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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.] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
Still from Kids of Survival: The Art and Life of Tim Rollins & K.O.S., 1996. Dayna Goldfine and Dan Geller, 87min. [Two people seated at a table covered with assorted art supplies.] -
Installation view from Documenting Cadere: 1972 - 1978, 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.] -
Danica Barboza, Omnia - Mercurial, Interposition. Installation view Galerie Buchholz, Cologne 2019. [On a white wall two artworks on paper and of the same size hang side-by-side. On the left, nine pencil drawings in no order depict the same figure from different angles. On the right, nine small blocks of text with white letters on a black background sit in orderly 3 x 3 rows.] -
Hito Steyerl, Liquidity, Inc., 2014, HD video with sound, 30 mins Courtesy of the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015 [A side view of a large video monitor screen, sitting on the ground, with a large ramp extending from the base. Two viewers sit on large pillows at the curve of the ramp. The room is tinted blue. On the screen, there is a man in a sitting in an office with a note pad and a pen at the table in front of him.] -
Still from On Art and Artists Series. Andres Serrano: What Follows…, 1991. University of Colorado, 31min [Andres Serrano wearing a dark blue shirt and looking at the off-camera interviewer mid-speech.] -
“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.] -
Blue Sky Gallery exhibition P.S. 140, 2019 [In this photograph, eleven people pose for a picture in front of drawings and paintings that hang on the wall. Most stand while three kneel.] -
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.] -
Frederick Weston SoBar, collage, 2018. [The Mr. Peanut brand logo in color, surrounded by black-and-white imagery, most prominently a boy carrying a bindle.] -
Bernadette Corporation: 2000 Wasted Years. Installation View, Artists Space, 2012. Photo: Daniel Pérez. [Overview of a large black glossy structure built in a gallery. The "bc" logo is visible, printed in white on one of the structure's walls. A TV depicting an abstract, colorful image and the word "EVERYWHERE" is hung on an upright rolling stand, visible through an opening in the structure.] -
L–R: Mimi Bai, Julian Irlinger, Gabo Camnitzer. Photo: Gustavo Murillo Fernández-Valdés [A wooden table with two chairs displays multiple miniature chairs on the left of the frame. A kite hangs from the ceiling in front of a colorful carpet, chairs, and a video monitor.] -
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.] -
Front Yard Exhibition Galerie Parnass, Villa Jährling, Moltkestraße 67 February 1964 Photo: Rolf Jährling, Zentralarchiv des internationalen Kunsthandels ZADIK [A black and white image of four men, dressed in coats, standing on a walk way leading to the door of a building. On the ground sit several painting leaning against walls and trees.] -
Jean Fisher [Black and white photograph of Jean Fisher looking to the right.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [A photocollage of the same image, a man opening a car hood, repeated 14 x 4 times includes has been altered with white, yellow, and black paint in individual photographs. These include scenes such as fire, melting, and the addition of new characters.] -
Still from Supersurface: An Alternative Model For Life On The Earth, 1972. Superstudio, 26min. [Six people are seated and lounging in a digitally rendered landscape.] -
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] -
[A lamp pole, left of center, in an upward angled view of a sunny, cloud covered sky. The pole has a coiled wire running upward to a security camera mounted on it's top.] -
Maryanne Amacher. [An orange-tinted image of a woman partially obscured by a table full of electronic equipment and a large plant.] -
Tom of Finland Untitled , ca. 1975 Collage on paper Tom of Finland Foundation, Permanent Collection [Several portraits of men in various shapes, sizes, and colors, layered on top of eachother.] -
Concert, 2013 Tour. [A flyer for Concert's tour, ending at Artists Space on June 30. The yellow flyer features two black speakers mounted on stands.] -
Konrad Lueg Babies , 1967 80 copies + 40 artists proofs, signed and numbered screen print on cardboard, 59 x 83 cm Courtesy of Edition Block, Berlin [Six rows of six small, faded images of a child in various poses, positioned at left center of frame.] -
Poster from polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [Black, rounded text on a white background reads left, "galerie h, hannover, alleestrasse, gh;" right, "POLKE/RICHTER, Pop?, Kapitalistischer, Realismus?"] -
John Neff, Authorization Sessions Set, 2018, Manhattan Project, 2016–2018, Artists Space, New York, 2018. Photo: Daniel Pérez [A monitor on a wheeled stand is displayed in the corner of two white walls. The monitor projects an image of a dark beverage in a martini glass, and two water glasses on a table. A green office swivel chair with headphones is placed in front.] -
Sam Pulitzer, Installation view from A Colony for "Them", Artists Space, 2014 [An angled view of a white wall displaying text. The first sentence reads, "A plea for funds seems to come again." On the back ajacent wall is a dark, cloud like representation of a portrait.] -
Photo of performance of Guilt for Shame. Artists Space, 55 Walker Street. August 22, 2013. Photo by Lyndsy Welgos. [A man stands, motioning towards at an LED light sculpture hung on the wall. A woman sits on one of three benches circling the man, and the audience is seated on the floor behind them.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to eachother.] -
The Hazards of Work, Patrick Kinnersly, 1973, Pluto Press, Book. Design by Richard Hollis. [A blue shirt sits folded on a table with a book inside its pocket. Next to it, a book with text on the cover that reads, "The Hazards of Work: How to Fight Them."] -
Guy de Cointet, Tell Me, 1979. Performance at MoMA, New York, February 1980. Performed by Helen Mendez, Jane Zingale, Denise Domergue. Courtesy Guy de Cointet Society and Air de Paris, Paris. Photo: Kira Perov. [Three people, bent over each other looking at an open door.] -
[Two Artists Space tote bags lay in the autumn grass. One is black with a white line drawing, the other is pink with a black bold graphic.] -
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"] -
Poster for Schizo-Culture colloquium. Columbia University. November 13 – 16, 1975. [A poster with a white background and red text, listing a number of talks and workshops conducted by Sylvère Lotringer, John Rajchman, Arthur Danto, James Fessenden, Jean-François Lyotard, Robert Fine, Joel Kovel, François Péradldi, William Burroughs, Félix Guattari, Michel Foucault, John Cage, Ti Grace Atkinson, and Gilles Deleuze.] -
Liam Gillick, Thinking, 2010. Inkjet print on Sunset Cotton Etch 285 gsm. [A black and white graphic illustration of a primitive man with leaves encircling his head and his waist, leaning on a branch. The thought bubble above his head reads "Thinking more about production than consumption..."] -
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 the Hamdan vs. Rumsfield Supreme Court Case.] -
Jean-Michel Wicker. wee willy wanted (la rivoluzione siamo me), 2013 [A black-and-white image of a man, a white bar with text, that reads "WANTED," covers his face. Below, a white bar with text that reads, "wee willy."] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [Three large windows are covered with a sheer fabric that includes faded printed text and images. Two gray silhouettes are displayed on the adjacent wall to the left. To the right, an electrical panel with exposed wires sits in the corner.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. [A man stands on one foot on a half-rolled yoga mat, holding out a baby doll as if to throw it. Two people behind him are bent over yoga mats, mid-movement. A crowd of people stands around the group watching.] -
Hito Steyerl, Guards, 2012, HD video on freestanding screen with sound, 20 mins, Courtesy of the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015 [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, gesturing towards the viewer with both hands together, is on the back wall.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[An abstract, multicolored squareish sculpture standing on a white base. A potato sits on top of the sculpture with a wire plugged into the top. A 9v battery is affixed to the side of the sculpture, connected to two comptuer chips affixed to the front.] -
Morag Keil. Posters, 2014. Inkjet prints (series of four). [A flyer showing black and white photos of NYC housing developments, and an orange column with text that reads, "HOUSING DISCRIMINATION IS AGAINST THE LAW! Fair housing is a human right protected by the New York City Human Rights Law. Under the New York City Human Rights Law, you cannot be denied housing because of your actual or perceived race, age, disability, gender (including gender identity and sexual harrassment), sexual orientation, marital status, partnership status, alienage or citizenship status, lawful occupation, lawful source of income, or because children may be residing with you."] -
Image of a Mach-Zehnder Interferometer provided by Constantina Zavitsanos and Amalle Dublon [An embossed image of an Inferometer shooting green lasers to its right and left.] -
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."] -
Installation view from Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. 55 Walker, Artists Space, 2013 [An ashtray with the text, "Martini," three Schweppes bottles, six Coca-Cola bottle, and 9 drinking classes arranged face down on a silver platter are displayed on a white counter top.] -
[Red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org” are overlaid on an image of a face obscured with white plaster.] -
[An equilateral triangle colored gradient white to purple from the left corner to the right corner.] -
Mélanie Matranga, Not, 2014 [A black and white line illustration of a person shaking in the middle of room. The open windows depict a wind blowing papers into the space.] -
Gerhard Richter, Schloß Neuschwanstein, 1963 (Neuschwanstein Castle). Courtesy Atelier Gerhard Richter [A blue and green, abstracted watercolor illustration of a white castle settled in a landscape.] -
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.] -
[Graphic logo reads I ♥ John Giorno in red text] -
View of Everything is About to Happen : An ongoing archive of artists’ books selected by Gregorio Magnani Courtesy Corvi-Mora, London and Greengrassi, London Photo: Marcus Leith [Angled view of wooden table top covered with an organized assortment of cards, books, and paper materials, displaying images and texts, in various positions.] -
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John Neff, Tony Greene Movie, 2014 – 2016, Artists Space, New York, 2018. Photo: Daniel Pérez [Two blue chairs face a monitor that projects a still image. Framed windows in which three curtains have been tied to look like bodies in dresses.] -
Danh Vo, Chevrolet Suburban, 2010, Digital C-print, 16 x 24 in / 40,6 x 61 cm Photo, credit: Thomas Cato Signed and numbered sales receipt. [A close-up photo of the front grille of a car, depicting the bottom half of the Chevrolet logo and a section of the front metal grille. Several bugs are visible, dead and stuck to the grille.] -
Image courtesy Anne Gillis and Blank Forms [Photo of a woman partially obscured by a white umbrella. A light shining on the umbrella creates a shadow of the woman's hand.] -
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 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 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.] -
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"] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [A decorated paper bag on a shelf. Blue ferns have been illustrated onto white, red, and pink backgrounds.] -
L–R: Greg Lindquist, Filipe de Sousa, Julian Irlinger, Dana Buhl Sophia Dawson. Photo: Stephen Sewell [From left to right: three yellow toned paintings hung at eye level, four black viewing boxes, two portraits sitting on the ground.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [A miniature home crafted out of printed and handwritten material is displayed on a vitrine. At the front of the house above the doorway reads, "CHEROKEE PHEONIX & INDIAN ADVOCATE." Two other homes can be seen in the background.] -
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 several cast concrete blocks arranged on top of one another and leaning against each other, in two groups, standing on a wood floor.] -
Bernadette Corporation: 2000 Wasted Years. Installation View, Artists Space, 2012. Photo: Daniel Pérez. [Three television screens hung on a gallery wall, two oriented in portrait and one in landscape, their cords loosely falling to the ground and run beneath a door. On each screen, one or several figures is showcased mid-speech or movement.] -
Hito Steyerl, I Dreamed a Dream: Politics in the Age of Mass Art Production, 2013, Documentation of a lecture given at Former West, Haus der Kulturen der Welt, Berlin, March 2013, Two channel HD video with sound, 29 mins 28 secs, Courtesy of the artist. Installation view from Hito Steyerl, Artists Space, 2015. [A monitor suspended in the middle of the room on a pole displays an image of Hito Steyerl speaking at a podium. Stacks of pillows, forming a seating area, surround the view of the monitor.] -
Emily Garcia, Princess Swan, 2013 [An abstract, colorful drawing, with several geometric patterns overlaid with freehand flowing shapes.] -
Arts and Family Engagement evening, student panel on high school portfolio preparation, P.S. 140, 2017 [A classroom setting with several students and adults sitting across the room at desks and tables, looking at a teacher speaking to them in a corner of the room] -
Chinatown Art Brigade and The Illuminator Here to Stay, September 24, 2016 Courtesy Chinatown Art Brigade. Photo: KahEan Chang [A view of Chinatown at night, with a projection onto a side of the building that reads, in handwritten text, "Gentrification Is Modern Colonialism! #ChinatownNot4Sale". The top of a BigBus tour bus is partially visible at the right corner of the frame.] -
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.] -
United Melanin Society & Decolonize This Place, Bodies of Light: Exit Strategy, 2016. [A flyer for the event depicting a stylizied black body in profile.] -
Bookstore at 55 Walker Street. [A photo of the bookstore at 55 Walker Street - the front half is a bookstore, while the back half is an empty exhibition/performance space. Both have white walls and a light wood floor. They are divided by a temporary wall with a large doorway, which leaves a large gap between the top of the temporary wall and the ceiling. The back half is empty, with windows letting in light on the furthest wall. The front half has bookshelves adorning the walls, with a lower shelf to keep some books on display. A red pipe runs floor-to-ceiling between two columns of shelves.] -
Shayla Aviles, Untitled, 2018 [A mostly black-and-white image depicting the façades of two buildings - one is light grey with a turquoise fire escape, and the other is dark grey with a black fire escape. On the lighter building, the street-level storefront says "Mazeish"] -
Chinatown Art Brigade and The Illuminator Here to Stay, September 24, 2016 Courtesy Chinatown Art Brigade. Photo: KahEan Chang [A view of Chinatown at night, with a projection onto the side of a building which reads "Save Chinatown" with its own image of Chinatown storefronts underneath.] -
![The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='2100' height='1661'%3E%3C/svg%3E)
Amy Sillman, MoMA Opening, 2007, Archival ink jet on Somerset Paper, 14 x 16 3/4 inches (36.6 x 42.5 cm), Edition of 17, 10 AP, 1 BAT, Courtesy the artist and Sikkema Jenkins & Co., Printed by Jean-Yves Noblet Contemporary Prints. [The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left] "I curated the next show! You'll love it! I just like what you do, right up your alley!" [top center] "This is my work but the wall label is really wierd..." [bottom left] "Oh! You two split up?! I had no idea! Two years ago? Goodness! I remember when you went on your first date! Your were so happy! Are you seeing someone new?" [bottom right] "I love your work." On the bottom right is written "MOMA opening 9-06."] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. [A man stands in the center of a room holding numerous baby dolls, surrounded by several performers striking yoga poses and a small crowd. A makeshift geometric metal structure stands next to him, with a baby doll sitting in a crease of the structure.] -
Zilia Sánchez. Soy Isla. Compréndelo y Retírate, video still of documentation from performance, 2000. [A VHS recording of a person holding an object on the beach.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A bright yellow object with a cracked surface is embedded with a computer chipboard on its front, and a multicolored fidget spinner on the top.] -
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 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.] -
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 from Tom of Finland: The Pleasure of Play, Artists Space, 2015 [A wall of pornographic illustrations displayed in frames at eye level.] -
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Tracy Benissan, Untitled, 2014 [A drawing of several glasses of varying shapes holding colorful liquids suspended on a flat background] -
Ian White, Here Is Information. Mobilise. (LUX, 2016). Image courtesy Tenderbooks. [A blue book cover with white text that reads "Here is Information. / Mobilise. / Ian White."] -
Installation view from Tom of Finland: The Pleasure of Play, Artists Space, 2015 [An angled view of vitrines and book cases displaying collages.] -
Michele Abeles, 5507, 2016, Digital C print , 18 x 12 in / 45,7 x 30,5 cm , Signed and Numbered. [A woman dressed in black uses both hands to hold her phone to an ear while looking off to the right. A product scanner in the foreground suggests a retail setting.] -
Tilo Schulz, Remake Performance, Artists Space, 2004. [Two men walking inside a large inflatable sphere being followed by a crowd of people, some who are filming them, outside in a grassy and paved area.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [A brown paper bag, placed on a shelf at an angle, an illustration, in colored pencil, of a man wearing a ten-gallon hat, in which his strands of black hair stick out from the bottom. A graphic that reads, "Pioneer," across his hat. In the background and the side of the bag are small detailed multicolored line patterns. A single cannabis leaf, facing sideways amongst the line pattern.] -
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.] -
Peter Jemison, Crows in Winter (Paris), 1980s. [A yellow paper bag with handles, detailed illustrations across its sides. At the front is a drawing of two large crows. Intricate line designs in the background and along the handles. On the side of the bag is a barren tree, with small dots indicating snowfall, and a fence that stretches in the background.] -
Tom of Finland, Untitled, ca. 1966, collage on paper. Courtesy Tom of Finland Foundation, Permanent Collection. [A collage of four half-naked men dressed in a pilots hat arranged on paper.] -
The Library of Helen DeWitt, from The Library Vaccine, Artists Space, 2014. [A seven shelf, white, book case is housed full of various colorful and sized books.] -
Still from Vera, 2003. Jason Simon, 25 min. [A woman seated on a couch is captured in mid-laughter.] -
Artists Space logo designed by Louise Lawler, 1978 [Artists Space logo, a capital letter 'A' inscribed in a circle] -
Collaged postcard by Sigmar Polke and the Hoehme class to Gerhard Hoehme Not dated (ca. 1965/66) Gerhard and Margarete Hoehme-Stiftung, Museum Kunstapalast Düsseldorf [A postcard containing an illustration of a house with collaged materials on top. At the bottom is the back of the post card, with a handwritten note.] -
Installation view from Documenting Cadere: 1972 - 1978, Artists Space, 2013. Photo: Daniel Pérez [A small strip of pixeled colors is displayed left of center above a large window looking out onto a building.] -
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] -
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"] -
Installation view, Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff, Artists Space, New York, 2018. Photo: Daniel Pérez [Two monitors are hung on a white wall. On the left, an image of a man crouching in a room with a chair sitting on the ground behind him. On the right, a purple, pink, and red graph is displayed next to a column of indicating numbers.] -
Wages of Whiteness in the Art Economy. Poster. Decolonize This Place, 2016. [A black and white flyer for the event with various slogans, from Black Lives Matter to Abolish White Supremacy printed on the front.] -
Adrienne Kennedy, Funnyhouse of a Negro, 1964 (East End Theater, New York, directed by Michael Kahn, produced by Barr, WIlder, and Albee). Pictured: Ellen Holly and Cynthia Belgrave. Photo: Frederick Eberstadt. [Two people in white face paint and fanciful dresses crowd around a crudely constructed wooden desk that sits off-kilter. One sits at the desk and applies makeup while the other stands to their left, gazing beyond the image.] -
Installation view, Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space 2013. Photos: Daniel Pérez [A string of light bulbs decends from the celing, infront of a picture frame, with its end siting on the ground. To the right of it on the floor sits a small cardboard box with gold details.] -
Mona Hatoum, Birds of a Feather, 1997, Chromogenic print, 10 x 12 inches (25.4 x 30.5 cm), Edition of 50, Signed & numbered. [The image shows a wood-framed photograph hanging on a wall. The photo, taken from inside a room, shows a seagull on a window ledge beside a small bird figurine. Out the window is a blue sky and buildings.] -
Jolene Rickard, Leadership (detail), 1987 [A black and white photo of an antler] -
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.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 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.] -
Installation view from Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. 55 Walker, Artists Space, 2013 [A bar with four wooden stools positioned in the corner of a room. A neon sign hangs above to the left of a fiber sculpture. On the left wall, a monitor is displayed on top of plastered posters.] -
Camilo Aquino, headline poem, 2019 [A monkey's head is pasted above a drawing of a suit with other pencil markings throughout the image on lined notebook paper. Below the figure is a collaged phrase from newspaper clippings that says "Monkey goes to Harvard."] -
Kalamazoo, 1959. Oil on canvas, 56 x 70 inches. Collection of Karin Tappendorf. Courtesy of Artists Space, New York. Photo: Daniel Peréz. [A painting with blue, yellow, and neutral tones is hung on a white wall. Another painting is visible in the background with bright yellow and orange hues.] -
Carissa Rodriguez. You Know the Rules. You Fall in Love. You Lose. Filmed by Jordan Lord, recaptured by Rodriguez through her Pokémon Go app [An animation of two screengrabs from a phone, each showing the Pokémon "Gastly" above a computer screen with text reading "Whenever you do not understand what's happening in your life, just close your eyes, take a deep breath and say, "God I know this is your plan just helpme through it."] -
Kayla Asalcedo, Lower East Side Map, 2018 [A black-and-white drawing in a collage style, depicting many public parking signs, street-level façades, advertisements, buildings, a bycicle, smoke, and two large, flowing arrows] -
Eileen Gray. E. 1027, 1926-29. Exterior [The exterior of a modern house standing on stilts.] -
Event Poster, Topical Cream Presents, 2016. [Event poster with performers and time information on the right. On the left, an image of a person putting on full protective medical gear and a white facemask.] -
View of Everything is About to Happen : An ongoing archive of artists’ books selected by Gregorio Magnani Courtesy Corvi-Mora, London and Greengrassi, London Photo: Marcus Leith [Angled view of wooden table top covered with an organized assortment of cards, books, and paper materials, displaying images and texts, in various positions.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [Four framed photogrpahs in a grid hang on an angled wall to the left. Three decorated paper bags sit on white pedestals. An abstract landscape painting hangs on the wall in the background.] -
[An exhibition flyer depicting a small fig tree in the background. Text lists the participating artists as well as dates for the opening event and gallery hours.] -
Still from The Oath, 2010 Laura Poitras, dir. Courtesy of Zeitgeist Films. [Foregrounded military tents with a pink sky in the background.] -
Devin Kenny, Do You Even Talk To Your Neighbors, 2018, Artists Space, New York, 2018. Photo: Daniel Pérez [A black barrel sits horizontally in a wheeled cart. It is opened, exposing a silver metallic interior, and wire bed resting in the center.] -
Deborah Willis. From Embracing Eatonville: A Photographic Survey, 2010 [A woman looking at herself in a handheld mirror while getting a haircut at a barbershop] -
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.] -
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.] -
Installation view from Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. 38 Greene, Artists Space, 2013 [A side view of a sculpture of a man leaning againt a white column. He hols a book in his right hand. He is wearing a purple shirt and blue patterned shorts.] -
Goodbye to Tenth Street: A Novel by Irving Sandler, book launch, 2018. [Three people sit around a small circular white table, speaking on microphones. A small crowd gathers closely around them, listening to them speak. Many large bookshelves are stacked behind them.] -
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.] -
Hito Steyerl, excerpt from, Liquidity, Inc., 2014 HD video with sound, 30 mins Courtesy of the artist and Andrew Kreps, New York [A moving image of a computer generated ocean horizon line that pixelates into a recorded video of a real ocean horizon.] -
Heart of Hearts Basking, 1973. Oil on canvas, 44 x 31 7/8 inches. Collection Matthew Marks Gallery. Courtesy of Artists Space, New York. Photo: Daniel Peréz. [A painting with orange and neutral hues is hung on a white wall with nails around the perimeter of the canvas.] -
Ministry of Interior building in Plaza de la Revolución, Havana, Cuba. [The façade of a building with a sculpture of Che Guevara built on it.] -
Seth Price, Untitled, 2010, Inkjet print on Dibond, 7 x 9 in / 17,8 x 22,9 cm, Signed and numbered [A silhouette figure of a person riding a horse, mid-stride. The combined figure appears as a white cut-out, with a black shadow, on a transparent (alpha) background. Details are sketched onto the silhouette in blue pen.] -
[A screenshot of the google images search results page for the query "the problem with contemporary art is not the contemporary"] -
Union Gaucha Productions, Installation view, Artists Space, 2015. Photo: Daniel Pérez [Six monitors in a row are lined up in the middle of a floating bookshelf, displaying stills from the film. On the left corner of the image, a desk holds long slips of black paper with white text on it, curled and intertwined, resembling film strips.] -
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Artists Space, 38 Greene Street, 1998. [A black-and-white photo of the façade of a building in New York. A black flag with white text reading "Artists Space" hangs from several stories up, above a streetlamp.] -
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.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view, Artists Space, 2014. [Two walls form an entry way to the exhibition space. Both present black and white photos across their entire surface area. On the left, two men sit in a living room; on the right a man stands outside a store with a neon light sign.] -
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"] -
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".] -
Exhibition Catalogue [A black and white image of a man photographing a plastic penguin in front of a decorative gate. Sideways text on the right reads, "Jack Smith, Art Crust of Spiritual Oasis, June 22 - September 9, 2018, Artists Space."] -
Book cover for Ways of Seeing by John Berger. Design by Richard Hollis . Published by BBC and Penguin Books, London, 1972. Courtesy Richard Hollis [Black text on paper introducing the book. The top text reads, "A Pelican Original, Ways of Seeing, Based on the BBC television series with John Berger."] -
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.] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [A miniature clay sculpture of a man sitting, cross-legged, in an armchair is displayed on a carpetted floor. Where the carpet meets wooden floor, a curled wire extends from underneath the carpet.] -
Cover of The Happy Hipocrite, Issue 6 - Freedom [A magazine cover depicting a grid of international stamps.] -
Exhibition poster for ‘The Sights and Sounds of the Jewish East End’ at The Whitechapel Gallery, London. Design by Richard Hollis, 1980. Courtesy Richard Hollis [An advertisement split down the middle with text and image. On the left text reads, "The Sights and Sounds of the Jewing East End at the Whitechapel Gallery." On the right, a portrait of a family outside a corner shop of which the window reads, "John Jameson Whiskey."] -
Union Gaucha Productions, Installation view, Artists Space, 2015. Photo: Daniel Pérez [A dimly lit room with green turf-like carpet and exposed wooden walls. On the left, 9 images of different sizes are mounting, and luminous. On the right, projectors and movie cameras are placed on a horizontal shelf. On the far end of the floor towards the wall is a small square tv monitor with headphones placed in front of it. Behind the monitor are three medium-sized white windows.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A tan and green object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire. In the base of the object a processing chip is embedded.] -
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.] -
Hito Steyerl, excerpt from Duty-Free Art, 2015. [A moving image of a hand appearing in front of a black background. It's fingers positioned upwards in a wide pinch.] -
Installation view from Documenting Cadere: 1972 - 1978, Artists Space, 2013. Photo: Daniel Pérez [A view of two vitrines, one in front of the other, displaying documents in front of a book case on the wall. Documents containing text are hung on the wall.] -
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.] -
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.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500 [A blue, black and brown abstract object sits on a white base. A metal antenna sticks out of it on a diagonal.] -
John Miller, ed. Alexander Alberro. The Ruin of Exchange and Other Writings on Art. JRP Ringier, 2012. 368 pages, Softcover. [A book cover depicting a a desert with a hollowed-out egg shaped rock in the foreground and a tank in the background.] -
Installation view from Lukas Duwenhögger: Undoolay, Artists Space, 2016. Photo credit: Jean Vong [A framed painting is hung on a white wall adjacent to an elevator with a decorative sconce installed above the painted white doors. The painting depicts a chained elephant being trained by a woman in a black dress. The woman holds a baton against the elephant's raised foreleg.] -
This drawing by Jean-Louis Forain, published on the front page of a Parisian newspaper in 1920, rallied support for the original Droit De Suite. [The drawing shows an impoverished beggar and his child outside an auction house where the father's painting is being sold for large sums.] -
[Draped fabric that reads "American Express World Service" in an all-over pattern.] -
Still from Hamlet in the Rented World (A Fragment). 1970-73, 16mm transferred to video, (sound, color), 27 minutes. [A person wearing all black clothing and a black hood, wearing heavy eyeshadow and a fake mustache, looks at the floor.] -
Installation view from Documenting Cadere: 1972 - 1978, Artists Space, 2013. Photo: Daniel Pérez [A book shelf displays various documents and photographs behind glass. Documents with text hang directly above.] -
[Several students stand around a large desk working on mixed-media artworks. One reaches for something from another student towards the camera.] -
Bernadette Corporation: 2000 Wasted Years. Installation View, Artists Space, 2012. Photo: Daniel Pérez. [A large black structure in a gallery, with a black-and-white image wrapped around a column of the structure, depicting a person dressing a mannequin in an office.] -
Kembra Pfahler. Photograph: ©Paula Court, 2018. [A person with their face painted blue, framed by a large black mane of hair.] -
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.] -
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 a soldier interacting with civilians. The caption reads, "We thought you'd shoot us", and someone responds, "No, no, no..."] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[An Elegoo microcontroller is affixed to the side of a brownish sculpture sitting on a white base. Two blue wires are plugged into a lemon and an onion on a platform, each connected to the microcontroller.] -
Installation view from Documenting Cadere: 1972 - 1978, Artists Space, 2013. Photo: Daniel Pérez [A grid of photogrpahs displaying candid portraiture is arranged in a white frame.] -
The Colin de Land Library, from The Library Vaccine, Artists Space, 2014. [A cluster of metal book shelves sit in the middle of the room. Visible are the cubbies of three structures, populated with books of various sizes and colors.] -
Eniya Alonzia, The Sky, 2018. [A skewed black-and-white image looking up at the façade of a building and the sky. An LED sign spelling "DINER" hangs from the left side of the building.] -
Witnesses: Against Our Vanishing. 1989, Catalogue, 32 pages, black and white. Work by David Armstrong, Tom Chesley, Dorit Cypris, Phillip Lorca diCorcia, Jane Dickson, Clarence Elie-Rivera, Darrel Ellis, Allen frame, Peter Hujar, Greer Langton, Siobhan Liddell, Ramsey McPhillips, Mark Morrisroe, James Nares, Perico Pastor, Margo Pelletier, Vittorio Scarpati, Jo Shane, Kiki Smith, Janet Stein, Tabboo!, Stephen Tashjan, Shellburne Thurbur, Ken Tisa, and David Wojnarowicz. Curated and featuring essays by Nan Goldin; additional texts by David Majnarowicz, Linda Yablonsky, and Cookie Mueller; acknowledgments by Susan Wyatt; statements by the artists. [A red book cover with white text superimposed on a black palm print.] -
City-As-School students critiquing images, 2019. [A photo of students sitting around a table, watching a YouTube video and speaking to one another.] -
Art Day, Blue Sky Gallery, 2017 [Eight colorful paintings are exhibited in a grid pattern on a wall with a small didactic. "Blue Sky Gallery - P.S. 140 and Artists Space Expanded Art Ideas" is printed on the wall.] -
Rafael Sánchez Swamp Piece, 1993 Performance still, Jersey City, NJ Photo: Claire Barnier [A woman in a dress standing in a swamp] -
Installation view from Zilia Sánchez, Artists Space, 2013. Photo: Daniel Pérez. [Three neutral colored walls display panels of canvases. Each of the canvases are stretched outward to inhabit the three-dimensional space.] -
Caitlin Keogh, Interiors, 2016, Silkscreen on paper, 24 x 18 in / 61 x 45,7 cm, Signed and Numbered. [A graphic illustration of a headless female mannequin is seated against a checkered background. Her arms suggest the motion of tightening a sash around her waist, but the implied fabric around her body is missing from the image, leaving an empty space that divides her body in two halves.] -
Artists Space at 11 Cortlandt Alley, New York. [A six story building with a white facade is seen from the street in New York City.] -
Dana Buhl [60 photographs, dark backgrounds with a white spot emanating from the center, arranged in a grid along an indigo blue wall.] -
André Cadere, New York, 1976 - Photo: Gianfranco Gorgoni - Courtesy Galleria Minini [A black and white photo of a man standing on a cobblestone street in New York, with the Twin Towers in the background] -
Installation view from The Issues of Our Time, Artists Space, New York, 2014 [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 positioned between two standing speakers. A monitor sits on the ground beneath the screen.] -
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.] -
Eniya Alonzia, The Sky, digital print, 2019 [A skewed black-and-white image looking up at the façade of a building and the sky. An LED sign spelling "DINER" hangs from the left side of the building] -
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.]
![The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left]](https://artistsspace.org/media/pages/store/editions/2224900873-1570392245/sillman-moma-opening-168x.jpg)
![The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left]](https://artistsspace.org/media/pages/store/editions/2224900873-1570392245/sillman-moma-opening.jpg)
