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Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, September 16, 2022 - December 3, 2022. Photo: Filip Wolak [A picture of a gallery space with a phonebooth in the foreground. Behind the phonebooth is a reflective wooden base, and some plants. There is a video projected on a wall in the back of the space.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands facing a black tarp tacked to the wall. A second figure holds a camera, photographing the tarp. An image is projected on the back wall.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez [In the foreground a large, orange slug sculpture forming a circular ring shape is installed around two cast-iron columns suspended by ten elastic cords such that it encircles the column and rests close to the ceiling. Behind it is a large, orange slug sculpture forming a circular ring shape installed around one cast-iron column suspended by eight elastic cords such that it encircles the column and rests at its vertical center. In this white-walled gallery space one can also notice a partial view of a painting in the background.] -
Michael Kalil, an analytical study for Osmotic Membrane (detail), 1986. [A scan of a constructed line drawing using different architectural notations like dashed and construction lines.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 29, 2022, Artists Space. Photo: Destiny Mata [Color photograph of visitors standing around a gallery space, conversing and studying the works on the wall.] -
Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the guitar sitting down, while another figure stands behind him playing the bass.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An angled view of a paneled wall displaying a long line of framed photographs in an exhibition space. A white mannequin wearing a blue shirt stands to the right of the wall. A large red carpet covers the ground in the bottom right portion of the image.] -
Michael Brewster, An Acoustic Sculpture, A Clicker Drawing. View from Opening, April 2, 1977, Artists Space. [A black and white photograph of a person standing in a doorframe. On the left, a broom rests against the wall. A circular window behind a radiator is visible on the right. Buckets of paint and painting rollers are scattered across the floor.] -
Jerry Beck. Installation view of Cryptic Cross. Artists Space, 1985. [A sculpted pedestal with a black object on it is visible below a sculpted multilayered cross hanging on a gallery wall. Sharp lighting shrouds most of the image in darkness with a light falling on the figure on the pedestal.] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a basement gallery space with various multimedia works on display. In the left back corner is a reading room, and in the center is a large wooden platform, a wooden bench painted blue, and a woven hanging. ] -
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Mark Morrisroe. Still from Nymph-O-Maniac (1984). [Three people wearing facemasks. One is dressed in an ultra-feminine mask, nightgown and open robe, facing the camera. The other two are facing the first figure, dressed casually in t-shirts and a denim vest.] -
Shala Miller, Genesis, 2023. [A black-and-white film still of hazy and ghostly tonal modulations. A disembodied arm and hand with extended fingers is captured in mid-motion, floating within the nondescript tonal atmosphere.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a corner space in a gallery, below a staircase, that is bathed in red light. At the bottom of the stairs are a group of performers wearing conical costumes made of reflective one-way mirror film. ] -
Conrad Bakker, Untitled Project: Projection [ARTISTS SPACE], 2007. Painted wood and mixed media. Courtesy the artist. Photo: Bill Orcutt [On a wooden floor in a white room are a pile of objects which emulate video projectors plugged into a power strip nearby. There is a remote control on the pile. On the otherwise empty facing white wall, "EPSON" is written in green letters.] -
Drake Carr: Housecalls. Performance documentation, September 8, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. [A color image of two figures. The figure in the foreground is blurry, and is looking towards the lower right corner. The figure in the background is focused and is looking straight at the viewer. There is a wooden column on the right. ] -
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Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1981. [Dark photograph of a plywood sculpture with shelves in a gallery space.] -
[A black and white, square wordsearch grid.] -
Served Up! R.M. Fischer, Postcard, Artists Space, 1979. [A black-and-white photograph of a man crouching and speaking in front of a spotlight. The outlines of two people in front of the speaker are faintly visible.] -
Adjua Gargi Nzinga Greaves, INDEX, 2021, C-trans print mounted on lightbox, 41 1/2 x 41 1/2 x 5 inches [Four books are arranged in the center of a color photograph in a grid-like formation, their edges meeting. Handwritten notations surround the books.] -
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Paintings by Fontaine Dunn. From Gary Bower, Fontaine Dunn, Hermine Ford, Artists Space, 1976. [A color installation image of a gallery space. Several small canvases painted with geometric forms are hung on the walls.] -
Local Transit. Installation view, Artists Space, 2006. [A hallway with one gray wall and one white. On the gray wall, there are a series of drawings on white paper arranged in a 4x7 grid. On the white wall, there are four frames. Light is refracted on a third wall at the end of the hallway.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit stands on stage, behind a music stand and speaks into a microphone.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A green object with a cracked, black surface sits on a white base. A metal antenna extends out on a diagonal.] -
rafa esparza: Camino. Installation view (Timo, 2023; Adobera 1 (adobe brick mold), 2023; Sancha, 2023), Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with paintings done on adobe panels that rest on steel armatures, and are laid out around the space. The artworks depict paintings of various figures. On the wall hangs a wooden ladder horizontally.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. Photos: Kenji Fujita. [A view of a bedroom with various poster images on the walls and a dotted line cloth on a matress lying on the floor.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [An image of a shoreline is projected on a trifold screen.] -
Young Fluxus. Installation view, Artists Space, 1982. [A view through a doorway into a white-walled gallery space with drawings on the walls and a banner on the windows.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two black monitors facing opposite directions sit on a large, rectangular wooden table. One screen is visible, showing an image of two hands holding a piece of white paper with typed text. In the background, a framed photograph is installed on a white gallery wall.] -
Establishing Shot. Installation view, Artists Space, 2004. [A dim, twilight image of a city on a coastline. Bright, turquoise blue streetlights dot the photograph.] -
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Irving Sandler, Goodbye to Tenth Street (New York: Pleasure Boat Studio, 2018). [Cover of the novel Goodbye to Tenth Street, featuring a blue-toned image of a streetpost with a road sign for East 10th Street and a one-way sign.] -
Heji Shin, Camp Habibi II, 2013, C-print, 20 x 16 inches, Signed edition of 100, 5APs, Courtesy of the artist. [Detail view of a camel's head in profile against a palm tree and blue sky.] -
Lyndon Barrois Jr., Guardians Gate (Farfanicchio), 2022; Masters of Fine Arts, 2011/2022. Wood, latex paint, antique brass elements, cast iron, oil paint, twigs, brass, burlap, packing felt; oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a door with multiple nested smaller doors within the doorframe. Each individual doorway is framed with a gold outline. To the left are several empty picture frames and two studio lights. In front of dark green curtains is a painting set in a gold frame.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A number of sculptures on pedestals can be seen in the foreground with paintings and sculptures behind them in a gallery setting.] -
John Monti, Rocker Variation, 1991. [Two identical large wooden sculptures on a black and white checkered floor. The sculptures have rounded, semi-circle shaped bases with rectangular pieces set crosswise atop that.] -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black, grey, and white abstract painting on a white wall.] -
Andre Cadere, 11 December, 1976, David Ebony Gallery, New York, 13.00 to 17.30, Photograph by Gianfranco Gorgoni Digital print Image size: 10 x 8 in / 25,4 x 20,3 cm Paper size: 11 x 8 in / 27,9 x 21,6 cm Signed and numbered certificate [Black and white photo of Andre Cadere holding a striped stick over one shoulder and crossing the street in New York City.] -
Flyer for Segue Reading Series featuring Ted Rees and Jean Day. January 21, 2023, Artists Space. [Purple and dark gray text overlay a light gray background with abstract patterns and a drawing of a male figure smoking a pipe in the bottom left corner. The text in the middle reads "Ted Rees / Segue Reading Series / Jean Day."] -
ArtpArkArtIII. Exhibition Postcard, Artists Space, 1978. [An image of rocky terrain with a cliff in the forefront. Near the lower left corner of the photograph are some shrubs and a tiny human figure in the distance. Below the image is text reading: "ArtpArkArt III / Artists Space / March 18-April 1."] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Silver, italic text displayed across the top edge of a white gallery wall reads, "Tier 3 1980 Dallas 1963 Cabins 2007 Color TV 1954 TITMH 2013 Alexis de Tocqueville 1992." An image of the moon in a black sky and a small letter are displayed side-by-side on the gallery wall beneath the silver text.] -
Still from Sacrifice/Gisei (1959). [A black and white image of a man lying on the ground, his arms and legs splayed out as if in agony. His eyes are closed and his face is contorted.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [An audience looks at a mannequin on a table.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of multiple works including a blue gallery wall displaying dynamic images hung by large push pins and a demolished wall.] -
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Unholding. Installation view, Artists Space, 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.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Two newspaper clippings and a sheet of written correspondence are installed in black frames on a gallery wall above a small vitrine. The vitrine displays a series of open, vintage magazines.] -
Yara in the dojo, c. 1970s. Courtesy the Estate of Milford Graves [A black-and-white photograph depicting three men equally distanced from one another. They hold their hands up to the ceiling with their palms out and stand near a floral printed wall.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [A square painting of a partially nude human figure is visible next to large, orange slug installations attached with black elastic cords onto cast iron columns.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down next to a wooden table and looks off to the right. Audience members sit along the floor in the background.] -
Shala Miller performs Genesis: Medley. Performance documentation, May 11, 2023, Artists Space. Photo: Roy Baizan. [Black & white photograph of an empty gallery room, with black walls. Hanging around the center of the space are three hanging screens playing the same synchronized video. Along the back wall a cello lays against a wooden chair, next to a harp and stool. On the side wall a spotlight shines on a microphone stand. ] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A large, black and white illustration of a hand displayed on a freestanding gallery wall. The hand extends upwards, palm facing the viewer, with tentacle like creatures escaping a slit on its wrist. The illustration extends across the full height of the wall.] -
Unholding. Installation view, Artists Space, November 19, 2017 - January 21, 2018. Photo: Daniel Pérez. [Three paper bags featuring collaged and drawn embellishments sit in a row on three pedastals of varying heights in ascending order.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three television screens installed on a gallery wall. Two screens are positioned in a portrait orientation and the third in a landscape orientation. Their cords loosely fall to the ground below and run beneath a door. Each screen displays images of one or several figures mid-speech or mid-movement.] -
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Playing cards from Barbara Bloom's Solution. From Barbara Bloom, David Salle, Artists Space, 1976. [A photograph of six index cards with typed up clues.] -
AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A black and white image of an antique wooden chair with a plush seat. A mold of a human brain emerges from the center of the chair's cushion.] -
Social Surfaces. Installation view, Alexander and Bonin, 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.] -
Gary Falk, Brigid Kennedy, Ladd Kessler, Peggy Yunque. Installation view, Artists Space, 1981. [A dim photograph of dark curtains and sculptures in a gallery space.] -
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.] -
Don Baum, Safe, 1984. [A black and white photograph of a sculpted, rough-hewn house-like object with 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.] -
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.] -
Lukas Duwenhögger: Undoolay. Installation view, 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.] -
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[White text overlays a green and pink marbled background. The text reads: “April 1 / Fiel Guhit / Tianyi Sun." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Valerie Hegarty, Cracked Canyon (Poster), 2007. Site-specific installation. Courtesy the artist. Photo: Bill Orcutt. [The corner of a loft space. A printed image of a canyon is affixed to the wall. The image is torn in half and the tear extends off of the paper onto the wall itself, continuing from floor to ceiling.] -
[Catalogue cover design featuring an architectural sketch of an abstract contraption. A silhouette of a figure is transposed on top of the rendering. Black sans-serif text at the top and bottom edges of the cover reads, "Joel Saunders & Scott Sherk / SIGHTING THE GALLERY / Artists Space / December 12, 1992 - January 30, 1993."] -
Joseph Marioni pictured with his work. Installation view, Joseph Marioni, Andrew Ginzel, Barbara Schwartz, Artists Space, 1975. [A figure standing in front of a black square canvas in a gallery space.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure with raised arms and in motion in an orange-lit space next to a small piece of audio equipment with a wire on the floor. A crowd looks on in the background.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a figure in a red suit performing in a darkly lit room with LED light sculptures in the background. The figure holds their left hand out in a gesture, and with their right hand holds a mask in front of their face.] -
The AIDS Crisis Is Not Over. Installation view, Artists Space, 1988. [An exhibition wall with multiple posters hanging in between two large speakers and a tv on a pedestal in the center. ] -
Still from Polly II - A Plan for a Revolution in Docklands (2006). [Two people dressed in black looking down. Superimposed on top of them is a poster reading, "JENNY DIVER CALLS ON ALL PEOPLE OF THE FLOOD EAST ORGANIZE NOW! PEACE TO HUMBLE DWELLINGS! WAR TO THE PALACES!"] -
Painting as Paradox Exhibition Catalogue, Artists Space, 2002. [A pink book cover opened all the way so that the front and back covers are visible. It is bright pink, with white text on the front cover reading "Painting as Paradox" and "Artists Space." There is an image of a maze in the center of the cover. On the back, a long column on the lefthand side lists artists names.] -
Gerome Kamrowski. Paintings on the Surface of a Dome, 1960. [A black and white photograph of a large constructed rock dome in a galelry space.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure stands behind a microphone, their hands placed together in front of them and looking off.] -
Frank Palaia, When Will We Learn?, 1990. Automobile hood, paint, 48 x 58 inches. [A car hood is shown hanging on a white wall, painted with small, silhouetted figures of people and animals,] -
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Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 29, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a gallery space with an installation consisting of a large mirrored pond, made from a wooden base with a reflective lining on top, that is surrounded by tree trunks, plants, fish tanks, and a phone booth. A large lamp hangs from the ceiling, and an orange construction net is placed over the pond.] -
Friends of Artists Space Annual Dinner, 2022. -
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Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a large gallery space with multiple rooms visible. In the foreground, the floor is covered with flooring, except for a silhouette of a human figure which has been cut out of the flooring, through which the concrete below is visible.] -
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."] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large display case whose top and bottom portions are made of a shiny, black material. Held between these black components is a glass vitrine that displays several objects, including a flat surface covered with inky text that reads, "BC." Behind and to the right of the display case, a shiny, black cubic structure—nearly of ceiling height— is installed in the gallery.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs stand on the edge of pieces of red fabric, stretching their arms outward.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A framed photograph displayed on a white wall. The photograph shows multicolored flowers laying on a white surface with a black background.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure is shown in profile speaking into a microphone, sitting behind a table and working on a laptop.] -
Underground: Gail Rothschild. Installation view, Artists Space, 1990. [A group of human figures made of clay are seated on benches around a long table, which extends to the length of a dark room. The walls of the room are patterned with handprints.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a performer dressed in white, kneeling on all fours. A bright light from their pelvic area shines onto the floor, as viewers stand around the figure.] -
Still from Ganja & Hess, picturing Marlene Clarke, 1973. [A woman screams as a trail of blood runs down her chin.] -
Young Fluxus. Installation view, Artists Space, 1982. [A chalk drawing appears above two chairs on the left and in the corner is a television monitor on a pedestal with framed drawings behind it. A doorway leads into the next space.] -
Tom Murrin, Johanna Went, 1985. Acrylic on foam core, 14.75 x 20 inches. Courtesy the artist. Photo: Patty Wallace. [A painting of a person with red hair, cross-shaped earings, and black paint under their eyes.] -
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.] -
Shirley Jaffe. The Blue Daisy, 1988-89. [A geometric composition of black, blue, yellow, red, and orange flat shapes on a white background.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A handled paper bag, placed at an angle, with detailed illustrations along the sides. The front image depicts a goat sitting on grass with its back turned to the viewer, facing a dancing Statue of Liberty against a blue background. In the right corner is a small drawing of the twin towers against a yellow background, and in the right corner is a small drawing of three small cylinders with smoke emanating from one. The side panel has paintlerly blue stokes in the middle, and a small green triangular tent at the bottom.] -
Pop or Populus: Art Between High and Low, by Bettina Funcke, published by Sternberg Press, 2009. [A white book cover with patterned text reading, "Pop or Populus." In between these words, small black text reads, "Art between High and Low" and "Betinna Funcke".] -
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Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A close up view of a sculpture of a man holding a book. The man's hand holds the spine of a book close to his purple shirt.] -
Salad Days 3. Installation view, Artists Space, 2008. Photo: Jeremy Ross. [A large structure resembling a well is displayed in a gallery space with wooden floors. The sides of the well are constructed from spray-painted cinder blocks. Supported above the well's opening and a hanging, red bucket is a structure resembling the top portion of a house roof. Behind the well, three large paintings composed of colorful, gestural marks are installed on the gallery wall.] -
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.] -
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.] -
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Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [A color image of a pink-hued room inside which an irregularly shaped platform with a reflective surface sits on the ground. Objects such as plants, a fish tank, and tree stumps sit on and around the platform.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of two men sitting at a work table that holds various electronic and musical equipment. The man seated closest to the camera is playing a trumpet, while the other performer at his side actively works at a computer. The performance venue is dimly lit while a projection and some pink overhead lights provide some illumination.] -
Still from Spectres. Dir. Sven Augustijnen (2011). [A person in white pants and a blue shirt with the sleeves rolled up to the elbows is walking through a jungle. Their face is obscured by leaves.] -
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. Abstract images are projected on the space’s walls.] -
Alza Tu Voz, front porch, exhibition at Dykeman Farmhouse Museum, 2017 [A photograph of the outside of a brick building, with two signs standing against the wall, between the building's front windows, on the porch. The signs depict stylized figures, one saying "No Mas Racism," and the other, "No a la discriminacion hispana"] -
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ART CLUB2000, Untitled (Starbucks Trash), 1995, 11 x 14 inches, black and white photograph. [A pile of trash, including Starbucks cups, empty packs of cigarettes, newspaper, and food remnants, is strewn across the ground.] -
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[Draped fabric that reads "American Express World Service" in an all-over pattern.] -
Adjua Gargi Nzinga Greaves: The x in florxal is silent when spoken. Installation view, Artists Space, 2021. Photo: Filip Wolak. Courtesy Artists Space, New York. [A gallery wall painted pink with a window in the middle. On the windowsill are several potted plants. Works on paper and a collage are hung on the wall.] -
[An equilateral triangle filled with a white and purple gradient. The triangle's bottom right corner is a dark purple color, while its bottom left corner is a bright white color.] -
Johanna Went performing at The Whiskey, Los Angeles. Photo: Ed Colver [Black and white image of a performance. The artist is shown standing in front of a microphone, but their face is completely covered in a mask with criss-crossing white stripes. Their upper body is wrapped in a large sheet of thick paper with repeating images pasted onto its surface, and a square cone hat sits at an angle on their head.] -
Ava Garber, 3 Pillows, 1990. Wax, fabric, wood and oil, 36 x 120 x 36 inches. [A black and white image of three overlapping pillows propped up against a white wall.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Two large, orange slug sculptures forming a circular ring shape around separate cast iron columns suspended by black elastic chords in a white walled gallery space with a square painting in the background.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A square hole has been cut out of a blank, white gallery wall. Through the hole, several brown paper and cardboard boxes are visible.] -
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Sariyah Pagan, Cupcakes, 2022, colored pencil on paper -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure wearing a blue shirt kneels down onto the stage, working on audio equipment. Red light is cast onto them.] -
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Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of two wooden cafe chairs with green cushions in a gallery space. A television screen with a cord extending down to an outlet in the floor rests upon each chair.] -
Michael Clark in the production Mmm.... (1992). Photographed by Hugo Glendinning. [An open book showing two black and white images. On the left, a person with a fur on his arms extends one leg into the air. On the right, the same person wears a unitard and hinges back with one leg straightened in front of him.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a large empty room bathed in a red light. Along one wall, a performer dressed in white stands against the wall, bending over and looking to their left. A bright white light shines from their hips and a sheath of crinkly, reflective one-way mirror film lays on the ground in front of them.] -
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Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A makeshift screening room enclosed by unpainted wooden walls. There are two wooden benches arranged to face a projector screen. The screen displays an image of a luxury pool surrounded by palm trees, with the sun shining.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of multiple works including a vending machine against a glazed over window, a glass display table backed by tiled photographs, a lightbox with an image of sitting individuals and a colorful shack structure.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two screens are mounted, one above the other, on two metal poles. They show a single image split across the two screens of a black fabric with white dots, zigzags, and lines. In the background, there are two more screens mounted vertically on two metal poles. They show a black image with white light spots.] -
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[Dark blue text overlays red-pink background. The text reads: “March 4 / John Godfrey / Nicole Wallace." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Richard Hollis, Whitechapel Gallery advertisement, 1980. [A blue flyer with the word "OPEN." printed in yellow.] -
Drake Carr, Colin and Brandi at Home, 2023. Colored pencil, ink, acrylic on paper. 48 x 60 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A colorful drawing depicts an image with blue and yellow background, and two elegant figures sitting on a red couch. They are both looking towards the viewer. On the right, a female-presenting figure wearing a pink suit has her legs up on the couch. The male-presenting figure is on the left. He is cross-legged and wearing a black suit. At their feet, a cat stretches. ] -
Tasneem Obad, 2020, charcoal self-portrait -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure stands in the center, speaking into a microphone. To their right, two figures wear tall, pointy hats. To their left, a figure waves a flag while running.] -
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.] -
Gwynn Murrill, Stalking Cat, laminated wood, 1974. From Don Wynn, Judy Pfaff, Gwynn Murrill, Artists Space, 1974. [A black and white photograph of a wooden sculpture of a seated cat.] -
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.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs gaze into the distance.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement window that has been tinted with blue paint, streaming in blue light.] -
Tiffany Sia: Slippery When Wet. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a black rectangular table and a chair in the foreground. There are eight photographs and print-outs hung on the back walls, and a row of floor-to-ceiling columns is visible in the background.] -
Spretnjak not sure name of work -
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[A grainy, black and white image of a vintage automobile driving on a winding, deserted road through a set of mountains. The car is in the foreground of the image, with part of its body cut off by the image's frame.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. February 29, 2020–September 19,2020. Image courtesy of Artists Space, New York. Photo: Filip Wolak [A close up image of vinyl text installed on a gallery wall. The header of the text reads, "She Who Is / Adrienne Kennedy and the Drama of Difference." Past this gallery wall, a large exhibition space is visible. Several old Hollywood films are projected on the space's far gallery walls.] -
Robert Longo, Burning Word: Device for Young Artists, c. 1977. Cast metal. [A black and white photograph of a metal rod with the word "believe" attached to the end. A shadow spelling out "believe" is cast onto a white background.] -
Western Agenda. Installation view, Artists Space, 1991. [A black and white photo of two monolithic sculptures side by side. ] -
Opening reception for J.B. Cobb, Martha Edelheit, Ree Morton, Artists Space, 1973 [A black and white photograph of a gallery with paintinfs on the wll and several figures milling and chatting.] -
Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A diptych drawing of one figure sitting cross-legged on the left and another figure lying down next to flowers in a vase depicted on the right.] -
Flyer by Joe Frivaldi. [Magazine cutouts and printed images overlay a colorful background with red, white, blue and yellow pieces collaged together. A cutout of an eye is placed in the center, and to the right of it is text that reads "ABASEMENT 66." Along the bottom right is a cutout of yellow paper has handwritten text in red ink, listing the performers and date of the performance.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [A large room with wooden floors. In the right corner, there is a wall creating a corner that is covered in colorful wallpaper with images of tropical birds on trees. Several framed pictures are displayed on one side of the wall, partially obscured by a white column. To the left, there are three standing plinths with glass tops, housing dried brown plants.] -
Christa Blatchford, still from See Around, 2008. [Four images arranged horizontally. From left to right: solid gray-blue, a gray-blue toned image of a shoreline, a gray toned image of a shoreline, and a gray toned image of a shoreline with a subtle pink sunrise in the sky.] -
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Lukas Duwenhögger, Restive Childhood, 2016, Archival inkjet with silkscreen on 320 gsm Hahnemühle Photorag Pearl paper, 20 ¾ x 15 ¾ inches (52,7 x 40 cm), Edition of 10 + 3 AP, Signed & Numbered. [A framed image with black text, white background, and a black & white photo in the center hangs on a wall. The photo depicts a cop on the left who reaches towards a man holding a gun and a young child on the right. Above the photo it says, "Out of the blue: / Children march on capital / demanding homo-adoption / innumerable casualties / heart-wrenching scenes." Beneath the photo, the text repeats but in Turkish.] -
New Red Order: Feel at Home Here. Installation view, Artists Space, May 19 – August 21, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [An image of an exhibition space with a sculpted, larger than life head. On the right is a large painting of a hand holding a flower, and on the left, is a table with red cover that reads "NEW RED ORDER" sits in between three tv monitors. ] -
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James Luna, In My Dreams: A Surreal, Post-Indian, Subterranean Blues Experience, 1996, exercise bike, crutches, beaded shoes, video projection, dimensions variable. Photo: Filip Wolak [An image of a sculpture made out of bicycle parts, as well as other materials. Behind the sculpture is a projection.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork: Candace Hill-Montgomery. [A few people standing in a gallery space with a picket fence and drapery on the walls behind them.] -
Joyce Kim, Untitled, 2000. Acryclic, latex and enamel on canvas, 48 x 45 inches. Courtesy the artist. [Abstract paint splatters of various muted colors on a grey background.] -
Gary Burnley, Martin Cohen, Candace Hill-Montgomery, Louis Stein, and Haim Steinbach. Contact sheet of photos from exhibition opening, Artists Space, 1979. Photos by Gary Burnley. [Contact sheet of installation images taken during exhibition opening.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [On the lefthand side of the image is a television monitor; on the righthand side, two paintings hang from the wall.] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular and square panels, strips of wood, and portions of ornate frames installed on a white wall. The installed elements are positioned adjacent to one another such that they form a larger, irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text and collaged photographs.] -
[An abstract pixelated artwork in pastel tones.] -
Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [Two figures musicians perform on stage. On the foreground, a figure is playing the drums. On the background sits a guitar player. Blue and red lights are projected on the back wall.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Two black and white photographs of various men casually holding hands are mounted one on top of the other on a white gallery wall behind semi-translucent white curtains. Two hands draw the curtains back to reveal the images.] -
I Thought I Had Time. Installation view, Artists Space, 1992. [Close up image of a rectangular panel installed on a white wall. The canvas is covered in color block washes of black, gray, and white paint. Left-aligned, serif text positioned at the upper half of the canvas reads, "she said it's gone too far. I thought I had time. / I thought I had more time. / Room 409 / Memorial Sloan-Kettering / 1990 A.D."] -
Western Agenda. Installation view, Artists Space, 1991. [A black and white image of multiple sculptures along a wall. ] -
The House that Herman Built. Installation view, Artists Space, 2007. [A freestanding room, constructed from wood and resembling a prison cell, sits in the center of a gallery space, its door ajar. A model of a building sits on a pedestal to the left of the wooden prison cell. On the wall, a vinyl quote reads: WHAT KIND OF HOUSE DOES / A MAN WHO HAS LIVED IN A / SIX-FOOT BY NINE-FOOT CELL / FOR OVER 35 YEARS DREAM OF?] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A two-toned wall with three paper collages hanging next to a niche that houses a red elevator. Vinyl text displayed on the wall above the niche reads, "Jack Smith, Art Crust of Spirtual Oasis, June 22 - September 9."] -
Tisziji Muñoz [A black and white image of a figure with long, wispy hair and a mustache playing guitar.] -
[A digital rendering of a large, rectangular aquarium filled with fish. Resting on top of the aqaurium are three terraria of different spherical shapes.] -
Louisa Chase. Installation view, Louisa Chase, Ted Stamm, Meryl Vladimer, Artists Space, 1975. [A black and white installation photograph of a sculpture. The work features two wooden rods, connected to form an obtuse angle in the center. The end of each rod has a set of wheels, and the piece rests on a sling-like piece of sturdy fabric.]
