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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.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a display case with two screens, one resting partially on another. A person's smiling face is visible on the bottom monitor.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A bookcase displays documents within as well as on top of its glass. Above, right of center, three black and white photographs are hung, in white frames, on the wall.] -
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.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [Two figures stand on stage, performing with audio equipment on a table in front of them.] -
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Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A cluster of four works on paper against a white gallery wall. The works feature swooping, abstract calligraphic strokes in black and light green ink.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A cluster of four works on paper against a white gallery wall. The works feature swooping, abstract calligraphic strokes in black and light green ink.] -
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Adam Putnam, Magic Lanterns, 2004. [A sketch of a projector on a stand, projecting a black hole into a wall.] -
Carissa Rodriguez, You Know the Rules. You Fall in Love. You Lose. Filmed by Jordan Lord, recaptured by Rodriguez through her Pokémon Go app. [An animation of two screengrabs from a phone, each showing the Pokémon "Gastly" above a computer screen with text reading "Whenever you do not understand what's happening in your life, just close your eyes, take a deep breath and say, "God I know this is your plan just helpme through it."] -
Contemporary Architecture - an installation by realities:united. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [In a gallery space, a large white overhead LED-style sign acts as both a drop ceiling and overhead lighting. It displays two numbers, a 2 and a 3. Below are a black sofa and, facing it, a small television on a wooden pedestal.] -
Kathe Burkhart and Chrysanne Stathacos: Abortion Project. Installation view, Artists Space, 1991. [Black and white image of a gallery enclave. The walls are covered with long lists of individual signatures that form several rows from floor to ceiling.] -
Michael Asher, Musée d'Art Contemporain de Montreal, Montreal, Canada, l'art conceptuel, une perspective, August 5–October 21, 1990. Art journals with advertisements for the exhibition placed by Michael Asher displayed in the museum’s bookstore. Photograph by Denis Farley. Michael Asher Archive, © Michael Asher Foundation. [Photograph of a white magazine stand with black trim. Along the top of the stand, four stacks of black-and-white journals rest on acrylic stands. A selection of art journals in a variety of shapes and colors sit along the stand's two rows.] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of mixed media collage work hanging on gallery walls.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [A color photograph of an arepa placed on a purple tablecloth.] -
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Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Two figures stand back to back, juggling clubs above their heads.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure sits behind a table, a microphone in front of their face, as they close their laptop and grab a stack of papers on the table.] -
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."] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans their arms on top of a rolling table made of wood and fresnel lenses, pushing it toward another figure that stands in front of them filming them. In the background a third figure in a blue morph suit sits and leans down on top of a rectangular wooden frame. Blue footage is projected onto the back wall.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A green, blue, and yellow abstract landscape painting hangs on a white wall. A purple buffalo painting is hanging on the wall to the left. To the right, a tall paper is pinned into a purple section of wall.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017); edited by Nina Felshin, But Is It Art?: The Spirit of Art as Activism (Toronto: Bay Press, 1995). [A collage of images including book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," displayed alongside images of protestors holding up banners reading "Decolonize This Place" and a large banner draped across a clocktower that reads, "Free Education to All."] -
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"] -
An audience member speaks at “Palestine, BLM & Boycott in the Arts.” Artists Space Books & Talks, Friday, November 4, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Andrés Rodriguez [An upwards-angeled view of an audience member, wearing a dark denim shirt, with a poster in the background that reads "mourning for all those massacred in GAZA".] -
Rafael Sánchez. Performance still from Swamp Piece, 1993. Photo: Claire Barnier. [A woman in a dress standing in a swamp] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, September 16, 2022 - December 3, 2022. Photo: Filip Wolak [Three desks are lined up in front of each other, each desktop has a TV monitor and clay rocks. In the back is a dark room with yellow LED light sculptures.] -
“Chinatown Is Not for Sale.” Installation by Chinatown Art Brigade. Artists Space Books & Talks, Saturday, October 22, 2016. Courtesy Chinatown Art Brigade, Decolonize This Place and Artists Space, New York. Photo: Marz Saffore [Chinatown anti-gentrification paraphrenelia posted on the wall, with phrases like "Tenants Unite!", "Housing is a Human Right!", "Stop Gentrification Now!" and "Who did you Displace to open your Gallery?", written in English and Mandarin. A monitor displaying a person holding a megaphone at a protest is fixed on the wall, the handouts surrounding it.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [Several figures stand along a wall illuminated by red light. One figure, seated, uses a computer at a small round table.] -
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Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A side view of a sculpture of a man leaning againt a white column. He hols a book in his right hand. He is wearing a purple shirt and blue patterned shorts.] -
Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A drawing of various nude human figures appearing in space with a white background.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A flower arrangement consisting of white flowers and green leaves displayed on a slated, wooden floor. The arrangement is shaped such that it forms a lowercase, italicized letter "a."] -
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 right is speaking, her hand pinched in a small gesture at her torso.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Painting of figures with Native American headdresses on a white gallery wall with a sculpture appearing in front of it.] -
Laurie Simmons: Photographs. Postcard, Artists Space, 1979. [A black and white image of a dollhouse living room, a doll is sitting in the right corner, on a couch, next to a side table with radio on it.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on standing on stage. The performer in the foreground is lit with pink light. They are holding their arm out touching a cymbal with a red drum stock in hand. They are looking down with their eyes closed. The performer in the background is out of focus, they are bathed in blue light. Drums surround the stage. A seated audience is out of focus in the background. The back wall features two projections, one is an abstract arrangement of shades of blue. The other has sharp geometric shapes in red, green, and yellow.] -
AIDS Forum: John Giorno - FABULOUS SEX/COMPASSION. Installation view, Artists Space, 1993. [Several paintings and sculptures installed on two walls that form a corner in a gallery space. A square painting featuring large, bold yellow text that reads, "LIFE IS A KILLER" hangs on the right wall. On the left wall, a block of large black text has been painted on the wall, from ceiling to floor. It reads, "THE WORLD IS GETTING EMPTY OF / EVERYONE I KNOW / ONE BY ONE / IN EVERY DIRECTION / THEY ARE LEAVING / THIS WORLD / FOR SOME PEOPLE / EVERYONE THEY KNOW HAS DIED."] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Audience members are seated along a back wall, with a figure in a blue morph suit seated on a rectangular wooden frame alongside them. Blue light is projected onto a screen in the background.] -
Marian Zazeela, 19 XI 66/2, 1966, India ink on card. Courtesy of the artist. [Black-and-white drawing of a cluster of black curled lines organized into a square shape in the middle of a white page. Handwritten text in faint pencil along the bottom of the page reads "© Marian Zazeela 1988."] -
Gerome Kamrowski. Metaphysical Menagerie, 1986. [A black and white photograph of various floating constructed fish-like objects in space.] -
Keith J. Sanborn, A Public Appearance and a Statement, 1987. 18.5 minutes, 3/4" (original format 16mm), black and white. Film still. [A dense crowd of people surrond a casket being carried into the back of a hearse.] -
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.] -
Chumlum. Dir. Ron Rice. 1964. 16mm, (sound, color). [A collage-style image with a person looking towards the camera, a woman's hand, beads and several other objects.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Projectors placed across a wood floor project variegated hues of white light onto a wall.] -
Oto Gillen, Daisy (Perry Street), March 19, 2023, 2023. Photo: Filip Wolak. [Color image of a large print of a close-up photograph of a fake daisy, with white woven petals and a yellow center.] -
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Charlotte Posenenske. Configured by Rirkrit Tiravanija. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Six geometric, silver metal sculptures installed on low dolleys with wheels sit, scattered, across a wooden gallery floor. The sculptures are modular, hollow, and consist of cube-like and triangular metal components. Long arrows of colorful tape are installed on the gallery floors.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of three musicians captured mid-performance on stage in a low-lit venue space. The central musician plays the trumpet, and is flanked at either side by men playing clarinets. Abstract and fragmented projections in green and yellow-orange shine onto the musicians and cast onto the wall behind them.] -
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Arts and Family Engagement evening, student panel on high school portfolio preparation, P.S. 140, 2017 [A classroom setting with several students and adults sitting across the room at desks and tables, looking at a teacher speaking to them in a corner of the room] -
Andre Cadere, 11 December, 1976, David Ebony Gallery, New York, 13.00 to 17.30, Photograph by Gianfranco Gorgoni Digital print Image size: 10 x 8 in / 25,4 x 20,3 cm Paper size: 11 x 8 in / 27,9 x 21,6 cm Signed and numbered certificate [Black and white photo of Andre Cadere holding a striped stick over one shoulder and crossing the street in New York City.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer sitting on stage in front of a table with a laptop and audio equipment. They are leaning forward, using both hands on the machine. The laptop on the table shows live audio tracks, with bars of various colors. The room is dark and the audience is out of focus in the background. White dots of light fill the room.] -
Split/Vision. Installation View. Artists Space, 1985-86. [Photographic works hang on two adjacent walls in a gallery space. On the left they are more horizontal and on the right they appear more vertically arranged.] -
Milford Graves: Fundamental Frequency. Installation view (Hand-painted Drums, c.1970s; Earth Resonance, 2020; Untitled painting, c. 1980s), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a hand painted drumset in a gallery space. A circular gong hangs above, and a painting done on a wooden panel is attached to the wall in the background.] -
Four Scottish Artists. Installation view, Artists Space, 1979. [3 large canvases hang on a white wall. In the lower right-hand corner of the canvas to the left is a small image of a dog. On the left side of the center canvas is small a human figure. On the upper right-hand corner of the canvas to the right is a small image of a woman's ankle and foot.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [Portrait of a figure in a blue shirt looking into the camera.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of four framed works displayed against a white wall. The drawings depict abstract compositions made up of colorful shapes and lines, and pencil strokes.] -
ArtpArkArtIII. Exhibition Postcard, Artists Space, 1978. [An image of rocky terrain with a cliff in the forefront. Near the lower left corner of the photograph are some shrubs and a tiny human figure in the distance. Below the image is text reading: "ArtpArkArt III / Artists Space / March 18-April 1."] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez [In the left foreground of the image is a painting of a shark standing upright in water and in the right background of the image is a large, orange stuffed slug sculpture strapped to a cast-iron column in a white gallery space.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [An audience watches a performance, smoke fills the room to the left and a projector casts dark blue light over the audience.] -
Andrea Fraser, Reporting from São Paulo, I'm from the United States, 1998. Courtesy the artist and Galerie Nagel Draxler. [A woman interviews Francisco Weffort, the Brazilian Minister of culture, holding out a TV microphone.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A continuous strip extends around the perimeter of the room, hung up on the walls. The strip alternates between photographic stills and black boxes overlaid with white text.] -
Flyer for Abasement: #60. October 3, 2022, Artists Space. [Black and white printed images are collaged over a yellow and beige background, with scribbles of red and white ink. In the bottom middle a torn piece of paper reads sideways: "ABASEMENT 60 / abasement 60." In the bottom right corner upside down text reads "ARTISTS SPACE / october 3."] -
Ursula Biemann, still from Writing Desire, 2000. Video, 23 minutes. Courtesy the artist. [A nightime view of a truck driving past a parking lot. In the top left of the image is a superimposed video of a blond woman. The words "Hello I'm Natascha" appear in red to the right of the woman.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure stands on stage behind a table with a laptop, preparing to perform.] -
Julie Wachtel. Installation View. Artists Space. 1985-86. [Split-screen image of a monkey dressed in sports gear with a soccer ball on a field hung on a white gallery wall. Both images in photograph appear identical.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Projections of elongated gold figures.] -
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Close-up color image of a performer holding red lights with a shirt wrapped around their head. Behind them, in the left side of the frame, a handmade paper costume is out of focus. On the right side of the frame there are two performers, one of them is standing with their back to the camera, and the other is sitting down at a table.] -
Photo: Alistair Thain. [Close-up of Annette Peacock wearing a beret, looking off to the left.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two small photographs are mounted on a white gallery wall.] -
Nick Relph, A List of Incorrect Things, 2010, Offset print 6 2/3 x 11 inches, Signed and numbered by Stuart Bailey and David Reinfurt, Text by Nick Relph. [Two pages of red sans-serif text on a white background, titled "Notes:"] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit room with green turf-like carpet and exposed wooden walls. On the left, 9 images of different sizes are mounting, and luminous. On the right, projectors and movie cameras are placed on a horizontal shelf. On the far end of the floor towards the wall is a small square tv monitor with headphones placed in front of it. Behind the monitor are three medium-sized white windows.] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A performer facing an audience in a dim, red-tinted room. The musician is standing over a table covered in electronic instruments. Patterns of white dots reflecting from a disco ball surround the room. ] -
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 a small drum set lit by a spotlight underneath a demolished wall, blue and green gallery walls displaying dynamic images of individuals hung by large push pins.] -
KP Brehmer Das Gefühl zwischen Fingerkuppen... , 1967 80 copies+ 40 artists proofs, signed and numbered screen print on cardboard, folded, 60 x 36 x 10 cm Courtesy of Edition Block, Berlin [An illustrative, yellow, white, and pink image of a woman, holding a cigar to her mouth, in profile view. At the top right corner in white text reads, "Das gerfül zwischen fingerku ppen." Below a white paper decends with smaller images of various vegetables.] -
Joyce Kim, Untitled, 2000. Acryclic, latex and enamel on canvas, 48 x 45 inches. Courtesy the artist. [Abstract paint splatters of various muted colors on a grey background.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [Inside a pink-hued room are three tanker desks and three rolling office chairs in a single-file line. Security monitors with color videos sit on each desk alongside small pieces of clay. In the distance, tree trunks wrapped in fabric rest on the floor and construction nets hang from the ceiling. A wooden structure and an aquarium with purple-colored lights are positioned behind the tree trunks.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person bends over an electric piano, her hair falling over her face. She is illuminated from behind by a brightly lit wall.] -
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Clocking Out: Time Beyond Management. Installation view (Simon Gush, Clocking In, 2013), Artists Space, 2023. Photo: Greg Carideo. [Photograph of the hallway entrance into a basement gallery space. Along the left wall is a clock card machine and time card rack, vinyl text, and a pedestal with printed materials placed on top of it.] -
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.] -
Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of three individuals captured as they engage with other guests at their table. A dimly lit and elegant dinner venue can be seen in the background.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure kneels down on stage on all fours and sets up audio equipment layed out on the floor.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Alternating clusters and individual small framed works on paper hang on a white gallery wall. The works feature swooping, abstract calligraphic lines that resemble text.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit stands on stage, behind a music stand and speaks into a microphone.] -
Young Fluxus. Installation view, Artists Space, 1982. [Numerous artworks appear on the walls of a white-walled gallery space.] -
Students creating prints at International Print Center NY, 2019 [Two people in aprons use a printmaker. One stands in the foreground, using the machine, while the other stands to the left in the background.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire.] -
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Colin de Land at American Fine Arts, February 1996. Courtesy Smithsonian Archives of American Art. [Colin de Land sat at a desk, looking at paper materials in his lap. Various objects, documents, and books sit opened around him.] -
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The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Five figures standing before a set of music stands. The figure closest to the viewer stands in profile and gazes ahead, while two figures directly behind them look towards him with furrowed brows.] -
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 close up of white picket fence and painted dark background.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [Two figures stand facing one another, smiling. One wears a baseball cap and the other holds a camera.] -
Super 8 Film Exposition. Installation view, Artists Space, New York, 1977. [A black and white photograph of a gallery space. Several film reels and projectors are positioned on tables and stands.] -
Left: Andrew Siedenburg, Material Support, 2022. Masking tape, charcoal, and construction fasteners on gessoed luan. Right: Andrew Siedenburg, Doghouse with Tin Snips, 2022. Masking tape, charcoal and constructions fasteners on gessoed watercolor paper over masonite. Photo: Steven Cottingham. [Color photograph of two works with white, black, brown and grey hues hanging on the wall side-by-side.] -
LaToya Ruby Frazier, A Message In Nestle Water Bottles from Shea Cobb and Amber Hasan at Sussex Drive and West Pierson Road, Flint, MI, 2017/2023, set of three archival pigment prints on Canson Platine Fibre Rag, 16 x 24 inches (40.6 x 61 cm) -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Close-up color photograph of a musician holding a guitar. The musician wears a white-button up with a black tie and black leather pants. Medium-length red-and-black streaked hair falls around their face as they look down at the guitar. The musician and the wall behind them is illuminated by a projected image that is mostly white, but features large black letters at the top of the projection. ] -
The Fairy Tale: Politics, Desire and Everyday Life. Installation View. Artists Space, 1986. [A glass vitrine appears in the center with headphones and seats placed around it in a circle. Behind it is another glass vitrine sculpture as well as paintings and sculptural objects on the gallery walls.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure sits behind a table, looking at a laptop screen, their face resting in their hand and a microphone placed next to their face.] -
[A posterr with the silhouette of a man in the middle, dressed like a cowboy. Before him appear blue scan-lines, as if on a television set, which are boxed off into several rectangles.] -
Charles Simonds. Still from Mythologies, 1974. From Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A black and white film still of an apartment building, taken from the street. In front of the building is an empty lot. Two cars are parked on the street.] -
Marc Blane, c. 1975. From Marc Blane, Ken Hubbell, Carole Stein, Artists Space, 1975. [A color photograph of four sculptures resembling miniature theatre sets.] -
Carol Haerer. Installation view, Artists Space, 1990. Media and dimensions unknown. [A black and white photograph of a tall, narrow rectangle-shaped painting of abstract swirls hanging on a white wall.] -
Nicole-Antonia Spagnola: Italian Hardcore. Installation view, Commercial Street, Los Angeles, 2021 [A color photograph of a television screen resting on a wooden chair with a red cushion. The screen displays a black and white image of several masked figures.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in all white, dancing in a corridor bathed in red light.] -
Audrey Glassman, Untitled, 1983. Cibachrome, 28 x 42 inches. [A nude figure is seen sitting in a pool of water in the corner with ceramic tile wall paneling behind them. Sharp lighting accentuates the top half of the image where the face of the figure is, staring into the camera.] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [A figure in a blue dress stands behind a white table, and holds the end of a small folded up book. On the other side of the table, a row of people sitting on wooden chairs hold different sections of the book and read off of it.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [Two dynamic images of a group of individuals pinned by large push pins on a green gallery wall.] -
[Black text on an orange background. The text reads: “Nov 16 / Jee Leong Koh / Thaddeus Rutkowski.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Still from Polly II - A Plan for a Revolution in Docklands (2006). [Two people dressed in black looking down. Superimposed on top of them is a poster reading, "JENNY DIVER CALLS ON ALL PEOPLE OF THE FLOOD EAST ORGANIZE NOW! PEACE TO HUMBLE DWELLINGS! WAR TO THE PALACES!"] -
Hito Steyerl, Liquidity, Inc., 2014, HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015. [A side view of a large video monitor screen, sitting on the ground, with a large ramp extending from the base. Two viewers sit on large pillows at the curve of the ramp. The room is tinted blue. On the screen, there is a man in a sitting in an office with a note pad and a pen at the table in front of him.] -
K8 Hardy , Sharing 2014, 2014 , C-print, 23 ½ x 18 ½ in / 59,7 x 47,1 cm (image size), 24 x 18 4/5 in / 60,1 x 47,8 cm (paper size), Signed and Numbered. [A framed photo of a hand in the lower left corner adjusting a skewed image of K8 Hardy partially undressed in a windowed room, looking over her shoulder with her left arm held aloft.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [A set of wooden chairs arranged in the exhibition space to face projected film] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Doll sculptural objects appear with text in the background while cases can be visible in the foreground with items behind glass in a white-walled gallery space.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement. Along the back wall, on the left, a shadow of a figure in profile is cast onto a blue and purple projected screen.] -
Elephant Cemetery. Installation view, Artists Space, 2007. [A gallery room filled with various sculptures and objects. There are four plinths of varying heights with black, white, silver, and mirrored surfaces. There are three televisions sitting on the floor against a white wall. On the other side, there are two projectors sitting on a table projecting small images on white walls. In the foreground, a rectangular cube painted like bricks is wrapped around a column.] -
Nick Mauss, So long, 2013. Ceramic plaque, 11 x 15 inches. Courtesy the artist and 303 Gallery, New York. [An abstract painting composed of central strokes of light orange paint framed from above and below by two stripes of blue paint at the composition's top and bottom edges. Black paint markings punctuate the wash of orange color.] -
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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.] -
Louisa Chase. Installation view, Louisa Chase, Ted Stamm, Meryl Vladimer, Artists Space, 1975. [A black and white installation photograph of a sculpture. The work features two wooden rods, connected to form an obtuse angle in the center. The end of each rod has a set of wheels, and the piece rests on a sling-like piece of sturdy fabric.] -
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Robert Giard, Homage to Joe Beam, 1992. 20 x 38 inches. [Two photographs arranged side by side. The left photograph displays a person sitting partially in shadow with a patterned background and a small object on her lap. The right photograph shows a framed photograph of a young man in a suit with the same object placed in front of the portrait.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Four red bean bags are arranged on a gallery floor around four small tv monitors, each facing a different direction. The monitors are installed on a low, square plinth.] -
Goodman, Ken. [A sculpture is seen on the left leaning on a platform and on the right is a painter's palette lying next to it.] -
Richard Hollis. Installation view, Artists Space, 2013. [An angled view of the exhibition exit, on which the left of the doorway is text, on the right a projected image. Across the frame is a large bookstand displaying documents, books, and papers.] -
Milford Graves, Untitled Drawing, 2020. Ink, Sharpie, acrylic paint, collage elements on paper. Photo: Filip Wolak. [A color photograph of a mixed media collage with various drawings and handwritten text in a white frame.] -
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The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A room with white walls, with two windows on the back wall with shades pulled halfway down. The wall to the left of the windows has three framed photographs, and a white plinth with a glass top. In front of the windows, a television on a low table faces sideways toward a low black couch. On the far right side, a protruding corner of a wall has white text projected on it reading "cupholder mount vaio."] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit view of a wooden wall with scattered video-still images at varying placements. Behind the wood is a white wall.] -
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[White text on a grey ombré background. The text reads: “March 1 / Marina Abramović / William Parker.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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Log Cabin. Installation view, Artists Space, 2005. [Several sculptures, video works, and other artworks installed in a gallery space with wooden flooring. A large sculpture on the image's right side is composed of a series of wooden rifles gathered to form two, pole-like structures, between which a quilt-like blanket is wrapped around a supporting pole. To the left of this sculpture, a second, long structure composed of a series of white tiles runs diagonally across the gallery floor, forming a long line. Several TV monitors and 2D works are installed on the gallery walls behind the two sculptures.] -
[Black text on an orange background. The text reads: “Oct 12 / Nancy Mercado / Sloppi Chulo.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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.] -
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Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A close up view of a sculpture of a man holding a book. The man's hand holds the spine of a book close to his purple shirt.] -
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Catalog cover from polke / richter – richter / polke , 1966 galerie h, Hannover Courtesy August Haseke [Black lower case text on a red page reads, "richter/polke, polke/richter."] -
Alza Tu Voz, exhibition at Washington Heights Public Library, 2017 [A photo of a front desk in a library - several desks with computers, bookshelves, and a couch are also visible. Four paintings lie on top of the bookshelves, depicting stylized figures against block color backgrounds] -
Shelley Hirsch, It's Get Better IV, organized by Stewart Uoo, Artists Space, 2016. [A woman stands in the middle of a room, surrounded by a crowd of people. She is speaking on a microphone, gesturing with her left arm, and standing on a carpet covering a raised section of the floor.] -
Diane Tallan, Royal Flush, Baby!, c. 1977. Acrylic, glitter, canvas, deciban. 9x13 inches. [A black and white photograph of a sculptural hand of cards with a ten, jack, queen, and king of diamonds. The piece is placed over a brick surface.] -
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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.] -
“Decolonize This Place” sticker outside of The White House [A person's hand holding up a Decolonize This Place sticker in front of the White House, with a security guard visible in the background.] -
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Attention Line. Installation view (various ephemera, post cards, and drawings by Blaster Al Ackerman, c. 1970s-2000s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [A closeup of a glass display case which houses various ephemera.] -
Establishing Shot. Installation view, Artists Space, 2004. [A dim, twilight image of a city on a coastline. Bright, turquoise blue streetlights dot the photograph.] -
Susan Eder, Matt Mullican. Installation view, Artists Space, 1976. [Black and white installation view of a gallery space with a large pole on the left. Several works hang from the walls.] -
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.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A large number of framed posters, photographs, and other ephemera of varying sizes hang on a white gallery wall. A poster hung on the left side of the wall has large black lettering that reads: "THE TEMPERAMENTAL BAROMETRIC CONTORTIONIST!" A white pole is situated at the center of the space, in front of the exhibition wall.] -
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Show and Tell: A Chronicle of Group Material, edited by Julie Ault, published by Four Corners Books, 2010. [Book cover design featuring an image of a large room with red walls. A banner of colorful flags hangs from the ceiling. A large collection of objects is scattered on the floor, including coca-cola bottles, posters, chip bags, paint cans, detergent bottles, and other assorted items.] -
Flyer for Segue Reading Series featuring Zach Haber and Jubi Arriola-Headley. Saturday, October 10, 2020, Artists Space. Artist: Keith Higginbotham [A photograph features two boxers entangled in front of a faded photo of a house. Blue text on top of the image reads "Zack Haber / Jubi Arriola-Headley / Segue."] -
Renee Gladman, Untitled (black city), 2022, oil pastel and pigment on paper, 30 x 44 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color image of a drawing consisting of green, purple, yellow, and red lines and shapes that form an abstract composition. Single line white drawings complement the composition.] -
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Eniya Alonzia, The Sky, digital print, 2019 [A skewed black-and-white image looking up at the façade of a building and the sky. An LED sign spelling "DINER" hangs from the left side of the building] -
Cass Bird, I Look Like My Daddy, 2004. C-print, 30 x 40 inches. Courtesy the artist. [Photographic portrait of a youthful figure leaning against a white brick wall. They wear a partially unbuttoned, blue and black plaid shirt and a trucker hat. Large black text emblazoned across the front of the hat reads, "I LOOK JUST LIKE MY DADDY." A miniature gun token has been attached to the hat, to the left of the text. The figure stares ahead, the right side of their face illuminated by daylight.] -
Flyer for Segue Reading Series featuring Sasha Banks and Derek McCormack. Saturday, October 31, 2020, Artists Space. Artist: Keith Higginbotham [Photographs of an opulant room are collaged together, creating a view of a single space with multiple perspectives. White text centered on the image reads "Sasha Banks / Derek McCormack," and black text below reads "Segue."] -
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Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a closeup of a figure, in profile, holding up a small radio to their ear.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a large gallery space with multiple rooms visible. In the foreground, the floor is covered with flooring, except for a silhouette of a human figure which has been cut out of the flooring, through which the concrete below is visible.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of a installation and sound work. In the right foreground, two lab tables contain a lab equipment such as beakers, distilling chambers, jars, hot plate and two blenders. On the left midground, an antique cabinet with its doors open, reveals shelves and drawers filled with more lab equipment, such as a microscope and household items such as a dustpan. In the background, two box television screens sit on top of wooden lab tables. A posterboard with a periodic table rests on top of the televisions. Each "element" of the periodic table features a small lightbulb that glows.] -
Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. [Five performers sitting in a row playing various wind, string, and percussion instruments. They are facing microphone and sheet music stands. There is a pink-tint covering the musicians and the wall behind them.] -
Drake Carr: Housecalls. Installation view, Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [A color image of a room with white walls and pink carpet. A large painting depicting multiple fish leans on the left wall, along with a white canvas, and a cut-out of the picture of a potted plant. Across the room, a white table, a white lamp, a wooden easel and cushioned chair can be seen. Five colorful drawings of different sizes hang and lean on the back wall. A cut-out of a photograph of a piano with some sheet music hangs on the right wall.] -
A visit to Federico Herrera exhibition at James Cohan. -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls as guests enjoy the exhibition opening.] -
Beth Campbell, Four Eyes Are Better Than One, 2007. Site-specific installation. Courtesy the artist. Photo: Bill Orcutt. [The corner of a small white room features elements implying that it's a bathroom: a sink, a blue trash bin, and a hot-water heater are below while a wall-mounted paper towel holder and a non-reversing mirror hang above.] -
Lee Gordon, Father Reading to Son, 1987. Oil on white lead on canvas, 32 x 40 inches. [An adult sits in a chair and reads a book to a child seated on their lap and holding a doll. The adult wears wears a white, pointed, Klu Klux Klan-style hood.] -
A Strategy Hinted At. Installation view, Artists Space, 1997. [A gallery space with a seat made from a wooden block in the center. On one wall, five artworks hang in a horizontal line. Several perpendicular walls emerge from the gallery wall to the right of the space. The perpendicular walls are arranged such that they create small booths, with a square hole in each wall.] -
Log Cabin. Installation view, Artists Space, 2005. [Multiple small, rectangular collages hung in two rows on a gallery wall. The collages are displayed in black frames and feature images of people as well as text fragments. Most are black and white or contain minimal color.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [A large rectangular painting hangs on a wall to the left.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of three chairs spread out in a gallery space with three dark columns. A television screen rests on each of the chairs.] -
Constantina Zavitsanos, LEAVE - A - PENNY / TAKE - A - PENNY, 2024, Bronze, 4.5 in. x 4.25 in. x 1.5 in. [A common convenience store countertop coin share dish shines in solid bronze on a soft black velvet ledge. Its raised text reads: “LEAVE - A - PENNY / TAKE - A - PENNY”.] -
Tiffany Sia: Slippery When Wet. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a black rectangular table and a chair in the foreground. There are eight photographs and print-outs hung on the back walls, and a row of floor-to-ceiling columns is visible in the background.]
