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[Stamped yellow text spelling out "W.A.G.E" at a slight angle. Underneath that, typed pink text reads, "Working Artists and the Greater Economy."] -
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.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Two TV monitors installed in a gallery space with wooden flooring. One monitor is installed in the image's foreground on a white plinth and displays an image of a figure walking along a sidewalk. The other monitor can be seen through a hallway at the image's center and is installed on the gallery wall. A third video plays on a gallery wall on the image's right side, showing an image of two hands.] -
AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A black and white image of a blank frame on a white wall. At the center of the frame, a sculptural mold of a brain protrudes out from the canvas.] -
“Palestine, BLM & Boycott in the Arts.” Artists Space Books & Talks, Friday, November 4, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Andrés Rodriguez [A projection on the wall displaying two posters, one that reads "Black Lives Matter" featuring an upside down image of the Empire State building, and to its right, one that reads "Palestine, BLM & Boycott in the Arts" with a yellow background, orange lightining-style graphic, and Arabic text.] -
Still from Eli Noyes and Claudia Weill's IDCA 1970, 1970. [A film still of a crowd of people sitting in rows of seats. Some wear sunglasses. Most do not speak to one another but gaze forward or glance around themselves.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Three vitrines are displayed in a light-filled gallery space with light wooden floors. The vitrines sit in between three white columns to the image's left side. On the right, a series of large, colorful prints featuring graphic, abstracted letters overlaid over various abstract shapes, patterns, and printed figures are displayed on a gallery wall.] -
[A figure in a blue denim shirt wearing headphones sits at a dining room table cluttered with papers, bowls of fruit, and colorful candles. The figure's back faces the viewer. A bright and rocky, arid landscape is visible through the many windows that line the walls of the dining room.] -
Lolina performing Inquiry & Investigation, 2018. [A person stands, holds a microphone to their mouth and adjusts a knob on a CDJ.] -
[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.] -
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.] -
Electronic Disturbance Theater 2.0/b.a.n.g. lab. The Transborder Immigrant Tool, 2007–ongoing. Pages excerpted from The Transborder Immigrant Tool publication. Courtesy the artist, University of Michigan Ann Arbor, and University of California, San Diego. [Spanish and English translations of the poem “Justo antes del amanecer.../Just before sunrise...” are written in alternating lines in grey and black on a white background.] -
Contemporary Architecture - an installation by realities:united. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [In a gallery space, a large white overhead LED-style sign acts as both a drop ceiling and overhead lighting. It displays two numbers, a 2 and a 5. Below are a black sofa and, facing it, a small television on a wooden pedestal.] -
Gerhard Richter Hotel Diana , 1967 80 copies + 40 artists proofs, signed and numbered screen print, 59,4 x 80 cm Courtesy of Edition Block, Berlin [A sepia photograph of an angled, above view of two men lying in seperate adjacent beds. On the walls above them, hang two small picture frames.] -
[A crowd of people standing outside a brick building, mingling and talking.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [A microphone connected to a stand and an amp sit on the floor of a gallery space. The microphone stand has been adjusted such that the microphone is pointed down and hovers directly over a small answering machine on the ground. Wall vinyl installed on the wall directly behind the microphone stand displays a phone number: "+1 (212) 226-2786)."] -
Miyoko Ito, Island in the Sun, 1978. Oil on canvas, 38 x 33 inches. Courtesy John B. Pittman. [Gradient red and green, curved and cusped shades. A red pointed mound sits atop a pale green inverted triangle inside angular red and green rectangles.] -
[A black and white image of a woman painting on a three-dimensional canvas. She holds a paintbrush in her right hand and a jar of paint in her left hand while leaning over the canvas.] -
P.S. 140 student workshopping poems, 2019 [Two people stand at the front of a full classroom in front of a projector screen that says, "Poetry workshop / Ms. Rebecca / Today's task: create headline poems." One reads from a notebook, the other listens on.] -
Jayline Quiles, Landscape, 2018 [A colorful painting of a landscape, with a river running through the center of the image, a mountain across the river and a cloudy sky] -
Ursula Biemann, still from Writing Desire, 2000. Video, 23 minutes. Courtesy the artist. [A nightime view of a truck driving past a parking lot. In the top left of the image is a superimposed video of a blond woman. The words "Hello I'm Natascha" appear in red to the right of the woman.] -
Lourdes Grobet, Untitled Olmayaztec Series, 1992. C-print, 11 x 14 inches. Courtesy the artist. [Photgraphic print of a low, blue and red building situated next to an empty multi-lane road on a sunny day. The building has a low blue facade with many windows, which face the street, and is decorated with two angular blue stripes. The building has a low, curved red roof. Text running along the side of the roof reads, "RESTAURANTE." A tall, pyramid-like structure is visible in the distance behind the restaurant.] -
Replica of a Lost Original. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A gray television sits on a rectangular wooden board. There is a mass of wires next to it that snakes towards a pile of nearby photographs.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A dimly lit, empty room filled with several low chairs. A projection illuminates a dark wall opposite the chairs. The projection displays an image of a figure, their index finger blotted purple, inserting a document written in Arabic into a machine.] -
Sharon Halliday, Shaded Times, 2014 [A black-and-white image depicting several translucent photos overlaid, some of natural plant life and others of industrial scenes, with power lines and bridge spokes] -
H_edge. Installation view, Artists Space, 2006. Photo: Whitney Cox. [Close-up of a series of metal cutouts shaped like curved "x"'s hanging from lengths of metal chainlinks. The many rows of cutouts overlap, forming a hedge-like sculptural body.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A television monitor positioned on the ground with its wiring exposed. A pair of headphones rests on the ground to the right of the monitor. It displayes a still image of a washed-out portrait that implies movement through the blurring and repeititon of the face.] -
Rirkrit Tiravanija, untitled, 2011 (print mo’ money), 2011, Copper etching plate, Signed certificate. [A printing plate for a $100,000 bill, featuring a portrait of Woodrow Wilson.] -
Speaker Music, still from a finesse, 2019, (filmed at 11 Cortlandt Alley). [An image is reproduced from three different angles: two in landscape with the third, vertical and upside down. Two people stand in a red-lit room, one looks at a camera and the other stands beside them. A double exposure overlays the image with the same two people, the former holding up the camera and the latter posing for a photo.] -
[Close-up image of the faces of a man and a woman, both of their figures cut off by the frame. The woman stands slightly in front of the man, who stands directly behind her shoulder. She wears lipstick, jewelry, and has short hair, while the man is older and wears a suit with a stiff collar. Neither figure looks at each other, gazing elsewhere.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three female mannequins arranged in front of five hanging timelines marked 2002-2006. The first mannequin sits in a chair and is wearing a golden shirt and black skirt with a towel tossed over its shoulder. The second wears several scarf chokers, a shirt cut in two pieces resembling an "x", and gray jeans accessorized with two button pins and large thigh cutouts. The third wears an Adidas jersey decorated with a "bc" logo and black baggy pants.] -
Judit Kurtág. Still from Episode, 2007. [A black and white image of a person's face against a white tiled wall, with water pouring down over her.] -
Moyra Davey, still from Fifty Minutes, 2011. 50 min. [A man reclines while reading on a daybed draped with green linens. Behind him are four bookcases filled with vinyl records.] -
Michael Asher, Untitled. Installation view, Artists Space, 1988. [In the corner of a room, close to the ceiling, is an industrial light fixture. The lightbulb is on and faces up towards the ceiling.] -
Daniel Joglar, Untitled, 2005. Courtesy the artist. [An open black wallet supported upright on a white surface by four binder clips attached to its left side and bottom edge.] -
Flyer for Segue Reading Series featuring Saretta Morgan and Jennifer Scappettone. Saturday, December 5, 2020, Artists Space. Artist: Anastasios Karnazes. [A snowy mountain landscape and flowing water is collaged with clear circular and rectangular shape graphics on top of the image. Blue text over the image reads: "Saretta Morgan / Jennifer Scappettone / 5 December / 5 pm EST / Segue."] -
[Bold, black text of varying sizes arranged in a rectangular block on a white background reads, "TREAT A COMPLETE STRANGER / AS A LOVER, HUG THEM / AS GOOD FRIENDS, AS THEY ARE / OR AS 10 YEARS AGO YOU MIGHT HAVE HAD / FABULOUS SEX / WITH ABSOLUTE ABANDON / WITH THE SAME STRANGER. / NOW LIFE IS RAVAGED / AND WE OFFER LOVE FROM THE SAME ROOT OF BOUNDLESS / COMPASSION."] -
On Being an Exhibition. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [The interior of a Soho loft space. In the foreground, a plastic bucket hands from a red rope attached to an overhead pulley that is suspended from a wooden plank hanging overhead. '"ARTISTS SPACE" is written on the far wall, and a number of bookcases, a white pedestal with a clear plastic hood, and a front desk populate the room. Behind the front desk are two neon quotation marks.] -
James Sheehan, Halcyon Days, 2000. [An oil painting of a colorful city crowded with buildings.] -
Raúl Zurita, La vida nueva, 1982. Video, color, sound; 27 minutes 42 seconds. Videography by Juan Downey. Courtesy the artist. [A yellow industrial machine rests atop a pile of rubble and stone. Across the clear blue sky, sky-typers write “MI DIOS ES MERIDA” in white smoke-dots.] -
“Chinatown Is Not for Sale.” Artists Space Books & Talks, Saturday, October 22, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Marz Saffore [A panoramic image of the audience at Artists Space and Decolonize This Place's event, featuring colorful banners on the wall that read "ABOLISH WHITE SUPREMACY," "Black Lives Matter", "Don't Play with Apartheid #BDS".] -
Still from Bernadette, 2008. Courtesy of Duncan Campbell and HOTEL, London. [A black and white image of a woman sitting alone in a row of seats, as if on a bus or train. Her face is obscured by the seat in front of her from the nose down, but her full reflection is visible in the window next to her.] -
[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.] -
Forgetting the Art World, by Pamela M. Lee, published by MIT Press, 2012. [A white book cover with a narrow column of red and wider column of black on the left side. It is titled, "Forgetting the Art World" by Pamela M. Lee.] -
Robert Gero, Untitled, 1989. Corn, copper, tar. [A rectangular column against a white background. The bottom segment is covered in corn kernals, then there is a layer of black tar, and the top is a cube of copper.] -
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.] -
Scott Burton, Pastoral Chair Tableau, 1971 – 1974. [A stage set with a blue curtain, in front of which sit 6 chairs facing different directions.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [A blue carpet decorated with colorful polka-dots fills the floor of a gallery space. Colorful, plastic chairs are arranged against the right wall. A wooden table with chairs and two monitors are displayed at the space's back wall. A kite hangs from the ceiling in the center of the space.] -
A member of the collective Winter Count working on the film We Are in Crisis, 2016, North Dakota. [An over-the-shoulder photo of a person holding a boom microphone pointed at a small oil pipeline fire several dozen feet away.] -
Nick Mauss, This afternoon, 2012, 5-color, hand-stenciled gouache on paper, each unique 24 x 18 inches, Signed and numbered. [A gestural line drawing of two figures embracing set against a geomatric pattern of blue, teal, brown, red, and pink rectangular forms.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A purple square on a white wall with various photographic media displayed.] -
After Art, by David Joselit, published by Princeton University Press, 2012. [A green book cover with white lettering titled, "AFTER ART" by David Joselit.] -
New Economy. Installation view, Artists Space, 2007. [An installation view of two rows of photographic portraits tacked to the walls. In the background is a red, white and black print that says "Imagine that capitalist revelations are overcome by local economic federations of grassroots groups that produce according to regional demand."] -
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.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Five photographic collages installed in white frames arranged in a horizontal row along a blank wall.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two black display cases in the middle of a gallery space, with clear horizontal glass cut-outs, one taller than the other. Each display case houses a collection of mugs and other ephemera.] -
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.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [The bright beams of a projector cut through the fog filling a basement room. An image is projected onto one of the space’s walls. Several figures talk to each other in the background.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A crowd of people fill a dimly lit red room, some sitting and some standing. Projections of abstract images and an illuminated painting cover three of the space’s walls.] -
Third World Gay Revolution, “Come Out in Third World Lingo,” back cover of Come Out! 1, no. 7, (December/January 1970 – 7). Courtesy Archivo Moléculas Malucas. [Characteristic, expressive handwriting on a page spells out phrases such as “All Power to the People!” and ”Seize the Time!” in both English and Spanish.] -
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Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A view of a dimly lit room with a video monitor sitting on the ground of the right wall. The monitor screen is black with white text reading, "[The Manhattans continue to sing 'Shining Star']." Towards the corner, an inferometer projects green dots onto adjacent walls.] -
[Text reading “'We Cover for You. / – NRO” is overlaid on an image of a plastic gloved hand that applies blue plaster with a wooden stick.] -
[A poster design featuring two figures—a child and an older man—superimposed on a dark backdrop. The child's image has a blue hue and takes the shape of a circular cut-out, while the older man's image has a yellow hue. Above both figures, white text superimposed against a towering city skyline reads, "DER ANGRIFF DER GEGENWART AUF DIE UBRIGE ZEIT / EIN FILM VON ALEXANDER KLUGE."] -
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.] -
[A grid of yellow hearts on a pink background.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A black display case in the corner of a gallery, surrounded by windows looking out into Manhattan. A mannequin faces away from the camera, and three backlit texts are placed across the floor, in sequence. Each text is superimposed on a photo of a metal pipe looking similar to a gun. On the back viewer, the image is visible alone with no superimposition.] -
Dayna Goldfine and Dan Geller, still from Kids of Survival: The Art and Life of Tim Rollins & K.O.S., 1996. 87 min. [Two people seated at a table covered with assorted art supplies. They talk to each other as they paint or prepare to draw.] -
Josh Tonsfeldt, Untitled, 2005. Bone and mechanics. Courtesy the artist. [A large bone is arranged vertically against a white background. The center of the bone is a pale ceramic color, while its two ends are a darker brown color.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A rectangle of gold foil laying flat on a wooden floor. Light descending from a nearby window illuminates the foil.] -
Millie Wilson, The Painter Who is Not One, 1990. Acrylic on canvas, text, type, photos, wall paint, 13 by 25 feet, variable. [A line of eight paintings and blocks of illegible text in various sizes hang on a wall. Some are paintings abstract compositions of black squares, others show a person in period dress, and two show the Eiffel Tower.] -
David Antin, Sky Poem, La Jolla, CA, Santa Monica, 1987. Courtesy Getty Research Institute, Los Angeles. [Two people wearing large sun hats look up towards an empty blue sky framed by scattered palm trees. Faint, white text written in dotted cloud formations is visible in the sky.] -
Richard Kennedy Both, 2017. [Two performers stand in the middle of a room, facing each other, with their arms raised, leaning slightly to one side. The audience sits on the perimeter of the room, forming a circle around them.] -
Flyer for Segue Reading Series featuring Kimberly Alidio and Joyelle McSweeney. Saturday, November 7, 2020, Artists Space. Artist: Keith Higginbotham [A group of basketball players sit on a bench, a cutout photograph of a pink flower collaged over each of their heads. On top of the lower half of the image, black text reads "Kimberly Alidio / Joyelle McSweeney" and the lower left corner pink text reads "Segue."] -
Carol Sun, Journey to Gold Mountain. [A slide of a painting of a pyramid of stairs with a ladder extending upwards, connected to several gold mountains by a railroad track.] -
Adrienne Kennedy, The Owl Answers. Performance documentation, Artists Space, February 29, 2020. Photo ©️ Filip Wolak. [A head-on view of six figures, each standing before a music stand in front of a seated audience. They are arranged side by side in a horizontal line, illuminated by overhead lights.] -
Colin de Land at American Fine Arts, February 1996. Courtesy Smithsonian Archives of American Art. [Colin de Land sat at a desk, looking at paper materials in his lap. Various objects, documents, and books sit opened around him.] -
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.] -
Hito Steyerl, In Free Fall, 2010. HD video with sound, 30 mins. Courtesy of the artist and Andrew Kreps, New York. [A view down an isle, between theater seating and blue track lighting, to a projected video screen. On the back wall, a still image of a man, in a pilots uniform, gestures toward the viewers with two fingers. Hito Stereyl stands behind him with her arm outstretched.] -
Guyton\Walker, Fruit Stickers for Artists Space, 2010, Set of 15 Inkset printed stickers, 6 in / 15,2 cm each, Signed and numbered certificate. [A 3x5 grid of false-color stickers. The top four rows depict fruits cut in half resembling a grapefruit or orange. The last row depicts a coconut cut in half. A handful of stickers have a think line of black and white checkerboard pattern added to the perimeter of the fruit.] -
Lillian Mulero, Folk Art/Self Portrait, 1990. Oil and aluminum on canvas, 41 x 50 inches, diptych. [Two monochrome grey panels of equal sizes. The left is an image of an oval frame with a blank white center. The right shows a woman in period dress, pulling up her skirt, urinating into chamber pot.] -
[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."] -
Beth Campbell, Four Eyes Are Better Than One, 2007. Site-specific installation. Courtesy the artist. Photo: Bill Orcutt. [The corner of a small white room features elements implying that it's a bathroom: a sink, a blue trash bin, and a hot-water heater are below while a wall-mounted paper towel holder and a non-reversing mirror hang above.] -
Poster for Top Hat, 1935. [A bright yellow poster for Top Hat (1935) features a man in a black tuxedo with coattails and a woman in a long white dress with a full skirt, captured in exuberant dance atop a black top hat. Orange rays radiate from around the woman, while around them are smaller illustrated vignettes of the dancing couple in various poses amidst music notes. Text at the top of the poster reads "They're dancing cheek-to-cheek again!" and bold type listing the featured actors' names, Fred Astaire and Ginger Rogers. The movie title is superimposed on the top hat in red type. Further film credits include Irving Berlin (music and lyrics), and supporting cast (Edward Everett Horton, Helen Broderick, Erick Rhodes, and Eric Blore), with direction by Mark Sandrich.] -
Lee Walton, Hillary Wiedemann: Living Record, 2007. Performance. Courtesy the artist. Photo: Bill Orcutt. [A wooden reception desk with piles of various materials on it. A person sits at the desk smiling, and behind them, mounted on the wall, are two glowing neon quotation marks.] -
Mungo Thomson, The True Artist Helps the World by Revealing Mystic Truths (12 Step), 2004. [A black bumper sticker with white text on the back of a silver car reads, "The True Artist Helps the World by Revealing Mystic Truths."] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A white translucent chiffon curtain cascades over a set of five framed images mounted on a wall.] -
[A series of booklets with monochrome covers sit in stacks on the interior of a windowsill. Each of the booklets' covers displays thin text spelling out various names, including "Ian Wallace," "Carolyn Christov-Bakargiev," and "G. M. Tamás."] -
The Expendable Reader, by John McHale, edited by Alex Kitnick, published by Columbia University Press, 2011. [A black and white book cover with the text "The Expendable Reader John McHale" overlaid on a recycling logo.] -
[An animation of a black and white clock whose hands move backwards. The clock is positioned on a silhouette of a head in profile. Sans-serif text below the graphic reads, "The Fainnie Azul Horologe."] -
[A black and white line drawing of a person in an art gallery looking at a portrait on the wall. There is another piece on the wall of a person holding a rectangular box and blowing a bubble.] -
The Baroness Elsa von Freytag-Loringhoven, 1915 [A black-and-white image of a woman wearing a striped dress and clip-on hat, eyes closed, arms stretched behind her. She stands in a room with several linens pinned to the walls and floor] -
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."] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [An abstract sculpture with a chrome finish is displayed on a white pedestal. The sculpture's form includes amorphous voids alongside somewhat rectangular structures.] -
David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983/84, 23.5 x 16.5 inches [A collaged image featuring a black and white photograph of a figure with short, dark hair wearing a partially unbuttoned shirt against a white background. The figure crosses their arms casually in front of their chest, their right hand holding a lit cigarette. Bright red and yellow strokes of paint resembling fire flames have been painted over the photograph, emerging from the figure's right side. Fragments of a world map have been collaged over the left side of the figure's face. Additionally, an illustration of the Earth and several small illustrations of clocks are collaged along the figure's right arm. A small illustration of a running figure, engulfed by flames, is positioned next to the figure's right elbow. Small black text running along the image's bottom edge reads, "2020Solidarity - David Wojnarowicz with Tom Warren / A project by Between Bridges."] -
Drum Suit, 1983. Illustration. [An outline drawing of a figure in motion with one leg raised. Handwritten text notates points on the figure, reading, "Drum suit: sensors are attached and played remote" as well as "bass drum," "high hat," "snare," and "drum claps."] -
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.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A plastic surface with five wheels lies upturned on a wooden floor. Eleven metal buckets sit on the upturned surface, some filled with multicolored objects. A silver pole extends out from each of the buckets. In front of the buckets sits a large container of Muscle Milk enclosed in a net bag.] -
Still from Rainer Werner Fassbinder, Warnung vor einer heiligen Nutte (Beware of a Holy Whore), 1971 [A person wearing a black shirt and hat with their arms crossed, with a cloudy sky in the background.] -
New Red Order, Informants Get Paid! Performance documentation, Artists Space, January 23, 2020. Photo © Paula Court. [Figures wearing partial face coverings stand in front of a projection that reads: "We cover for you / new red order"] -
Hilary Lloyd, Shirt, 2011. [A close-up shot of black fabric patterned with white dots, stripes, and zigzags.] -
Corrugated Slogans and An Anthology of Invalid Format. [A white book lying on a larger blue book.] -
The Friends of Artists Space Dinner, May 8, 2010. Executive Director & Curator, Stefan Kalmár, and friends of Artists Space. [Three figures pose for a photograph in a gallery space crowded with milling people who talk amongst each other. They hold drink glasses in their hands and are illuminated by the camera's flash.] -
Jeff Feld, Performance of the only part of Robert Rauschenberg's "Pelican" that I know, 2001. [A person on roller skates and knee pads with a large, fabric umbrella held on his back.] -
Hito Steyerl, Liquidity, Inc., 2014. HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. [A side view of a large video monitor screen, sitting on the ground, with a large ramp extending from the base including large pillows for seating. The room is tinted blue. On the screen, there is a man in a mask, infront of a map of Europe and Eastern Asia. A text bubble is infront of him that reads, "because huge quantities of data are raining down from their cloud storage over Scandinavia."] -
Mark Hamilton: Echoplex. Installation view, Artists Space, 2006. [A white ceiling with penciled text reading "ROAD TO RUN."] -
Danh Vo. Installation view from Autoerotic Asphyxiation, 2010. Photo: Daniel Pérez. [A vintage, framed black and white photograph of five priests dressed in all black stiffly pose before the camera for a portrait. The two men sitting closest to the viewer hold hands.] -
Hito Steyerl, Guards, 2012. HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. [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.] -
LaTasha N. Nevada Diggs, Twerk (New York: Belladonna Books, 2015). [A book cover design featuring large pink text that reads, "TWERK" against an abstract turquoise background. Parts of the letter "K" and "T" extend off the page and have been overlaid with a lacy ribbon pattern.] -
Marie Karlberg Videos. Installation view, Artists Space, 2013. [A gallery with an L-shaped bench covered in fabric, plus several video projections and artworks adorning the walls.] -
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] -
[Black and white photograph of several wooden boxes and drawers filled with small animal bones and preserved insects. Several animal skulls are scattered around and in between the drawers.] -
[A black and white, portrait photograph of a woman at the beach. She wears sunglasses and has short, curled hair.] -
Local Transit. Installation view, Artists Space, 2006. [A gallery space with two columns. One column is wrapped in an off-white fabric, the other in bright pink. There are four white plinths of various heights with gray objects on top. One of the surrounding walls has a long sheet of paper with a drawing of highway signs and a gas station on it; the other has colorful framed images.] -
[A digital rendering of a large structure composed of suspended sheets of red material installed in a gray room. The red sheets are stacked on top of one another, suspended from lengths of wire that run from ceiling to floor. The sheets bend amorphously and are arranged such that they resemble irregular layers of sedimentary rock or strata. Three digitally-rendered figures observe the structure.] -
Metaphysical Visions. Installation view, Artists Space, 1989. [An abstract sculpture made of sticks, cords, and a textile sits in the center of a gallery space. Three large paintings hang on the walls around it, all blending abstract, painterly designs with latin text.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire.] -
[A black and white scan of an invoice from Corcraft Products issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details a net purchase of $1470.00] -
[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."] -
Selections from the Artists File. Installation view, Artists Space, 1988. [A view of a gallery space with concrete floors, white walls, and white columns. In the foreground, a grouping of five striped cylinders of varying sizes are placed on the floor. Other works are visible in the background.] -
Catalogue cover for Stone's Throw, Artists Space, 1990. [A black and white photograph of a television sitting on a low table, with a fan sitting on top of it. White text in the bottom right reads, "STONE'S THROW, TV FROM CUBA, ISLAND IN GOLIATH'S SEA. ORGANIZED BY DEE DEE HALLECK AND MONICA MELAMID. MARCH 8-APRIL 7, 1990. ARTISTS SPACE."] -
Film still from Teaching TV, Artists Space, 1990. [A black and white image of a group of children clustered in front of a store window. On the right, the text "NO FRESH WORDS" overlays the image.] -
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A line of people marching forward hold up signs reading "replace frony" and "Keep 1st amendment, stop helms," among other phrases.] -
Konrad Lueg with Balloons July 1962 Zero Festival, Rhine Meadows, Düsseldorf-Over-Kassel Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of a man in sunglasses holding a large cluster of balloons tied to strings above his head with his left hand.] -
Amy Westpfhal, still from The Informational Cookie Project, 2006. [A figure in a white military uniform shirt approaches a group of women on a city street. She holds out a platter of small cookies wrapped in small plastic wrappers to one of the figures, who has taken the cookie, unwrapped it, and reads a small note attached to it.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A multicolored object sits on a white base. A metal antenna extends out on a diagonal.] -
Artists Space's locations, 1973-2019. [A stylized map of SoHo and TriBeCa, stretching in latitude from West Houston Street to White Street, and in longitude from Hudson Street/West Broadway to Broadway. Each past location is marked by a red dot, indicating its address and years active, alongside a photo of the space's exterior.] -
Selections: Aljira & Artists Space Announcement Postcard [A white postcard with purple text announcing fall 1990 exhibitions at Artists Space, including Selections: Aljira & Artists Space.] -
Dies alles Herzchen wird einmal dir gehören (All This Darling Will Once Belong To You). Performance organized by Paul Maenz and Peter Roehr, Galerie Dorothea Loehr, September 9, 1967. DVD transfer, 6 mins, 55 secs. [Black and white image of a crowd of people gathered in a large open space. Several hollow, metal sculptures composed of geometric components are installed in the space. Some performers interact with the sculptures—one figure walks across one of the metal forms that lays on the ground.] -
Superstudio, still from Supersurface: An Alternative Model For Life On The Earth, 1972. 26min. [Six people are seated and lounging in a digitally rendered landscape.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three metal cutouts of hands, each displaying a different finger expression, are installed on a white wall. Each hand holds stacks of white, blue, and purple cards.] -
Richard Hollis, Whitechapel Gallery advertisement, 1980. [A blue flyer with the word "OPEN." printed in yellow.] -
Daniel Tilsdale. Still from Contacts, Ponytails, Noses and Bleach, 1988. Graphite on Xerox (presented in slide format). [A close up black and white image of a slide projection with two figures.] -
realities:united, BIX Comminicative Display Skin, 2003. Photo: H. Schiffer. [An overhead view of a very modern building with a dark, bulbous, skin-like facade. Protruding from its top are tuberous skylights all facing the same direction, and at left is a long elevated walkway.] -
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[A digital rendering of a dark tank filled with water. Spherical pods sit into the top of the tank, with one pod lying sideways next to it.] -
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.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two paneled works hang on either side of a white column on a light, mauve-colored wall. Both canvases are slightly three-dimensional, with elements that stretch in or out from their surfaces.] -
Based on a True Story. Installation view, Artists Space, 2004. [Three paintings arranged in a horizontal line on a white wall. Each painting depicts a man walking on city streets or in a park.] -
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."] -
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.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A variety of images of covers and photographs of nude and semi-nude people is displayed on a white background.] -
Jana Euler, Unstretched, bound, outside mission, 2020, acrylic on linen, bubble wrap, ratchet strap, chicken wire, dimensions variable. Photo: Daniel Pérez [A large, orange and brown stuffed slug sculpture is strapped around a Greco-Roman style columns on the facade of a cast iron building. The slug’s antennae points upwards.] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
Untitled (note), date unknown, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [A page ripped from a planner, with a header reading, "for week beginning Monday ...., Thursday, Friday, Saturday, Sunday." Handwritten red cursive text, written over divided sections reads, "Capitalism lends to expectation to be manipulated but politely and a horror of ordinary usage between people."] -
Holly Morse, Bringing Home the Bacon, 1989. Oil on linen, 24 x 24 inches. [A slice of bacon on a red background, with the words "bringing home the B." spiraling on top of it in black text.] -
[Cutouts of black and white illustrations arranged next to each other. In the center, several illustrated eyes form a circle. Above the eyes is a round, illustrated face, while two wings are positioned below the eyes.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, 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.] -
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.] -
Louise Lawler, Egg and Gun (distorted for the times, dire), 2008/2017. [A composited image of a gallery scene, building from a street view, hand gun, and a blue rose against a yellow back ground, distorted through buldges and pulls.] -
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.] -
Salad Days. Installation view, Artists Space, 2004. [A rectangular, 3x5 grid hung on a white wall, comprised of close-up photographs of the inside of people's mouths. Just in front of the wall to the left of the photographs, there is a white plinth with a black Converse shoe, a false shin extending out of it, with a metal bone coming out of the top.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, 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.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Six artworks are mounted to a white gallery wall. On the far left and right are three black and white compositions, followed by a photograph of the back of a walking figure. At the center are two colorful, abstract compositions on paper.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dimmed room with three projections casting purple, gray, and aqua light against the walls. In the corner of the image is a small, circular seat.] -
The Friends of Artists Space Dinner, May 8, 2010. Michael Clark & Company's performance. [A woman in a nude leotard-like top and silver leggings stands facing forward with her hand on her hip in a gallery space. Behind her, a figure in a black skirt and white collared shirt stands in a similar position, with his back to the former performer.] -
[A diagram superimposed across a blurry image of a wooden folding chair facing a small wooden bookshelf filled with colorful books. The diagram is composed of a simplistic icon that loosely resembles an open book. Circling the book icon are several hand-drawn arrows that point to various handwritten words and phrases, such as "PDF's" and "Followed remotely." Below the book icon are hand-drawn drops of liquid and a puddle.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A wooden bar with four chairs and a palm tree in a pot is displayed against a white wall.] -
[A metal statue is being lifted from its platform by a crane via ropes around its neck and feet. A large building is visible behind it.] -
Devin Kenny, Stop following me/follow me, 2016. 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.] -
[A computer rendering of a purple and amorphous form composed of long, extending tube shapes on a white background.] -
KP Brehmer Das Gefühl zwischen Fingerkuppen... , 1967 80 copies+ 40 artists proofs, signed and numbered screen print on cardboard, folded, 60 x 36 x 10 cm Courtesy of Edition Block, Berlin [An illustrative, yellow, white, and pink image of a woman, holding a cigar to her mouth, in profile view. At the top right corner in white text reads, "Das gerfül zwischen fingerku ppen." Below a white paper decends with smaller images of various vegetables.] -
Sarah Michelson. Devotion, 2011. Photo: Paula Court. [A girl lays on a dark background. She wears a white leotard. Her arms are stretched straight out on either side, with her palms facing upwards. She gazes upwards, illuminated by a soft light.] -
Gillian Wearing, All I Ever Wanted Was Love, 1992/93, 23.5 x 16.5 inches [Photograph of a youthful figure with short brown hair wearing blue jeans and a dark shirt with a green jacket tossed over their left shoulder. A black bandana covers their mouth, obscuring the lower half of their face. They hold a sign in front of their chest with both hands. The phrase, "ALL I EVER WANTED WAS LOVE" is scrawled across the sign in handwritten text. A hand-drawn image of a sun and palm tree decorate the right side of the poster. The figure stares directly at the viewer and poses against a dark wall. Small white text placed at the image's lower left corner reads, "2020Solidarity - Gillian Wearing."] -
Jack Smith Untitled (Plaster Foundation of Atlantis), 35mm slide, c. 1970. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels. [Remnants of discarded objects fill the frame. A flattened rubber chicken sits in the middle next to various bottles and boxes. On the right reads a white square in black and red font, "Exotic, Tropical Fruit."] -
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.] -
[Two rectangular orange paintings, in portrait orientation, hang on a white wall. Both canvases depict slugs filling up each rectangle. In the painting to the left, the slug almost forms into a square. In the painting to the right, the slug is stretched in a long line, twisting across the surface area of the canvas. The eyes of both slugs protrude from their animated bodies like antennae, raised and peeking over the boundary of each painting's edge.] -
[A white, graphic shirt sits on a piles of items next to nested wicker baskets in front of a wooden wall. On top of the baskets is a sign that reads, "freedom club."] -
Louise Bourgeois Jitterbug, 1998 Lithograph, 18 x 24 in / 46 x 61 cm, Signed & Numbered. [Two red and blue spidery forms interlace, floating in the center of the page atop a blank sheet of staff paper.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [Three small televisions sit on a white shelf. Each displays a timestamped video of a person eating a lollipop.] -
DJ Princess Julia. [A black and white closeup of a person's face. They have blunt bangs and dark, dramatic eye makeup and lipstick.] -
[A digital greyscale rendering of a loose spiral made from flexible bricks.] -
Hito Stereyl, excerpt from In Free Fall, 2010, HD video with sound, 30 mins. Courtesy of the artist and Andrew Kreps, New York. [A moving image of a man, dressed in a pilot uniform, in front of a panning image of Earth from space, holding a laptop. The camera zooms in on the video playing on the laptop screen of a man releasing his parachute while skydiving.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands next to a fold-out table in a dimly lit space. They look down at their feet while their hand rests at their hip.] -
[A color photographic picturing two figures who sit watching a television screen, their backs facing the camera.] -
William E. Jones. Still from v.o., 2006. [A man, looking toward the camera, in the midst of pulling his shirt off exposing his torso. A subtitle typed in white at the bottom reads "No, I wasn't talking about death."] -
Activated Walls. Installation view, Artists Space, 1993. [A wooden ladder standing in the corner of a room with half-finished paintings on the wall. On the left wall, there is a colorful mural composed of swirls and circles. On the other wall, there is a sketch of a ballerina with dozens of black and white portraits of a woman's head with various words including "CUNT" and "CUTIE."] -
Peggy Ahwesh, Paranormal Intelligence (Part 2 of The Pittsburgh Trilogy), (1983). [A crowd of people seated in a dark room, facing a screen. On screen, there is an image of a person wearing a striped shirt, holding a towel around their neck.] -
Michael Robinson. Still from If There Be Thorns, 2009. [A hand reaches toward the bark of a tree, drawing a thick red line. There are leaves in the background.] -
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.]
