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Whatever Happened to Sex in Scandinavia (2011). Knut Ove Arntzen, Stan Brakhage, Marta Kuzma and Pablo LaFuente. [A grayscale image of two naked people, kneeling on the ground of an untidy room. They are embracing, with their foreheads pressed together. Behind them there is a window and a typewriter on a stand.] -
Fran Lebowitz reading during Dear Jane, 2017. [A woman stands against a large, empty wall, reading several sheets of paper sitting on a music stand, and speaking into a microphone. A large crowd forms a semi-circle around her, with bookshelves and the building entrance in the background.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Düsseldorf and the Rhineland (1957–1964)," Artists Space, 2014. [An angled view of two adjacent gray walls displaying various paper material, documents, and photographs.] -
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Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large white wall with symmetric, geometric patterns drawn on it.] -
[A red background with white text which reads: "BDS IS THE FLOOR NOT THE CEILING", followed by the Decolonize This Place Logo.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two individuals seated in two wooden chairs while a third in between them holds a single headphone. They are seated in front of a TV monitor displaying Edward Snowden's image.] -
Christopher Williams. Bouquet for Bas Jan Ader and Christopher D’Arcangelo, 1991. . Archival corrugated board, archival photocorners, compound, 4-py conservamat, 8-ply conservamat, drywall, dye transfer print, glass lacquer-based finish, linen tape, nails, Northern maple, plastic set back strips, primer, screws, seaming tape, paint and wood.. Print: 16 x 20 inches [40,6 x 50,8 cm]; 29 x 32 5/8 inches [73,7 x 82,9] (framed). Wall: 120 x 180 x 4 ? inches [304.8 x 457,2 x 12 cm]. Overall: 120 x 180 x 6 ? inches [304.8 x 457,2 x 17,2 cm]. Edition: 1/8. Edition size: 8 and 3 artist’s proofs.. Private collection, Berlin. Courtesy: Galerie Gisela Capitain, Cologne. . Installation view from Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979), Artists Space, 2011. . Photo: Daniel Pérez -
[The word "WAGE" with periods seperating each letter appears on a multi-colored background. The "A" in "WAGE" is colored yellow.] -
View of Vigilance: An Exhibition of Artists Books Exploring Strategies for Social Concern , Curated by Lucy R. Lippard and Mike Glier Franklin Furnace, 1979 Courtesy Mike Glier [A woman sits, left of center, at a table filled with books. On the wall behind her, a banner with red text that reads, "...Pessimism of the intellect, Optimism of the will... Gramsic," is displayed.] -
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.] -
Tom of Finland, Untitled, ca. 1966, collage on paper. Courtesy Tom of Finland Foundation, Permanent Collection. [A collage of four half-naked men dressed in a pilots hat arranged on paper.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A string of light bulbs decends from the celing of an exhibition space, with the end of its wiring resting on the ground below. A framed image of a figure's face is installed high on the wall directly behind the light string. A small cardboard box with gold details sits on the ground to the right of the light string.] -
Union Gaucha Productions Still from As Long As it Lasts , 2010 Digital video on six screens (silent, color), 191 min Film production and editing assistance: Francisca Caporali and Lior Shvil Originally commissioned by The Museum of Modern Art Courtesy of Union Gaucha Productions and The Museum of Modern Art [A man is shown in front of a Jackson Pollock painting wearing a frilly baby bonnet, sunglasses, a pacifier, a white t-shirt and a white cloth that resembles a diaper.] -
Demonstrations outside the opening of Witnesses: Against Our Vanishing, Artists Space, 1989 [Protesters standing in a line hold a variety of signs with statements such as "Helms impedes the 1st Amendment," "Obscene Art?", "I have no taste," and "No taxation without artistic representation"] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [A black and white image of three people wearing winter coats and scarves, observing something to the left of the camera.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A television on a metal stand shows an image of a man in a cowboy hat. A white bar with black text on the bottom of the screen reads, "The actor said. He explains that thousands of bootleg copies."] -
You Are The Everything and The Everything Is In You. Installation view, Artists Space, 2005. [A long piece of paper covered with muted pastel and black areas of color stretches horizontally along two walls in the corner of a gallery space. Vinyl text installed to the right of the paper scroll reads: "Andrew Kuo / YOU ARE THE EVERYTHING AND THE EVERYTHING IS IN YOU."] -
Spread from Harun Farocki Diagrams. Images from Ten Films, stills from Images of the World and the Inscription of War, 1988. [Fifteen images arranged in a grid, depicting close-ups of human faces and arial views of war.] -
Anna Gili, Flower Dress, 1987. [A mostly nude woman with parts of her body obscured by plants and flowers. She holds her arms up, with a large plant sprig in each hand. She has a large stem woven through her hair, and a single flower held between her toes.] -
Critical Art Ensemble, Disturbances (London: Four Corners Books, 2012). [The front and back cover of a book; on the front, the title in white and red - on the back, two people in hazmat suits walking through a foggy field.] -
Nayiel Walker, Don’t Let the Sun go Down on Me (for Puerto Rico), acrylic on paper, 2019 [A stylized painting of a silhouette sitting on the edge of a brick wall, looking out at a vibrant sunset, with a palm tree in the distance] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
[Semi-translucent, white cloth material embroidered with thin black and yellow linework. A cluster of embroidered black lines gather at the top of the fabric. At their center is a group of words that have been embroidered onto the fabric. They overlap with such density that they are illegible. Small embroidered yellow circles decorate the lower half and right corner of the fabric.] -
[Red text reading “we cover for you / new red order / 1-888-NEW-RED1 / newredorder.org” is overlaid on an image of a person in a black shirt holding a rock in front of their face.] -
Log Cabin. Installation view, Artists Space, 2005. [Several sculptures, paintings, video works, and photographs installed in a gallery space with wooden flooring. A sculpture consisting of a white panel affixed to a wooden board upon which two striped rocks rest is installed on the ground. A TV monitor is installed in the room's corner directly behind the sculpture. The portion of the wall directly behind the TV monitor has been covered with a grid of poster-like images. Three color photographs and two paintings with muted purple and gray tones frame the monitor on its left and right sides.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A TV monitor is displayed left of center on a white wall plastered with black-and-white posters that read, "Wanted, wee willy," and two large "e"s. To the right behind a doorway, large beanbags sit infront of bookshelves.] -
Hito Steyerl, I Dreamed a Dream: Politics in the Age of Mass Art Production, 2013. Two channel HD video with sound, 29 mins 28 secs. Courtesy of the artist. [A monitor suspended in the middle of the room on a pole displays an image of Hito Steyerl speaking at a podium. Stacks of pillows, forming a seating area, surround the view of the monitor.] -
[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."] -
Michaela Eichwald, Ten Top Photographs for Artists Space, 2015, Series of ten inkjet prints, Assorted dimensions range from 5 x 7 in to 5 x 7 ½ in / 12,7 x 17,8 cm to 12,7 x 19 cm, each Signed and Numbered Certificate [An arrangement of 10 colored photos, each showing a different outdoor and indoor settings, including settings of nature, animals, a red trailer, an overexposed lecture hall, and a portrait of a woman.] -
Rachel Harrison, What the world needs now, 2009, Inkjet print on Ilford Galerie Gold Fibre Silk, 310 gsm 22 x 17 in / 55,9 x 43,2 cm, Signed and numbered [A black-and-white scan of a page of The New York Times newspaper, folded in half lengthwise. A translucent geometric pattern is visible across the image, with washed out pinks, greens, blues, and yellows. The visible story is a continuation from the story featured on the first arts page, titled "Foundation's New Prize To Honor Artists Under 35." Above the title is a photo of Victor Pinchuk, a Ukrainian businessman and art collector. Below the title is six images of "artist-mentors:" Andreas Gursky, Jeff Koons, Damien Hirst, Takashi Murakami, and institutional board members Nicholas Serota and Glenn D. Lowry of the Tate and MoMA, respectively. Each of the six figures has a color wig, bright lipstick, and two have glasses, giving each a goofy appearance.] -
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.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [The word "TIRANNY" is handwritten in block letters on a wall. In front of it, there is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a silver ball, a brown box, and more. The room is lit with a green hue.] -
Kristin Lucas, Social Climber, 1997. [A black remote control with a red light pointing out of its head. Six insect-like legs are attached to the body of the remote, three on each side, and it is poised on the wall as if crawling.] -
Juan Downey, Hepewe, 1976 - 77. Photograph by Juan Downey. Courtesy the Juan Downey Estate, Marilys B. Downey. [A shirtless man holding a film camera outdoors.] -
Charlotte Posenenske. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Four geometric, silver metal sculptures are installed on the floors of a light-filled gallery space. The sculptures are modular, hollow, and consist of cube-like and triangular metal components.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit room with a projection facing the front. The projection displays neon words that are slightly distorted, the legible text reads "Removes.....eight straight...."] -
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.] -
John Brattin, 1997. [A black and white Polaroid of a swirl on a striped background. At the bottom of the image, black handwritten text reads, "John Brattin - Enamel/Foam Giant Lollippop 7'H 3'Diam."] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Miniature houses constructed of documents are displayed on vitrines in the foreground. Behind them, tan, illustrated sacks of various sizes hang on a while wall. A purple painting of a buffalo with photo collage hangs on a wall to the right.] -
Collier Schorr, D., 2012, Archival pigment ink print, 14 x 11 inches, Signed and numbered [A black and white photo of a nude person in profile with arms crossed.] -
Mara Korkola, No Place, 2002. [Two paintings arranged side by side, both depicting highways with a blur of car lights and tailights.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Six pornographic illustrations of men near trees are framed on a wall.] -
Mark Hamilton: Echoplex. Installation view, Artists Space, 2006. [A white ceiling with penciled text reading "ROAD TO RUN."] -
Still from The Last Days of Jack Sheppard (2009). [A hand reaches toward the black-gloved hand of a person dressed in a black mask and jester-style costume, complete with a black and white pattern and a ruff around the neck.] -
Jason Hirata, Gavroche, 2019. 5000º Kelvin industrial LED retrofit bulb, gallery power grid. [In the corner of a room, close to the ceiling, a white L-shaped wall mount holds an LED lightbulb upright. A black wire connected to the lamp is taped to the wall with black tape and disappears off to the right of the image.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Installation view of several works in a gallery space. Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. A wooden wardrobe stands against a wall in front of the structure. Several bottles filled with urine stand in a line behind the structure, in front of an abstract sculpture in the corner of the room. The sculpture contains a humanoid head, a TV monitor, and haphazard pieces of wooden and cardboard.] -
Laurie Anderson, Whirlwind, 1996. Disk, 48 speakers, electronics, computer program. [A black and white image of a large room with a round black disk suspended from the ceiling over a gray circle in the floor. It is lit from above by mounted lights.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Multiple paintings are hung on white walls, some in rounded frames, depicting various people in outdoor settings. Suspended from the ceiling is a sculpture in the shape of an inverted cone and covered in artificial plants. Multicolored streamers hang from the base of the sculpture.] -
Artists Space's two tote bags. [Two Artists Space tote bags lay in the autumn grass. One is black with a white architectural line drawing with the phrase "OPEN TO BEYOND" at center, the other is pink with a black bold graphic of an "A" inside an outlined circle.] -
Gulf Labor action at the Solomon R. Guggenheim Museum, March 29, 2014. Image courtesy Global Ultra Luxury Faction/Gulf Labor. [A photo looking down from the top of the Guggenheim Museum's atrium, showing people crowded around an unfurling banner.] -
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.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A small device with a screen and cables is stuck to a closed door with a glass window and safety guard. The screen displays a blurred close up image of two hands grazing one another.] -
Film still from Now Voyager, 1942. [A black and white image of a woman looking into the camera. She has a wide-brimmed hat with a sheer veil over her face, and dark makeup.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Two side-by-side magazine advertisements mounted on a white wall. On the left, a portrait-oriented multicolored image is titled, "One out of every 100 new business succeeds. Here's to those who take the odds." There is a short written blurb below. On the right, a landscape-oriented spread shows an image of a car with its doors open on the left page. On the right page, large text reads, "The Delorean. Live the dream." An additional image of a car and a single column of text is positioned to the right of this headline.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Galerie Schmela (1966),” Artists Space, 2014. [A closed room; in the foreground is a white table with varoius documents. On the back wall hangs a black and white portrait of a man on a blue patterened wall. To the right adjacent wall, hang a grid of photogrpahs.] -
Ken Aptekar, Oversensitive, 1987-1990. Oil on wood, sandblasted glass, bolts, 30 x 30 inches. [A slightly chipped painting of a face with downcast eyes and a medieval-style crown. The word "Oversensitive" is overlaid across the top part of the face.] -
Flyer for Inquiry & Investigation, 2018. [A piece of stretched cloth covered with painted words reading, "Inquiry" and "Investigation," along with digitally superimposed event information.] -
[White Xs on an orange background forming an image of 'K.] -
Blue Sky Gallery exhibition P.S. 140, 2019 [In this photograph, eleven people pose for a picture in front of drawings and paintings that hang on the wall. Most stand while three kneel.] -
Hito Steyerl, excerpt from, Liquidity, Inc., 2014 HD video with sound, 30 mins Courtesy of the artist and Andrew Kreps, New York [A moving image of a computer generated ocean horizon line that pixelates into a recorded video of a real ocean horizon.] -
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[Blue descending text reads, "Ri, ch, ard." Red descending text reads, "Ho, llis."] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Miniature houses constructed of documents are displayed in vitrines in the middle of the room. Various photographs utilizing the wall and floor are displayed to the left on a purple section of wall. Tan, illustrated sacks of variable sizes hang on a white wall to the right.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Several artworks and vitrines displayed in a gallery space. On the left, a slide projector projects an image of a figure wearing a leopard-print body suit onto a white wall. A glass vitrine displaying several paper documents stands in the middle of the room next to a freestanding wall. Twelve drawings arranged in a grid formation and one additional drawing installed to the right of the grid are dispalyed on the freestanding wall.] -
[A vintage, black and white photograph of the interior of a shop window, which looks out upon a city street. Two men stand to the left side of the window, casually leaning against a pole and talking. Various metal vases, cutlery, and ornaments are displayed on the shelves within the window.] -
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.] -
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.] -
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."] -
Malkiyah Yehuda, Grasp, 2017. [A close-up image of two people holding hands, one in a red jacket and the other in a black sweater.] -
Jolene Rickard, from Corn Blue Room, 2000. [A black and white image of electrical towers stretching into the distance.] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular panels and tiles of varying dimensions installed on a white wall. The installed elements are positioned adjacent to one another, forming a larger irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text or line drawings.] -
Charlotte Posenenske, Series D Vierkantrohre (Square Tubes), 1967. Galvanized sheet steel, dimensions variable. Photo: Burkhard Brunn. [Black and white photograph of three, geometric metal structures sitting on a wide, outdoor concrete plaza. One of the metal structures is situated in the center of the photograph, while the additional two sit behind it, flanking it on either side. The structures are composed of hollow cube-like and triangular components.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [An installation shot of a room warmly lit by yellow and pink light. There is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a second disco ball, strands of string lights, and more.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [A disco ball reflects multicolored light spots across a room lit by pink and yellow hues. On the floor sit a second disco ball, a silver glittery hat, a silver chain, and a white convertable toy car.] -
The Library Vaccine. Installation view, Artists Space, 2014. [A seven shelf, white, book case is housed full of various colorful and sized books.] -
Alejandro Berlin, Artificial Spring, 1995. Balloons, artificial leaves, accordion bellows, wood, motor. [A sculpture resembling a pair of lungs installed on a white background. A stick covered with leaves forms the sculpture's treachea-like structure, while two bundles of uninflated, pink balloons form two lung-like shapes.] -
Edited by Julie Ault, Martin Beck and Richard Birkett, Macho Man, Tell It To My Heart: Collected by Julie Ault Vol. 2 (Berlin: Hatje Cantz, 2016). [The front and back flaps of a book cover design featuring an image of a gallery installation. Various artworks, one floorstanding case, and a column are visible in the space.] -
[A dirty, gray tile floor with small wisps of hair scattered across it.] -
Art Day, Blue Sky Gallery, P.S. 140, 2019 [Several students and two teachers smiling for the camera in front of their artwork hanging on the wall] -
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?] -
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.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a "bc" logo printed on a black glossy structure.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section "Galerie h (1966),” Artists Space, 2014. [A angled view of a grey wall with documents displayed behind glass. The closest image depicts a colorful illustration of shapes, with two, green, square documents to the left of it.] -
Artists Space logo designed by Louise Lawler, 1978 [Artists Space logo, a capital letter 'A' inscribed in a circle] -
Tauba Auerbach, Reciprocal Helix (Z), 2014, 3D printed matte gold steel, 5 1/2 x 1 1/4 x 2/5 in / 14 x 3,2 x 1,1 cm, Signed and Numbered Certificate. [A gold helix sculpture.] -
Poster from polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [Black, rounded text on a white background reads left, "galerie h, hannover, alleestrasse, gh;" right, "POLKE/RICHTER, Pop?, Kapitalistischer, Realismus?"] -
Cobus Jagdeo, Orange Hate, acrylic and gouache painting, 2018 [The top half of this painting shows a blue building ablaze on left. The building foregrounds an orange sky, grey clouds, a white car, and a black skyline. The bottom half uses a grey background with eight figures separated by a white rectangle in the center and an ambulance in the bottom right corner.] -
Hito Stereyl, excerpt from Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy of the artist and Andrew Kreps, New York. [A gif depicting a person dressed in black with arms outstretched and clasped, moving slowly through a room.] -
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996. [A room with two chairs facing toward a low table with a small monitor and assorted bottles. There are two windows, both blotted out with smears of paint. A large sculpture of a person with crouched legs and their arms above their head is suspended from the ceiling, with a second smaller head emerging from between the squatting legs.] -
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.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Close up of an artwork that consists of a white, rectangular canvas with a black and white image of a planet with a swirling, cloudy atmosphere. Directly below, a shelf made out of worn wooden planks supports several rough, oval and square shaped 2D cutouts that are arranged next to one another. A strip of wall behind the shelf and two "leg" like shapes below it have been gouged out of the gallery wall, revealing insulation and building supports.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A long, cubic rectangle held by suspension wires on a weathered wooden floor. A small, white box rests within the rectangle.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [On the left, two cream-colored folding chairs sit underneath a clear lampshade descending from the ceiling. On the right, the back of a projection screen is positioned between two standing speakers. A monitor sits on the ground beneath the screen.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view, Artists Space, 2014. [Three large prints rest on the floor against a windowed wall. Two on the left are black and white, of an interior room. On the right is a colorful illustration of two women.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a display case. Several mugs are stacked on top of each other on the left side of the case, while five others are placed haphazardly across its surface. Each white mug is decorated with black text that reads, *STANCHION*. Several photos of a nude woman are arranged across the surface of the case.] -
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."] -
Louise Lawler, Who Says, Who Shows, Who Counts, 1990. [Three empty wine glasses in row, each engraved with two words: "who says," "who shows," "who counts."] -
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] -
[Two rectangular cards arranged on a white background. Large black text printed on each card reads, "LADYLAND" and is framed by a pattern of swirls. The top card is blue, and the bottom card is yellow.] -
Avery Singer, The Studio Visit, 2012. Courtesy the artist and Gavin Brown's enterprise, New York/Rome and Kraupa-Tuskany Zeidler, Berlin. [Abstract painting of two people sitting at a table, having a conversation.] -
Mark Morrisroe, Untitled, 1986. Courtesy The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. [An ant is mounted on a white surface by a white pin through its center. Its shadow is visible underneath it.] -
Kevin Drumm. [A man looking at a laptop, with a modular synth and mixer next to the laptop.] -
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."] -
Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in the corner of a gallery space with white walls and wooden flooring. Two darker, square photographs with large white frames are installed on the corner's left wall, while a lighter photograph of a gate-like structure is installed in a slim black frame on the corner's right wall.] -
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.] -
Hito Steyerl, Duty Free Art: Art in the Age of Planetary Civil War (New York: Verso Books, 2017). [A book cover with large text and a digitally altered, skewed human face blurred behind the title.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Close up of a small sculpture resting on a square wooden support jutting out from a white gallery wall next to a window. The sculpture has a metallic color and an irregular, round shape, with a tree-bark like texture. A similar sculpture and support are mounted on the other side of the gallery window.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A miniature clay sculpture of a man sitting, cross-legged, in an armchair is displayed on a carpeted floor. A curled wire extends from underneath the edge of the carpet where it meets the wooden floor below it.] -
Ilana Halperin: Physical Geology (slow time). Installation view, Artists Space, 2009. [Protruding clusters of dots and triangles form designs in a gray surface.] -
A Strategy Hinted At. Installation view, Artists Space, 1996. [Five works depicting wood patterns in various tones are arranged in a horizontal line on a white wall.] -
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.] -
[Two people on a city street in front of a graffitied brick wall. One faces the camera, holding a megaphone and a piece of paper at his sides. The other is walking, facing the side, and speaking into her megaphone and reading off a sheet of paper.] -
[Stylized white text on a tan background reads, "Western Agenda." Small black text above the white text reads "March 14-May 4, 1991 / Artists Space" while several lines of smaller, spaced out text spells out words such as, "courage" "hardwork" and "prosperity."] -
Ashley Baez, Untitled, colored pencil on paper 28 x 24 inches, 2016 [Three long and slim dresses on mannequin figures - one yellow, one orange, and one blue. Her signature and the date (12.5.15) appear in between each figure] -
Aisha Rodriguez, Click, 2013. [A person with pink nail polish hold up a Canon AE-1 film camera.] -
[Two women in dresses and matching shoes are splayed up against a screen with their arms raised. There is an image projected over them, with a white background and black geometric pattern, and two splotches of red over their bodies.] -
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."] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [An image of a large number "9" printed across a series of rectangular pieces of paper that are linked together by metal rings such that they form a large, draping sheet. The sheet of linked papers is held in the air by four poles supporting each of its four corners. The poles are mounted in silver buckets filled with multicolored objects.] -
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.] -
Alberto Toscano and Jeff Kinkle, Cartographies of the Absolute (Zero Books, 2015). [A blue and white book cover depicting a stylized map of Detroit radiating out from the center "slums," to an encircling zone of "middle class," out to "affluent suburbs." Several arrows point out in each direction of the semicircle, beginning in the "slums" and headed outwards, labeled as "police payoffs," "job discrimination," "mortgage money," and more.] -
Vivienne Dick. Still from Guerilla Talks, 1978. [A figure with short hair energetically strums an electric guitar, their mouth wide open. Another figure with dark hair, partially cut off in the image, leans down to strum another guitar or base instrument.] -
Traci Tullius, Some People Never Learn, 2001. [A figure with long brown hair wearing a gray sweater over a light pink and white button-down shirt closes their eyes as a thrown book flies towards their face.] -
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.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [A man gazes up at a baby doll mid-flight, holding out his right hand towards it. A group of people gaze towards the doll, smiling.] -
Social Surfaces. Installation view, Pearl River Mart, 2017. Photo: Ron Amstutz. [An opened case, with camera equipment resting inside gray foam, is displayed in the center of a room. A large black and white painting with text is hung on a wall underneath a hanging sculpture. In the background, individual papers of beer logos are displayed behind glass, stretching across two connecting walls.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.] -
[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.] -
Flipside. Installation view, Artists Space, 2004. [Two white walls meeting in a corner. The wall on the right has three large black and white photographs of people on winter streets with their small dogs. The wall on the left features a canvas covered in a red, green, and peach colored plaid pattern.] -
[Black text listing the collection's features. From top to bottom, it reads, "The Defaced Library Books of Kenneth Halliwell and Joe Orton," "edition hansjörg mayer," "Vigilance: An Exhibition Of Artist’s Books Exploring Strategies for Social Concern After an exhibition curated by Mike Grier and Lucy R. Lippard," "The Colin De Land Library," "Everything is About to Happen: An ongoing archive of artists’ books selected by Gregorio Magnani," and "The Library of Helen DeWitt."] -
Invitation for the exhibition at Kaiserstraße 31A (two copies) Düsseldorf, May 11, 1963 Collection Tobias Kuttner, Berlin [Two panels of square images, of which are surrounded by text within sections.] -
Mike Kelley, Untitled, 1992, Beech wood paddle with screen print and leather strap, 23 1/4 in x 6 in x 3/4 in / 59.1 cm x 15.2 cm x 1.9 cm, Edition of 50. [The image shows a wooden paddle with the preamble for the U.S. Constitution reproduced on it. It says, "We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America."] -
[Four book covers, arranged into a grid. Titles, from left to right, beginning with the top, read, "Pride and Prejudice," "Negotiating for Dummies," "Revenge," and "Token Gestures."] -
[A darkened classroom, lit dimly with overhead orange lights. Three rows of chairs and desks face an image projected on a screen. The image is a blurred figure with a pale face enveloped in a black cape.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [A painting of a black, rectangular object on an orange backdrop. Below is text in black reading "ENTERTAINMENT CENTER." Red text on a yellow background in zigzagged circles reads "Fully Assembled" and "$199."] -
Susan Howe, From DEBTHS, 2016, Silkscreen on archival box, 24 ¼ 20 ½ x 1 ½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered Certificate [A scan of printed text. The legible portion reads "Upon the frontier of unimaged night"] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Black and white photographs hang in a horizontal line across a dark wall descending into an exhibition space. On the right, a video monitor sits on the ground. In the background is a free-standing wall featuring a series of framed photographs. A mannequin dressed in orange and green fabric is displayed in front of the photographs.] -
Erik Lavesson, Harmony Grunge Cruise control, 2012. Photo: Milena Büsch. Contribution for PROVENCE Issue E – MADAME (Autumn / Winter 2012 / 2013). [A mostly unclothed person lying face-down on a messy bed.] -
Lise Soskolne, Film Still: Characters, 1999. Oil on canvas, 66 x 108 inches. [White text arranged in two columns on a black background. Film roles, such as "Desk Clerk" and "Beauty Queen" are listed on the left, with names of actors on the right.] -
[A man in a white shirt and pinstriped vest and pants casually holds a black jacket over one shoulder. "Undoolay" is in pink script on the bottom of the image, crossing over "Elective Affinities".] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Several wooden chairs placed in front of three monitors installed on two walls of an exhibition space. Each of the monitors displays a film.] -
Angela Bulloch, Rules of the Space, 2012, from the Rules Series, Silkscreen print on record sleeve, 12 3/8 x 12 3/8 inches, Signed and numbered [A numbered list of rules is arranged on white ground in various black fonts. Text reads: "Rules of the Space / 1. This SPACE is OCCUPIED. Anyone CAN SLEEP HERE / 2. NO Police (Pigs) and NO Informants (Rats) / 3. No Press OR Photos / 4. This is a Safer SPACE No Bullshit / 5. NO Peacekeepers or WANNA-BE POLICE / 6. INVITE EVERYONE (Except the aforementioned pigs and rats) / 7. create the world you want to see in the future (occupy the future) / 8. The HISTORICAL BREAK / 9. SEQUESTER THE BOSSES / 10. SHUT IT DOWN!!! / 11. Flush the toilet - don't shit on the floor.. this isn't Zucotti. / 12. PANTS ARE OPTIONAL / 13. DEMAND NO. 1 CATS (AND WE WANT THEM MEOW!) / 14. Louder! Louder!! LOUDER!!! If You Wanna Exploit LABOR you havta be you have to be 15ft from the door / 15. Rock & Roll ALL NIIIGHT AND PARTY EV-ERY DAY! / 16. CREATE MYTHS TO SUSTAIN CATASTROPHE] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez.. [In a large, open gallery space, several photographs hang on walls to the right. To the left, multiple small monitors mounted to a colorful gallery wall play video works. In front of the monitors, there are wooden stools with headphones resting upon them.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A bookshelf constructed from cardboard boxes sits slightly raised off the ground on a low platform. The top two rows face away from the camera, while the bottom two face out, filled with books. Opposite that is a white wall with blue text reading "Artists Space."] -
Robert Gero, Untitled, 1989. Sulfur, salt, aluminum. [A rectangular column against a white background. A top section is black with sharp edges, while the rest is white and slightly rounded.] -
I ♥ John Giorno. Reading documentation, Artists Space, 2017. [Photo of John Giorno wearing a navy blue t-shirt and black framed glasses, standing in front of a microphone and reading from loose pages held in his left hand.] -
[A collection of cartoonish monsters, cutout photographs, and medieval-style drawings are collaged onto an abstracted pastel image of a sunset peeking out over ocean waves. Green, red, and blue text in serif font reads: "The Segue Reading Series & Artists Space present / a virtual reading by / Shane McCrae & Bob Perelman / Saturday, 4/25 / 5pm NYC time / Zoom ID: / 378 232 567.] -
Miyoko Ito, Heart of Hearts Basking, 1973. Oil on canvas, 44 x 31 7/8 inches. Courtesy Collection Matthew Marks Gallery. Photo: Daniel Peréz. [A painting with orange and neutral hues is hung on a white wall with nails around the perimeter of the canvas.] -
Duncan Campbell Big Fires Start Small, 2010, 3 color screenprint on poster, 25 1/2 x 16 1/2 inches (64,8 x 41,9 cm), Edition of 100, Signed and numbered. [The phrase "big fires start small" is written diagonally against a black background. "Big fires" appears in large bubble text surrounded by flames and "start small" appreas below in white blocky type.] -
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.] -
[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.] -
[A Frida Kahlo painting and portrait of woman against a black background.] -
[A dark illustration featuring a small, white dog at the composition's lower left edge. A black, inky background vaguely resembling a forest surrounds the dog, who pauses mid stride to glance behind itself.] -
Wolf Vostell idécollage No. 3, Bulletin aktueller Ideen , Cologne, December 1962 Collection Andersch [White text against black background, landscape orientation poisitioned in portrait with words reading from bottom to top. The large title reads "dé collage."] -
[A BTCManager graphic showing a thermal view of a seated figure adjacent to a display screen depositing bitcoins.] -
Union Gaucha Productions in collaboration with Fabio Kacero. Still from Totloop, 2003. 16mm film (silent, color), 4 min 49 sec. Courtesy of Union Gaucha Productions. [A black and white video still of a painting hanging on a decorative wall. The image in the painting has been burned and is illegibly white.] -
Hilary Lloyd, Thighs, 2011. [Two juxtaposted images of two sets of thighs. In both images, a bright light illuminates the space between the figures' thighs. Light spots appear across the images.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[An Elegoo microcontroller is affixed to the side of a brownish sculpture sitting on a white base. Two blue wires are plugged into a lemon and an onion on a platform, each connected to the microcontroller.] -
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Mona Hatoum, Birds of a Feather, 1997, Chromogenic print, 10 x 12 inches (25.4 x 30.5 cm), Edition of 50, Signed & numbered. [The image shows a wood-framed photograph hanging on a wall. The photo, taken from inside a room, shows a seagull on a window ledge beside a small bird figurine. Out the window is a blue sky and buildings.] -
[Draped fabric that reads "American Express World Service" in an all-over pattern.] -
"Identity". Installation View, Artists Space, 2011. Photo: Daniel Pérez. [Three adjacent panels, reading "pompidou", "moma", and "tate" in black text against a luminous white background hang in a dimly-lit exhibition space.] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of a room with a set of two tables and chairs, books resting on the tables, in the center. On the back wall hangs a banner in red painted text, reads "...Pessimism of the intellect, Optimism of the will... Gramsci." On the right adjacent wall, text covers the whole height, the title reading, "Vigilance:"] -
Cindy Sherman. Untitled (Secretary), 1978 . Photographed for Cover Magazine. -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A yellow object painted with a green and grey cracked surface sits on a white base. There is a rectangular panel with wiring attached to the front. On top of the object sits a small yellow figure.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [A crowd of people standing outside in Cortlandt Alley surrounding several performers. The performers are mixed in with the crowd, holding metal poles, some looking at a baby doll which is photographed in midair after being thrown upwards.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A large black disk installed on a white gallery wall. Bold gray text circling the circumfrence of the disk reads, "PROYECTO PARA MONUMENTO." Directly to the left of the disk, a square hole has been cut into the gallery wall. A horizontal metal bar and several planks of wood are visible through the hole.] -
[Flyer featuring densely collaged images of food in metal trays, renaissance-era images of saints and angels, Cookie Monster and other puppets, electric keyboards and vintage video game consoles, images of people holding vegetables and plates of food, and tree-filled landscapes. Below the collage, white sans-serif text is superimposed over an image of stars in space. The text reads: “artists space & the segue reading series invite you to a virtual reading by / Steven Seinberg / and / Darcie Dennigan / saturday, may 2nd, 5pm nyc time, zoom id: 378 232 567 / it will be robust.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [Six watercolor paintings affixed to a white wall with pins. The paintings are various sizes, five depicting the sky and landscapes at various times of day. In the center, a man is depicted facing backwards, pulling down his pants to expose a tattoo of a triangle.] -
The Library of Helen DeWitt Kitchen view Courtesy Helen DeWitt [Three white shelves, that extend the entire length of the frame, are filled with books of various colors and sizes.] -
[Blue text reading “PROMOTE INDIGENOUS FUTURES” in all caps is overlaid on a faded image of a windowed glass building.] -
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Scott Burton, Pastoral Chair Tableau, 1971 – 1974. [A stage set with a blue curtain, in front of which sit 6 chairs facing different directions.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [Two silhouetted figures kissing behind a microphone. They are backlit by a white projection with black capitalized text reading "RENUNCIATION KISSING STATION".] -
Spring Exhibitions. Installation view, Artists Space, 2009. [A large gallery wall covered with wallpaper printed with tropical birds in colorful trees on a white background. There are assorted black-framed, colorful images hung on the wall, positioned in both portrait and landscape orientations.] -
Exhibition poster for ‘The Sights and Sounds of the Jewish East End’ at The Whitechapel Gallery, London. Design by Richard Hollis, 1980. Courtesy Richard Hollis [An advertisement split down the middle with text and image. On the left text reads, "The Sights and Sounds of the Jewing East End at the Whitechapel Gallery." On the right, a portrait of a family outside a corner shop of which the window reads, "John Jameson Whiskey."] -
Still from Resonating Surfaces, 2005. Courtesy of Manon de Boer, Auguste Orts and Jan Mot Gallery, Brussels. [A grainy image of a woman looking to her left. She is leaning against the back of a chair, one arm outstretched while the other is bent and holds a cigarette.] -
Peter Saville, Bespoke archival box with hand-marbled paper and band, 24 1/2 x 20 1/2 x 1 1/2 in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A print of marbled, amorphous forms in blue, grey, and white is centrally intersected by a horizontal orange band.] -
Slab works, c. 1978–1980. Cast concrete sculptures with acrylic paint. Dimensions unknown. Courtesy of the Frances Mulhall Achiles Library, Artist File, Whitney Museum of American Art [Installation view of three cast concrete blocks - the middle one leaning against the last one - standing on a wood floor.] -
[A blue, black, and grey image of a cluster of wires, an equestrian sculpture, and an orb, surrounded by amorphous forms. At the bottom of the graphic, the word "CAPITAL" is written in dripping, painted letters while bubbles and silhouettes rise to the top of the image.]
