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Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A decorated paper bag on a shelf. Blue ferns have been illustrated onto white, red, and pink backgrounds.] -
[Two women in front of a white wall. They are dressed in matching white jackets and short white skirts, and each wear a set of colorful rollerskates. One woman is on her toes with her arms extended behind her, reaching for and pulling the second woman who is leaning forward to grab her hands.] -
On Being an Exhibition. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [The interior of a Soho loft space with a wooden front desk to the right. Two neon quotation marks hang behind it. Within the room there are empty wooden shelves, wooden benches, and a rough-hewn wooden enclosure at the far end.] -
Marlon Riggs, still from Tongues Untied, 55 min, 1989. Credit: Signiyin' Works. [Two men embrace in the background, while a man wearing a black top hat stands in the foreground gazing at the camera.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Detail view of a sculpture with a shiny grey finish. The shape of the sculpture forms a skeletal structure around amorphous square voids.] -
P.S. 140 student workshopping poems, 2019 [Two people stand at the front of a full classroom in front of a projector screen that says, "Poetry workshop / Ms. Rebecca / Today's task: create headline poems." One reads from a notebook, the other listens on.] -
[A yellow stamp reading, "W.A.G.E." overlaid with pink text reading, "Working Artists and the Greater Economy."] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large piece of paper secured to a piece of cardboard leaning against a wall, slightly scuffed and unfurling from the cardboard. Handwritten, red block text on the paper reads, "HOW MANY MORE?"] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view, Artists Space, 2014. [Two walls form an entry way to the exhibition space. Both present black and white photos across their entire surface area. On the left, two men sit in a living room; on the right a man stands outside a store with a neon light sign.] -
Production still from Black Picture Show, 1978, picturing Sam Waymon. Photo: Marshall Johnson. Image courtesy of the artist. [A black-and-white photograph of a figure sitting in front of a microphone. The left side of their face and body is in shadow.] -
Sistema Sandinista de Television. Still from Aqui En Esta Esquina (Here On This Corner), 1983. Video (sound, black and white). 30 minutes (excerpted). Spanish with English subtitles. [Two shirtless boys stand in front of each other, one with their back toward the viewer and the other facing the viewer. A partial view of taller figure is in the right side of the image and a crowd is seen seated in the background. Scan lines in the image and the outer box of a CRT monitor are visible.] -
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.] -
Benito Huerta, Attempted, Not Known. Media unknown, dimesions unknown. [A wooden ornament with a string attached at its top, is carved with the outlines of the worlds continents, becoming a miniature globe.] -
Keeph Little, Artists Space construction site no. 2, 2020, digital photograph [One figure is looking at the ground with their back facing the camera and another painted figure appears frontally looking down. They both are around a bright light emerging from below. A black wall covers the right half of the image.] -
John Knecht. I'm Glad To The Brink Of Fear, 1986. Video Installation. [A black and white photograph with two images of faces illuminated in the darkness and text underneath.] -
MTL+. Palestine, BLM and Boycott in the Arts, 2016. [A flyer for the event depicting a stylized map of Israel in red, on a yellow background. Text reads "Palestine, BLM & Boycott In the Arts: A conversation with Robin D.G. Kelley, Jasbir K. Puar, Amin Husain & Marz Saffore / Friday Nov. 4th 7pm."] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A large decorative panel painting with sculptural elements hangs on the back wall adjacent to photographic images on the wall. In between two columns are two glass covered cases.] -
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.] -
Works by Mark Morrisroe. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [In a corner of a gallery space, a small black and white photograph hangs in a black frame on the left wall. On the right, a small white panel of black text hangs above a sign attached to a glass box that protrudes from the wall. Inside the box are what appear to be bloodied white linens, and on the sign above them the words "AM I DEAD YET" are written in blood.] -
Vito Acconci. Installation View. Artists Space, 1986. [A piece of landscaping appears on the gallery floor with flowers and plants coming up from it in a stair-like fashion. Paintings appear in the background in a white-walled gallery space.] -
Adrienne Kennedy, The Owl Answers. Performance documentation, Artists Space, February 29, 2020. Photo ©️ Filip Wolak. [A head-on view of six figures, each standing before a music stand in front of a seated audience. They are arranged side by side in a horizontal line, illuminated by overhead lights.] -
Five Spanish Artists. Installation View, Artists Space, 1985. [A large stick appears emerging from an image of reverberating water out of the image onto the upper lefthand corner of the gallery wall.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1982. [Contact sheet of installation and opening photos from the exhibition.] -
Danica Barboza, Anima of a Relationship [The ‘SV’ Edition] (Section B), 2019 (detail view), hand-modeled clay, white acrylic paint, textured paint, paper, metal, newspaper, Rooibos tea bags, gloss, wooden blocks, Mac computer. Photo: Daniel Pérez [On a black platform, assorted pieces of wood, cardboard, and wire prop up a disembodied humanoid head. The figure’s head is misshapen, as if melting, obscuring the eyes but leaving the nose and open mouth visible.] -
George Clinton, Peter Larkin and Jules Fisher, The Mothership, 1990s. Collection of the Smithsonian National Museum of African American History and Culture. Gift of Love to the planet. [Sculpture of an alien spaceship made out of sheet metal, with a red and blue LED light, sitting in a gallery.] -
Seth Laderman. Installation view, Artists Space, 1980. [A PrintFile photo preserver is visible with two black and white photographic artworks inside and the top photograph has tape around it with writing on it.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Overview of a gallery space depicting three plexiglass timelines, 1993-1995, and one black display case.] -
Laura Cottingham & Leslie Singer, still from The Anita Pallenburg Story, 2000. Digital Video, 76 min. [An upward angled view of two people performing with a gray curtain behind them. One person, with black hair and a yellow jacket, is playing an electric guitar, the other, with red hair and wearing a black sequin top and blue scarf with matching eyeshadow, is singing into a mic.] -
Young Fluxus. Installation view, Artists Space, 1982. [A couch is visible in the center with drawings, banners and paintings surrounding it in a white-walled gallery space.] -
Bernadette Corporation: 2000 Wasted Years. Installation View, Artists Space, 2012. Photo: Daniel Pérez. [Three plexiglass and poster board timelines and a large black structure are visible within a gallery space. The timelines depict photos and texts arranged by year, from 1999-2001. The structure has an image of an office wrapped around one column and a TV is visible through the structure.] -
Establishing Shot. Installation view, Artists Space, 2004. [A profile of a man in a jacket on a gray and white background. Painted streaks of color are superimposed over the man's profile. The whole image is slightly blurry.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, 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.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [An off-white curtain hangs from a wooden four-poster bed frame. One side of the curtain is partially open, revealing a patterned chaise lounge and a framed image on a blue chain.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays a courtroom depiction of two individuals, one with blonde hair and fair skin wearing a suit, the other tan with dark facial hair wearing a keffiyeh. Behind the seated men is an image of a man sitting on the floor, in what appears to be solitary confinement.] -
MS 324 group work, collaborative drawing, 2019 [Five people's hands work on a colorful, abstract drawing with the drawing at the center of the image on a wooden table.] -
Jeremy Deller, Together 4 Ever, 1995. Silkscreen on paper, 27 x 19 inches. Edition of 4. 2 of 4 AP. Courtesy the artist and Gavin Brown's Enterprise, New York. [A rainbow-hued poster of the Queen. Black serif text positioned above and below her image reads, "Together 4 Ever".] -
Artists Space logo, 1980s. [A black, sans-serif A on a white background, with a black outlined square positioned at once in front and behind the letter, intersecting it at all three corners.] -
Beech Forest. Performance view, Artists Space, 2007. [Three standing lights point to illuminate a white wall. Standing beside them facing the wall is a figure wearing a coat and a hat with her hands lightly clasped behind her back. Barely visible on the wall beside her are stenciled outlines of trees.] -
[A red background with white text which reads: "BDS IS THE FLOOR NOT THE CEILING", followed by the Decolonize This Place Logo.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph of white picket fence with dark painted background behind it.] -
Photo Wall at P.S. 140, Nathan Straus, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
Artists Space, Richard Massey: Caution: Five hungry Soviet cows are in the garden (New York: Artists Space, 2007). [White text on a neutral green ground lists exhibition information. "Artists Space" is outlined in all capital letters aligned to the spine of the catalogue. In the upper left corner, "Caution: Five hungry Soviet cows are in the Garden" is rendered in sans serif font, some letters appearing smudged. The center right of the cover reads "Richard Massey, 03.30–05.12.2007, Project Space."] -
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...."] -
[A young deer made out of puzzle pieces with red streamers coming out of its eye and hip, as if bleeding. It is on a multimedia background showing bricks and grass.] -
Julio Torres, Search Results: Drunks Kissing, 2010. [Low res image of two men, with tan skin and curly hair, kissing profusely.] -
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.] -
Exhibition Card (front) -
[Draped fabric that reads "American Express World Service" in an all-over pattern.] -
Adrian Piper: It's Just Art. Performance documentation, 1981, Artists Space. [An individual performing while standing in front of a projection of themselves and a child. A thought bubble on the right side of the projection reads "14. WE DEFEND EACH OTHER (YOU CERTAINLY DIDN'T COME TO AN ART PERFORMANCE TO HEAR A LECTURE ON CURRENT EVENTS).] -
Elephant Cemetery. Installation view, Artists Space, 2007. [A wide wooden worktable is installed in a gallery space. Various papers, books, models, and a small television set are displayed on the table. A series of black and white photographs are installed on the two gallery walls that surround the table.] -
[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.] -
Split/Vision. Installation View. Artists Space, 1985-86. [Papers lies on a table in front of exhibition wall text, baskets with paper are hanging on an adjacent wall. Framed paintings can be seen in the white-walled gallery space in the background.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two black display cases in the middle of a gallery space, with clear horizontal glass cut-outs, one taller than the other. Each display case houses a collection of mugs and other ephemera.] -
Third World Gay Revolution, “Come Out in Third World Lingo,” back cover of Come Out! 1, no. 7, (December/January 1970 – 7). Courtesy Archivo Moléculas Malucas. [Characteristic, expressive handwriting on a page spells out phrases such as “All Power to the People!” and ”Seize the Time!” in both English and Spanish.] -
David Schafer: Western Agenda. Installation view, Artists Space, 1991. [A black and white photograph of a tall metal sculpture in an otherwise empty room, surrounded by white columns. The sculpture has a tall platform with a narrow ladder and has several support wires.] -
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Jane Bowles with Cherifa in Tangier, 1967. Photo: Terrence Spencer/Time & Life Pictures/Getty. [Black and white photograph of two women, one in a white dress and the other in a black niqab and sunglasses, walking arm in arm in a narrow street.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Meinke Klein. [Several parallel dividers constructed from metal fencing positioned between black metal frames are arranged in an exhibition space. Colorful textiles and t-shirts are displayed on the fencing.] -
Stéphanie Smith, still from Untitled (Tissue), 1994. Video. [A close up, blue and white halftone image of a figure wiping their mouth with a handkerchief. Their mouth is partially open, exposing their teeth, and a lipstick-like material is smudged around their mouth.] -
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.] -
Michael Robinson. Still from Victory Over the Sun, 2007. [An empty pool with weeds growing out of cracks. There are trees and bushes in the background, and a pink glow on the righthand edge, as if from a sunspot.] -
P.S. 140 students recording sounds at Tompkins Square Park, 2019 [A cropped image of a group of students smiling for the camera in Tompkins Square Park. One holds a recording device, which has been overlaid with an opaque orange image of a lampshade. Green digital circles emanate out from it, as if to simulate a doppler-effected sound] -
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[Black, lowecase text that reads, "edition hansjörg mayer."] -
Bill Hayden, It's Get Better. [An irreverant cartoon promotional poster with text in grafitti.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A shallow white cylinder sitting on a dark wooden floor. A small green light glows from inside the cylinder.] -
Daniel Tilsdale. Still from Contacts, Ponytails, Noses and Bleach, 1988. Graphite on Xerox (presented in slide format). [A close up black and white image of a slide projection with two figures.] -
Still from Ganja & Hess, picturing Marlene Clarke, 1973. [A woman screams as a trail of blood runs down her chin.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A book shelf displays various documents and photographs behind glass. Documents with text hang directly above.] -
Mark Morrisroe. Still from The Laziest Girl in Town (1981). [Two people with wigs and highly made up faces. The front figure is holding a cob of corn with the end in their mouth, looking suggestively at the camera. Behind them, a second figure holds a small eggplant with the end in their open mouth.] -
Alan Michelson. Permanent Title, 1993. Wax, muslin, charcoal. Overall: 144 x 144 x 9 in. (366 x 366 x 23 cm). Courtesy the artist. [Eleven brown bags of varying sizes are displayed on a wall, pinned so that their mouths hang open slightly. Charcoal rubbings on the bags trace out corporate logos and other words and phrases.] -
Tiffany Sia, In Plain Sight (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with eight photographs and print-outs hung on the walls next to a wooden bench. In the foreground, there is an orange LED light on the floor.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A variety of images of covers and photographs of nude and semi-nude people is displayed on a white background.] -
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.] -
Pena Bonita, Stalled, 1987. Color photograph. [A man lifts up the hood of a white car on the side of the road amidst a sprawling open landscape. The front doors on both sides of the vehicle are open.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Six pornographic illustrations of men near trees are framed on a wall.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An entryway with layered, decorative carpets and black-and-white images displayed across the height and length of the wall. A small school desk sits on the left in front of a large bookshelf.] -
Neil Goldberg, Fortune 500 Dream Fax Project, 1996. [A pink piece of paper with the typed text "Dream Fax Transmission Sheet" positioned at its top edge. Underneath, there is a handwritten account of the artist's dream from 3/26/96.] -
Konrad Lueg Kaffee und Kuchen (Coffee and Cake), 1966. Courtesy Hommage an Schmela (Homage to Schmela), Galerie Schmela, Düsseldorf Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Reiner Ruthenbeck. [A black and white image of a crowd of people gathered around a dinner table. The walls of the room are patterned, and there is a portrait of a bearded man hanging on the wall above the guest at the head of the table.] -
New Red Order Give it Back, detail, 2020 Acrylic LED displays with cut vinyl, water cooler, poster, couch, desk, chairs, magazine rack, The New Red Times Magazine, and three televisions. Image courtesy Artists Space, New York Photo: Filip Wolak [A close up image of three tv monitors on a wall with vinyl lettering that reads "New Red Order", in the right corner is a water cooler. ] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A wooden door opens on a view of a tiled, single-user bathroom. To the right of the room is a small, porcelain sink and warped mirror. Behind the sink is a tan toilet below a thin window.] -
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996. [A person looks at several sheets of paper with text and black and white photographs mounted on a wall. Hanging just above the papers is a sculpture of a human head with blonde wig.] -
Catalogue cover of History Lessons, Joel Katz. [A black and white photograph, taken from above, of rows of school desks facing a television with a map behind it.] -
[A black and white, vintage photograph of a male figure leaning casually against a low wall by a river. The figure's long back faces the viewer, and we cannot see his face. He wears a short piece of cloth at his waist, while his upper body is bare.] -
Benje LaRico. Goa VI, 1987. Enamel, Plastic, Wood, Wallpaper on plywood. 52 inches x 8.5 inches x 1 inch. -
Jutta Koether, xxapollo. Performance documentation, Artists Space, January 5, 2020. Photo © Paula Court. [A person dressed in all pink, holding several sheets of paper, speaks into a microphone, her arms are draped with masses of cords. A crowd of audience members surrounds her, some seated and some standing.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Several photographs and sculptures in a large gallery space with wooden floors and white columns. To the left of the space is a white sculpture forming a rig-like structure, with two wing-like appendages at its top. A large animal skull rests on a triangular support mounted to the gallery wall on the left. Glass panes with red liquid spread across them rest on the gallery floor in the image's center.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [Several silhouetted figures backlit by a red glow stand among columns. The figure in the center holds a white-lit object in the air.] -
A New World Order III: The Curio Shop. Installation view, Artists Space, 1993. [A black and white photograph of two shelves, each with several Quaker Oats canisters and vases of assorted shapes. Beyond the shelves are several plinths housing objects, and a metal rack with dozens of glass jars.] -
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?"] -
David Maljkovic, Scene for a New Heritage - New Possibilities, 2004. Mixed media on paper. Courtesy Annet Gelink Gallery, Amsterdam. [A drawing of an amorphous shape with a trail of black extending out the bottom and billowing upward. There are several lines of handwritten cursive text on the lefthand side of the drawing.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Stephen Sewell. [Three projected images illuminate three disparate walls of a darkened room. The image on the left wall is white, while the image on the far center wall shows a figure who appears to be singing against a blue and green background. The image on the right wall shows two figures wearing headphones with their backs turned from the viewer.] -
Portraits of Peter Osborne and Brendan Harvey. [Portraits of two figures are arranged side-by-side. On the left, a figure wearing a white shirt sits at a table with different objects spread out on its surface, speaking into a microphone. On the right, a black and white photo of a figures bust sits inside a larger black square.] -
Kent Monkman. Still from Dance to Miss Chief, 2010. [Two skewed images of Native American men holding drums on either side of a person in a sheer red dress and mask, posing for the camera.] -
Stashu Kybartas, Danny, 1986. 20 minutes, 3/4", color. Film still. [A person in a plaid shirt and jeans is seated with their hands in their lap in from of a plaid background, looking to the left of the camera.] -
Jason Hirata, Why Not Lie?, 2020 (detail view), plastic bottles, urine. Photo: Daniel Pérez [Three unmatching bottles filled with urine surround the base of a black column. Two lie horizontal, one stands upright.] -
Flipside. Installation view, Artists Space, 2004. [A gallery space with a large metal structure in the middle of the floor. Four straw brooms are suspended from the top of the structure such that they just brush the floor. On the surrounding white walls, there are several pieces of art. One is a colorful canvas with geometric shapes, sharing a wall with several small objects arranged in an oval. On the other wall, there are series of framed depictions of nude figures in various poses.] -
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 small drum set lit by a spotlight sits underneath a demolished wall.] -
[A closed rectangular box with a black cover sits on a white backdrop. Large, white text reading "Avalanche" runs along the top of the box's right side.] -
[A black and white drawing of a chair inside of a circle. Above the illustration, text announces an audio-visual installation by Bradley Wester, with details noting the collaborators, time, and place. Under the illustration, text reads, "Still Sitting / He reads to me. My blood rises to leave, to escape the underneath. I am dead. I am new. I was safe in his arms asleep to the sound of the chair creaking with the turn of each page, a story. I am still sitting. Where will I go?"] -
[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.] -
Five Spanish Artists. Installation View, Artists Space, 1985. [In the foreground is one dark painting image and in the background is a painting of a figure coming out of a square brick chimney-like structure with marking above them. These two paintings appear in a white-walled gallery space.] -
Audtrey Glassman, Untitled, 1984. Cibachrome, 40 x 60 inches. [A child's face with a blurred white body stands next to a figure driving a car with one hand on the wheel and another outside of the window. The outside of the car is also white in appearance.] -
Jim Lutes. Lazy, 1985. [A view of a large amorphous creature with eyes and mouth on the right next to a dwelling space with a figure lying on a bed with clothes and other accoutrements nearby.] -
Western Agenda. Installation view, Artists Space, 1991. [A black and white image of multiple sculptures along a wall. ] -
Tom of Finland Untitled , 1947 Gouache on paper Tom of Finland Foundation, Permanent Collection [An illustration including two men, wearing blazers and dress hats, gazing downwards next to another man. This man, dressed in dungarees and a baseball cap, is holding his penis.] -
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 display of four black and white photographs on a beige gallery wall.] -
Selections from the ART CLUB2000 archive. Photo: Nicole Eisenman. [A snowglobe with a portrait photograph inside sits on a surface next to three sheets of paper featuring typewritten and handwritten notes.] -
[Bold, black text of varying sizes arranged in a rectangular block on a white background reads, "TREAT A COMPLETE STRANGER / AS A LOVER, HUG THEM / AS GOOD FRIENDS, AS THEY ARE / OR AS 10 YEARS AGO YOU MIGHT HAVE HAD / FABULOUS SEX / WITH ABSOLUTE ABANDON / WITH THE SAME STRANGER. / NOW LIFE IS RAVAGED / AND WE OFFER LOVE FROM THE SAME ROOT OF BOUNDLESS / COMPASSION."] -
Peggy Ahwesh, Paranormal Intelligence (Part 2 of The Pittsburgh Trilogy), (1983). [A crowd of people seated in a dark room, facing a screen. On screen, there is an image of a person wearing a striped shirt, holding a towel around their neck.] -
Liz Deschenes Ibry's timetable 1878 (Paris - Lyon), 2018, UV print on photogram, 8 x 14 inches, Signed edition of 100, 5APs, Courtesy of the artist. [Black and white chart tracking the movement of trains through major cities in France. Text at the bottom of the chart reads "Fig. 7. Graphique de la marche des trains sur un chemin de fer, d'après la méthode de Ibry."] -
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='1500' height='1057'%3E%3C/svg%3E)
Amy Sillman, Turtlenecks, 2007, Archival ink jet on Somerset Paper, 11 1/4 x 17 1/2 inches (28.6 x 44.5 cm), Edition of 17, 10 AP, 1 BAT, Courtesy the artist and Sikkema Jenkins & Co., Printed by Jean-Yves Noblet Contemporary Prints. [The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left] "When did you get here?" [below figure on right] "Are you going to Basel?" At the bottom, center of the page is written "Turtlenecks."] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of a person with a white beard wearing an apron seated in front of a workbench covered in glass bottles and scientific instruments. He holds an hourglass and the wall behind him is lined with dials.] -
Charles Harbutt. Calle 59, Merida, Yucatan, 1982. [A city street is visible with a items and people driving by and a motorcyclist. On the sidewalk are people walking toward the camera, but looking in different directions. On the building behind the road is writing that reads, "Estufas Peninsulares, S.A.".] -
Benito Huerta: Attempted, Not Known. Installation view, Artists Space, 1989. [A view of a white-walled gallery with large abstract paintings hanging on the walls and a small pedestal display case on the right.] -
Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus, 1963 (Living with Pop – A Demonstration for Capitalist Realism) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of two men sitting in a living room. The furniture is elevated on white pedestals. The man on the left sits on a chair; on the right on a sofa. A table with items sits inbetween them.] -
Local Transit. Installation view, Artists Space, 2006. [Three red, orange, and green fabric rolls are arranged vertically on a white wall. Further along the wall, two marbled, gray and red sheets have been hung low on the wall such that their lower halves drape on the gallery floor.] -
Herman Wallace. Drawing. [A colored pencil rendering of a prison cell is contained inside a rectangular box with rounded edges, floating on a white lined sheet of paper. A pink heart in motion extends beyond the confines of the cell and onto lined paper.] -
Catily Dominici, Untitled, photography, 2016 [A black-and-white image of Batman fighting another man facing away from the camera overlaid with a translucent façade of walkup apartment buildings in Manhattan] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in a baseball cap stands beside a table covered in scattered drinks and a laptop, typing on the computer’s keys.] -
Beverly Semmes, Woven Photograph, 1989. [A black and white photograph of a field with trees in the background has been cut into strips and woven back together.] -
Benkert, Ernst. Bars, 1981. [A painting with 5 black vertical rectangles in the center srrounded by indvidually outlined white squares inside a larger black rectangular outline on a white canvas hanging on a white wall.] -
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Adjua Gargi Nzinga Greaves, CONTEXT, 2021. Chromogenic print with pigment ink pen, 41 ½ x 41 ½ inches. Courtesy Artists Space, New York. Photo: Filip Wolak [A digital print of four books with annotated notes on each side.] -
Vanalyne Green, Still from A Spy in the House That Ruth Built, 1989. 29 minutes. [A close up image of hands holding a film camera in black and white on a white background. Below the hands, a small, black silhouette of a figure walking.] -
Charlotte Posenenske. Configured by Ei Arakawa. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor. The sculpture is modular, hollow, and consists of cube-like and triangular metal components arranged in a long form that snakes across the ground. A large sheet of brown paper rests on the floor before the sculpture, crumpling against the sculpture's lower edge.] -
Konrad Lueg with Balloons July 1962 Zero Festival, Rhine Meadows, Düsseldorf-Over-Kassel Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of a man in sunglasses holding a large cluster of balloons tied to strings above his head with his left hand.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. -
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 CRT monitors, a vending machine, a tulip chair against a seafoam colored wall, and a glass display table backed by tiled photographs.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A view of two vitrines, one in front of the other, displaying documents in front of a book case on the wall. Documents containing text are hung on the wall.] -
Artists Space founder Irving Sandler, Miyoko Ito Dinner, 2018. [Two people stand at the foot of an empty table, mid-conversation, looking off-camera to the left. The individual on the left holds a glass of wine.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of two people in period dress. One lies on a patterned couch, wrapped in sheets, while the other stands observing. Above the couch, a mirror on the wall reflects the scene to the camera.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown and tan object stands on a white base. On the flat surface of the object, an onion and a lemon sit connected by a rainbow wire. In the base of the object, a processing chip is embedded.] -
Jim Hodges, Untitled, 1999, Etching and aquatint with chine-collé, 22 x 30 inches (55.9 x 76.2 cm), Edition of 30, Signed & numbered. [A white image with a faint grey line that bisects the page lengthwise. In small text, the word "with" Iies at the center of the image.] -
[A looseleaf sheet of paper with "Spring 2012 F.R. DAVID" printed on the top in red type. The page is filled with handwritten black text.] -
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 edges of two adjacent white, gallery walls reads, "Death Sentence 2009 Love It To Death 1971 Jesse… 989 Moon over Miami 1991-95 Archive." Two images hang on the wall below the text. To the right of a white column positioned in front of the wall hangs a separate drawing. Orchid plants sit to the left of the column on the ground.] -
New Galleries of the Lower East Side. Installation View, Artists Space, 1984. Photo: Kenji Fujita. [Various street art works on draped fabric, canvas and signs in a white-walled gallery space with a dog peering into a cardboard box. A person is visible in the left corner on the phone and a door is open on the right.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dark room with a screen projection showing an image of a man with a partially cut out button down shirt. The sleeves and top button are intact, with the chest and torso bare except for three elastic strips spaced out spanning the torso.] -
Limpe Fuchs, 2012. Festival Experimentelle Musik, Munich. [Black-and-white photo of a person pulling two ends of a rolled-up rope] -
Vidas Perdidas. Installation view, Artists Space, 1989. [A folding wall is erected in the center of a gallery space. Its top features painted portraits of eight people from the waist up. Below them, the lower half of the wall is covered in white, handpainted text on a black background. The text extends onto the floor, and its bottom edge is bordered by a row of votive candles. Behind this wall, other artworks are partially visible.] -
[A digital rendering of a large structure composed of suspended sheets of red material installed in a gray room. The red sheets are stacked on top of one another, suspended from lengths of wire that run from ceiling to floor. The sheets bend amorphously and are arranged such that they resemble irregular layers of sedimentary rock or strata. Three digitally-rendered figures observe the structure.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A long rectangular wooden table supporting three television monitors facing outwards on different sides. Two small wooden seats with wired headphones resting on them are arranged in front of the leftmost monitor.] -
New Red Order Give it Back, 2020 Acrylic LED displays with cut vinyl, water cooler, poster, couch, desk, chairs, magazine rack, The New Red Times Magazine, and three televisions. Image courtesy Artists Space, New York Photo: Filip Wolak [An image of a white facade with real estate listings in the windows, and above them, in vinyl lettering reads "NRO". ] -
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] -
Colin MacCabe, Godard: Images, Sounds, Politics (Macmillan, 1980). [A bifold book cover. A picture of a woman singing into a microphone bleeds across the front and back cover and the title of the book is written in a blocky yellow font.] -
Young Fluxus. Installation view, Artists Space, 1982. [Plastic bags of objects appear on a white gallery wall.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Two rooms in a large gallery space are visible, with artworks hung on the walls and sculptures in the center of the further room.] -
[A book cover opened so the front and back are visible. There is a black rectangle with white text reading, "Whose Choice" with a handprint and an illustration of internal organs. Small text at the bottom of the image reads, "...prior to quickening..." / "...suffer imprisonment..." / "...right to privacy..."] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A projected image on a standing screen shows a bumper-to-bumper view of two shiny silver cars with a third car in the background.] -
Wolfgang Tillmans, Speedmaster #2, 2011, Offset print on paper, 47 1/4 x 48 3/8 in / 120 x 122,9 cm, Hung with two metal brackets, Edition of 170, Signed and numbered, Printed on LuxoArt Velvet 200 gsm paper with Speedmaster XL by Dr. Cantz’sche Printshop, Ostfildern [A large, square, sheet of paper, which has been folded into a 4x4 grid, unfolded, and hung on a white wall, leaving the creases. It is covered in a four-color gradient, from dark red, green, blue, to black, left to right, roughly not overlapping with the creases.] -
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.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands in front of a seated audience. The figure on the left speaks, raising up both hands by her face, her fingers making "air quotes."] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall displaying twenty-one framed photograms arranged in a rectangle creates a corner with a second white wall displaying four framed photograms in a horizontal line.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Stephen Sewell. [Several artworks installed in a gallery space with white walls. On a wall to the left of the image, three yellow toned paintings are installed at eye level. On a wall at the far center of the image, four black viewing boxes are installed on the wall in a diamond formation. On the gallery wall to the right, two painted portraits sit on the ground.] -
Michael Robinson. Still from All Through the Night, 2008. [A ghostly, blurry figure in white with their arms out with digital light blurs swirled around.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Two paintings and several sculptural elements are installed in a corner. The paintings, one in an oval frame and the other rectangular, have figurative subjects of humans and animals. A whimsical end table is illuminated by a light fixture shaped like a flowering plant whose stem extends from a patterned curtain hung against the wall.] -
Tiffany Sia, The Bastard Tongue (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A long sheet of white paper is suspended across multiple floors. Handrails for the second floor are visible in the background.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A brown and green object with a processing chip imbedded in its front sits on a white base. There is a battery with two wires sticking out the left side, and a small, silver crank device sitting on top.] -
Ei Arakawa, Mega Please Draw Freely, 2021 (The artist wears Uniqlo Roger Federer) [A person in a red shirt, white cap, and multicolored pants smiles and poses with a tennis racquet, standing atop a large piece of paper with colorful drawings on it. In the background are people sitting on the ground and printed images of trees.] -
Murray Reich. Zapping for Zeke, 1988. [A red grid of punched-out circles overlays a background of yellow, orange, white, and black rectangles.] -
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[Eight pieces of paper with text in various languages arranged in a grid.] -
[An animation of a black and white clock whose hands move backwards. The clock is positioned on a silhouette of a head in profile. Sans-serif text below the graphic reads, "The Fainnie Azul Horologe."] -
Community Listening event, Painting Sound, Listening to the LES, P.S. 140, 2019 [A classroom with several students, each at their own desk, painting with primary-color watercolors] -
Exterior of exhibition invitation. International Art Exhibition for Palestine. Beirut, 1978. Courtesy Mona Saudi. [A flyer with an abstract, colorful artwork on the left and exhibition information on the right.] -
Michelle Santiago, Trap, photography, 2014 [A photograph with a striped blue and white blurry background. In the center of the image, outlined in a blurry orange circle, is a clear image of a rope tied into a knot, holding a white object] -
Frances Stark, Consider the following again: Why should you not be able to assemble yourself and write?, 2010, Giclée and silkscreen on Somerset Enhanced Velvet, 330 gsm 18 1/2 x 14 1/2 in / 47 x 36,8 cm, Signed and numbered. [A collage-style image of a person sitting on a square object, perhaps a floor mat, viewed from the top-down. Black-and-white, aside from the person's exposed tan collar, hands and forearms, and feet. They are wearing a black-and-white checkered dress, and have black hair. The figure is looking at an upside-down text, reading "why should you not be able to assemble yourself and write?"] -
Till They Listen: Bill Gunn Directs America. Installation view featuring various ephemera from Ganja & Hess, c. 1973, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close up of a glass display case holding multiple images and text. ] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of mixed media collage work hanging on gallery walls.] -
Installation View from Moderns in Mind, Artists Space, April 12, 1986 - May 10, 1986. [A long rectangular sculptue lies on the floor in front of paintings hanging on adjacent walls in a gallery setting.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Photographs hanging on walls in a gallery space with a doorway on the right.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph of white picket fence opening with dark painted background behind it.] -
Tom of Finland, Untitled, 1967. Graphite on paper. Private Collection, Sweden. [A half-naked man sits inside a prison cell wearing a police cap and gripping a large electric dildo. His erect penis emerges from the fly of his leather pants, while a naked man on the floor licks the back of his leather boots.] -
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.] -
7th Grade students from M.S. 324 meeting online to present their El Ábol de la Familia collage projects, 2020 [A screenshot of a video call. Several students are smiling while holding up artwork that depicts their respective family trees. The art varies in size, shape, and medium.] -
Kevin Drumm. [A man looking at a laptop, with a modular synth and mixer next to the laptop.] -
Ken Okiishi, Wish I Were Here, 1997 – 2001. pigmented inkjet prints. Courtesy the artist [Five framed photographs and documents displayed on freestanding, white panels in an exhibition space.] -
Gedi Sibony Animal Scramble, 2013, Archival inkjet print, 14 1/4 x 13 1/2 in / 36,2 x 34,3 cm (image size), 24 x 20 in / 61 x 51 cm (paper size), Signed and Numbered [Assorted animals, including tropical fish, birds, reptiles, a cat, dog, and rabbit are drawn in black marker on yellow paper.] -
Installation View from Recent Art From Chicago, Artists Space, March 8, 1986 - April 5, 1986. [Dirt can be seeng lining the walls on the floor and also in the clear cases above them. There is stark lighting of the walls in this gallery setting.] -
Maggie Lee, 100 Kisses for Artists Space, 2016, Lipstick on paper, each unique 10 x 8 ½ in / 25,4 x 21,6 cm, Signed and Numbered. [An imprint of pink pursed lips on off-white ground.]
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res-168x.jpg)
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res.jpg)
