it.] -
Tony Oursler, Untitled (Talking Photograph), 1996, Photograph mounted on plastic frame with audio recording in custom box, 6 x 7 x 1/2 inches (15.2 x 17.8 x 1.3 cm), Signed & numbered. [The image shows a photograph with a plastic frame. The frame has holes for a small speaker and a button that says, "play." The photograph shows a close-up of a woman's face looking off into the distance while laying face down on white lace. Projected on the side of her face is another woman's face.] -
Hani Rashid, Certain First Principles, 1985. Mixed media with ink, old paint, acids, chalks, 33 x 24 inches. [Drawing of a curving tower with accentuated imagery spilling into the white surrounding areas.] -
Yellow. Performance view, Artists Space, 2008. [A woman is seated wearing a long, yellow dress with a full skirt that has extra fabric at the bottom. She is washing the front of her dress with soap suds, some of which are dripping down the front of the skirt.] -
[A flyer depicting a stylized black body in profile. Handwritten text at the top and bottom edges of the flyer reads, "BODIES OF LIGHT / EXIT STRATEGY / DEC 3RD / DECOLONIZE THIS PLACE / 55 WALKER ST / 6PM-11PM / NEW YORK, NEW YORK."] -
Beverly Semmes, Tree Net, 1989. [A black and white photograph of a sculpture, which sits on the ground near the corner of a room, its wiry frame covered by a transparent mesh material.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
Richard Kennedy Both, 2017. [Three performers stand on a wooden floor in the middle of a room. Two performers on either side are dancing, while the performer in the center speaks on a wireless microphone. The audience surrounds the performers, sitting and standing, illuminated overhead by several round, hanging lights.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A framed photograph displayed on a white wall. The photograph shows multicolored flowers laying on a white surface with a black background.] -
[A crowd of people standing outside a brick building, mingling and talking.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A gallery space with high ceilings and wooden flooring. On the left, three paper collages hang on a two-toned wall. Two videos are projected onto the right wall side-by-side. In the background, a doorway frames a black and white, projected image of a man's face.] -
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.] -
Hito Steyerl, Liquidity, Inc., 2014, HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015. [An angled view of a large ramp leading to a large video monitor screen. The room is tinted blue. On the screen, an iPhone 4 sits on a glass table, it's lock screen on view; the time reads, "4:39"] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink steps over a mass of wires. She is illuminated from behind by a bright, white wall. In the foreground, dimly lit figures face varying directions.] -
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.] -
Installation view from International Projects: Belgium, featuring Didier Vermeiren, Artists Space, 1984 [A black and white image of a sculpture resembling a rectangular prism displayed in the exhibition space.] -
[A pair of leather boots and a power strip rest underneath a blue, wooden chair on a concrete floor.] -
Dionis Diaz, self portrait, acrylic on paper, 2019 [This painting depicts a figure comprised of geometric shapes in saturated pinks, greens, yellows, and blues on a purple background. The arms, neck, and parts of the face are decorated with blue swirls and a brown, broken heart-like shape lies on top of the figure's chest.] -
Andre Cadere, 11 December, 1976, David Ebony Gallery, New York, 13.00 to 17.30, Photograph by Gianfranco Gorgoni Digital print Image size: 10 x 8 in / 25,4 x 20,3 cm Paper size: 11 x 8 in / 27,9 x 21,6 cm Signed and numbered certificate [Black and white photo of Andre Cadere holding a striped stick over one shoulder and crossing the street in New York City.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [On the left, two cream-colored folding chairs sit underneath a clear lampshade descending from the ceiling. On the right, the back of a projection screen is positioned between two standing speakers. A monitor sits on the ground beneath the screen.] -
Neraldo de la Paz, Angel, 1982. [A figurine human head and hands appear from an amalgamation of various objections and materials hanging on a white wall.] -
Catalog cover from polke / richter – richter / polke , 1966 galerie h, Hannover Courtesy August Haseke [Black lower case text on a red page reads, "richter/polke, polke/richter."] -
Don Baum, Safe, 1984. [A black and white photograph of a sculpted, rough-hewn house-like object with a black background.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A small device with a screen and cables is stuck to a closed door with a glass window and safety guard. The screen displays a blurred close up image of two hands grazing one another.] -
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?] -
[A dirty, gray tile floor with small wisps of hair scattered across it.] -
[An older man in a white collared shirt, pink tie, and black vest leans against a shining countertop—perhaps a bar—with both hands. A restaurant interior and fishtank gleam behind him.] -
Adam Pendleton, Title TK, 2010, Silkscreen with embossing on Somerset Satin 500 gsm, 17 ¼ x 23 ½ inches, Signed and numbered. [A white rectangular image with an opaque black circle in the center right, and a capital D outlined in black in the top left of the image.] -
Jack Smith, Untitled (Plaster Foundation of Atlantis), 35mm slide, c. 1970. Copyright: Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels. [An assortment of fake flowers, tinsel, a disfigured mannequin's leg, used tissues, empty whiskey bottles, and other festive detritus.] -
Gary Falk, Brigid Kennedy, Ladd Kessler, Peggy Yunque. Installation view, Artists Space, 1981. [A dim photograph of hanging sculptures and multiple objects on white pedestals.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging in a white-walled gallery space.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of paintings hanging on the walls of a large gallery space with white walls. The work closest to the camera is a realistic painting of a baby, shown for the waist up.] -
Allan Berliner, still from Intimate Stranger, 1991. [Black and white image of four men resting near a large, rigged tarp providing shade on a beach. Three of the men sit and recline on the sand, wearing white button-down shirts and trousers. The fourth man wears a hat and stands behind the men.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Galerie Schmela (1966),” Artists Space, 2014. [A white table with various documents sits in the ceter for a room. On the right, a televsion displaying a man walking sits on a pedestal. In the background, a black and white image of a crowd at a dinner table is displayed.] -
Installation view from Six Sculptors, Artists Space, January 25, 1986 - February 22, 1986. [In the foreground lies a silver sculpture with varying levels and in the background is a table with a checkered design on top. An image stands on that table and a stool can be seen behind it.] -
Liberalism at Large: The World According to the Economist, by Alexander Zevin, published by Verso Books, 2019. [A digital image of a red book title, overlaid several times on top of itself. A world map centered on the Atlantic ocean is visible in orange beneath the title.] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [A large sculptural abstract black object standing upright on the gallery floor behind a white wall.] -
Untitled (Dealers in a round table dialogue, Basilico Fine Arts, July 18, 1996), 1996 Duratran lightbox 3 x 8 feet Image courtesy Artists Space, New York Photo: Filip Wolak [A lightbox displaying a group of sitting and standing individuals. Behind them is a wall of small photographs and artworks. ] -
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996. [A person looks at several sheets of paper with text and black and white photographs mounted on a wall. Hanging just above the papers is a sculpture of a human head with blonde wig.] -
[A grid of yellow hearts on a pink background.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Two unframed paintings are hung on a foldable room divider in a gallery. The larger painting depicts the interior of a classroom with four ambiguous figures. The smaller painting shows a man poised mid-dance.] -
Flyer for Segue Reading Series featuring Diana Cage & Jackie Ess. Saturday March 20, 2021, Artists Space. [[A yellow colored background features black text in the top half of the image that reads, "Segue Reading Series / Diana Cage & Jackie Ess / March 20 / 5pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."]] -
Excerpt from Hito Stereyl, Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy of the artist and Andrew Kreps, New York. [A moving image of a person, dressed in black, side stepping slowly in the gallery as the camera pans over to them.] -
View of Vigilance: An Exhibition of Artists Books Exploring Strategies for Social Concern , Curated by Lucy R. Lippard and Mike Glier Franklin Furnace, 1979 Courtesy Mike Glier [A woman sits, left of center, at a table filled with books. On the wall behind her, a banner with red text that reads, "...Pessimism of the intellect, Optimism of the will... Gramsic," is displayed.] -
Screenshot from Tan Lin's Bibliographic Sound Track, 2012. [Screenshot of two vertically oriented rectangular shapes, one white and one blue. Fragments of text appear in both rectangles, spelling out phrases like "17 black random [marks on] : lemon," "Particles disable rendering [ I ]," and "Etc. a state to each other."] -
Colin MacCabe, Godard: Images, Sounds, Politics (Macmillan, 1980). [A bifold book cover. A picture of a woman singing into a microphone bleeds across the front and back cover and the title of the book is written in a blocky yellow font.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Haim Steinbach. [View of colorful panelled designed wall with shelves holding plants and other items. A blue desk with pamphlets on them is visible in the front left corner which is near a doorway into another room.] -
Carol Sun. Prospect Park Series - Ornithos, 1987. [Dark drawing with white curved shapes in lines visible in the center with a perspectival depth.] -
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.] -
Photo Wall at P.S. 140, Nathan Straus, 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".] -
Audrey Glassman, Untitled, 1983. Cibachrome, 28 x 42 inches. [A nude figure is seen sitting in a pool of water in the corner with ceramic tile wall paneling behind them. Sharp lighting accentuates the top half of the image where the face of the figure is, staring into the camera.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Six orange papers arranged in a rectangle are painted with the letters "DMC SIT-IN" in black text.] -
Collier Schorr, Traitor, 2001-2004. Courtesy Modern Art, London. [A black-and-white photograph of a man sitting down against a gray background wearing a Nazi uniform, holding a basket of apples.] -
Gedi Sibony Animal Scramble, 2013, Archival inkjet print, 14 1/4 x 13 1/2 in / 36,2 x 34,3 cm (image size), 24 x 20 in / 61 x 51 cm (paper size), Signed and Numbered [Assorted animals, including tropical fish, birds, reptiles, a cat, dog, and rabbit are drawn in black marker on yellow paper.] -
Ian Bader. Spalation Clock, 1977. Section 1. [Architectural drawing on center of page with white surrounding it.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
[A black and white, portrait photograph of a woman at the beach. She wears sunglasses and has short, curled hair.] -
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
Model Modernisms. Installation view, Artists Space, 2005. [Several small, model-like black sculptural forms displayed on low wooden supports in the center of a large gallery space with wooden flooring. A large wall decal featuring eye-like forms and swirling, dripping stripes of color covers the wall to the left of the sculptures. Additionally, several framed 2D works hang on the back gallery walls behind the displayed sculptures.] -
Unholding. Installation view, Artists Space, 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.] -
[An image of a woman riding a bull through a green bank note. One hand holds on to the reins of the bull, the other scatters bills. She wears a yellow dress that is opening at the top.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of multiple works including a blue gallery wall displaying dynamic images hung by large push pins and a demolished wall.] -
[A yellow stamp reading, "W.A.G.E." overlaid with pink text reading, "Working Artists and the Greater Economy."] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A wooden door opens on a view of a tiled, single-user bathroom. To the right of the room is a small, porcelain sink and warped mirror. Behind the sink is a tan toilet below a thin window.] -
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.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
Amelia Bande. Stills from El estallido / The Outbreak, 2020. Recording of a live performance held over Zoom on August 7, 2020. Stage design and camera collaboration with Rachel Higgins. Courtesy the artist. [Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”] -
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.] -
Harris, Cheryl I, "Whiteness as Property." Harvard Law Review. Vol. 106, No. 8, June 1993. [The title and table of contents page of an essay published in the Harvard Law Review.] -
[A dark illustration featuring a small, white dog at the composition's lower left edge. A black, inky background vaguely resembling a forest surrounds the dog, who pauses mid stride to glance behind itself.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A painting can be seen on the right adjacent to walls with a number of posters on them and a window. A sculpture on a pedestal can be seen in the background. A curving ceiling is visible above.] -
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.] -
Ian Bader. Spalation Clock, 1977. Section 2. [Drawing of architectural section in center of paper with white surrouding it.] -
Group Exhibition. Installation view, Artists Space, 1981. Photo credit: Anne Turyn. [Figurative paintings hang on adjacent walls in white-walled gallery space.] -
The Library Vaccine. Installation view, 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.] -
[A moving gif of a paper diagram blowing from the wind of a computer device. The top right corner of the machine reads, "StarTech.com"] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Martin Cohen. [A black and white photograph of a multicolored globe sitting on a wooden floor.] -
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"] -
Sharon Hayes, Symbionese Liberation Army (SLA), 2002. [Stacks of labeled VHS tapes of varying heights arranged against a white wall.] -
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] -
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.] -
Tom of Finland Untitled , ca. 1968 Collage on paper Tom of Finland Foundation, Permanent Collection [Collaged images of pairs of half-naked men in various poses and positions.] -
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.] -
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"] -
[On a muted pink background with a wavy green line running across the page, text in a darker pink and black reads: segue X artists space virtual readings / Zoom meeting ID: 378 232 567 / $5 suggested virtual door: / PayPal/seguefoundation / all proceeds go directly to readers.] -
Patricia Caire. Installation view, Artists Space, 1980. [Three figurative paintings hanging on walls in a gallery space.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Five figures standing before a set of music stands. The figure closest to the viewer stands in profile and gazes ahead, while two figures directly behind them look towards him with furrowed brows.] -
Konrad Lueg Mr. C & A, 1963 © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Daniela Steinfeld [A color-blocked, red and grey, illustration of man's head with a blue hat turns toward the left of the frame.] -
Peter Saville, Bespoke archival box with hand-marbled paper and band, 24 1/2 x 20 1/2 x 1 1/2 in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A print of marbled, amorphous forms in blue, grey, and white is centrally intersected by a horizontal orange band.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall with twenty-four framed photograms arranged in an eight by three rectangle.] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500 [A brown and green object sits on a white base. A blue flat surface is attached to right side of the object, and a metal antenna extends on a diagonal.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Miniature houses constructed of documents are displayed in the middle of the room on vitrines. A purple and yellow collage hangs on the back, left wall. The right wall displays colorful paper bags and a video monitor projecting an image of a robotic animal.] -
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Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in a baseball cap stands beside a table covered in scattered drinks and a laptop, typing on the computer’s keys.] -
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Tiffany Sia, The Bastard Scroll (detail), 2020. Ink on paper. [A piece of white paper with perforated edges displays vertical black Chinese calligraphy. English text in black above the calligraphy reads "Too Salty" and below "Too Wet."] -
[A sleek, computer-rendered form against a black backdrop. The form has a disk-like shape with various extensions radiating out from its center. Parts of it appear to glow red or yellow.] -
Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A diptych drawing of one figure sitting cross-legged on the left and another figure lying down next to flowers in a vase depicted on the right.] -
Entrance to Marble Cemetery. © Paula Court Photography, 2018. [A black metal gate with raised letters that read "New York Marble Cemetery, Incorporated 1831" with several inflatable lobsters attached to the gate.] -
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.] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
Works by Philip-Lorca diCorcia. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [Photographs hang on a white wall. On the left, two black and white portraits are stacked vertically. In the center, a row of five color photographs includes a person sitting in a lounge chair and a person in a hospital bed. On the right, the edge of a painting in visible.] -
Neil Goldberg, Fortune 500 Dream Fax Project, 1996. [A wall with pink pieces of paper arranged in long columns, floor to ceiling. In front of the wall there is a single white pole, and a metal stepladder.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A view of five vitrines, displaying various documents, arranged in columns in the middle of a room. On either wall, book cases used for display.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Several framed artworks hanging on a black gallery wall. A large yellow frame hangs on the left side of the wall while on the right, four smaller anthropomorphic drawings are displayed.] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular panels and tiles of varying dimensions installed on a white wall. The installed elements are positioned adjacent to one another, forming a larger irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text or line drawings.] -
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.] -
[Three book covers, arranged in a triangle, with title text reading from top to bottom, left to right, "Danger In Dusseldorf," "Die, Chastrommel," and "Berliner."] -
Gerome Kamrowski. Hopeful Monster, 1980. [A number of colorful animal-like figures appear in space with a white background.] -
[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."] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large, rectangular wall is suspended at the center of three vertical poles in a bright room. The wall is covered in abstract, smooth and multicolored shapes. Amongst the shapes there are several figures of different ages and dress performing different tasks. One raises his fist in the air. Two identical looking boys stare at the viewer. Another figure wears a hat with rabbit ears.] -
Anne Walsh + Chris Kubick, Room Tone, 2007. Sound Installation. Courtesy the artists. Photo: Bill Orcutt. [A carpeted gallery with two benches. One wall is painted dark gray and on it are two audio speakers mounted on either side. Between them are eighteen sheets of paper attached to the wall and lit with a spotlight.] -
[A color photographic picturing two figures who sit watching a television screen, their backs facing the camera.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017); edited by Nina Felshin, But Is It Art?: The Spirit of Art as Activism (Toronto: Bay Press, 1995). [A collage of images including book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," displayed alongside images of protestors holding up banners reading "Decolonize This Place" and a large banner draped across a clocktower that reads, "Free Education to All."] -
Scott Burton, Pastoral Chair Tableau, 1971 – 1974. [A stage set with a blue curtain, in front of which sit 6 chairs facing different directions.] -
Model Modernisms. Installation view, Artists Space, 2005. [A series of small, black and white photo-collages displayed in white frames on a gallery wall. The collages depict various interior spaces overlaid with geometric cut-outs of other photographic images.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [Black and green sans-serif text decorating a white gallery wall. Large, green text stacked vertically reads, "lines of loss." Smaller, black text superimposed over each of the green lettered words reads, "gabriel kuri damian ortega manuel rocha mauricio rocha guillermo santamarina." A small wall label below the text notes the exhibition's sponsors.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A large red carpet extends across the length of an exhibition space next to a windowed wall. A long line of framed photographs lean against the windowed wall. Two figures examine the photographs and additional artworks displayed in the space's background.] -
[A collection of cartoonish monsters, cutout photographs, and medieval-style drawings are collaged onto an abstracted pastel image of a sunset peeking out over ocean waves. Green, red, and blue text in serif font reads: "The Segue Reading Series & Artists Space present / a virtual reading by / Shane McCrae & Bob Perelman / Saturday, 4/25 / 5pm NYC time / Zoom ID: / 378 232 567.] -
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.] -
Nick Mauss, So long, 2013. Ceramic plaque, 11 x 15 inches. Courtesy the artist and 303 Gallery, New York. [An abstract painting composed of central strokes of light orange paint framed from above and below by two stripes of blue paint at the composition's top and bottom edges. Black paint markings punctuate the wash of orange color.] -
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.] -
[Two shirtless men doing the splits on top of large boulders outdoors.] -
Beech Forest. Performance view, Artists Space, 2007. [Three standing lights point to illuminate a white wall. Standing beside them facing the wall is a figure wearing a coat and a hat with her hands lightly clasped behind her back. Barely visible on the wall beside her are stenciled outlines of trees.] -
T.J. Wilcox, I Fell in Love With Vanessa Redgrave, 2010, Perfect bound flip book 4-page cover plus 100 pages, 50 in color, with a text by the artist 3 x 6 1/2 x 3/4 inches, Signed and numbered [An image of a woman with frizzy hair, smiling and looking past the viewer. The image is slightly distorted, as if from a VHS tape.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Photographs hanging on a wall in a gallery space.] -
Mark Morrisroe. Kathy's Goldfish(1985). © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. [A slightly blurry photograph of a yellow-toned fish tank at close range. There is a white border on two sides of the photograph with handwritten text on it.] -
Christopher Williams. Bouquet for Bas Jan Ader and Christopher D’Arcangelo, 1991. . Archival corrugated board, archival photocorners, compound, 4-py conservamat, 8-ply conservamat, drywall, dye transfer print, glass lacquer-based finish, linen tape, nails, Northern maple, plastic set back strips, primer, screws, seaming tape, paint and wood.. Print: 16 x 20 inches [40,6 x 50,8 cm]; 29 x 32 5/8 inches [73,7 x 82,9] (framed). Wall: 120 x 180 x 4 ? inches [304.8 x 457,2 x 12 cm]. Overall: 120 x 180 x 6 ? inches [304.8 x 457,2 x 17,2 cm]. Edition: 1/8. Edition size: 8 and 3 artist’s proofs.. Private collection, Berlin. Courtesy: Galerie Gisela Capitain, Cologne. . Installation view from Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979), Artists Space, 2011. . Photo: Daniel Pérez -
Scanned slide from an untitled photo shoot featuring Smith as the Lobster, c. 1970s - 1980s. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels [A film photograph of a person in a black dress and red cape, advancing across a checkered floor towards a small plastic penguin wearing beaded jewelry and a red feathery crown.]
