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[A computer rendering of a purple and amorphous form composed of long, extending tube shapes on a white background.] -
Margit Lewczuk. For Freda, 1985. -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A close up view of two abstract, earth-toned paintings hanging on a wall. Beyond them a doorway and another room with more painting is visible.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [The image of a figure standing next to a camera and tripod is reflected in a mirror hung on a wall.] -
Moyra Davey, still from Fifty Minutes, 2011. 50 min. [A man reclines while reading on a daybed draped with green linens. Behind him are four bookcases filled with vinyl records.] -
Adam Pendleton, Title TK, 2010, Silkscreen with embossing on Somerset Satin 500 gsm, 17 ¼ x 23 ½ inches, Signed and numbered. [A white rectangular image with an opaque black circle in the center right, and a capital D outlined in black in the top left of the image.] -
Adjua Gargi Nzinga Greaves: The x in florxal is silent when spoken. Installation view, Artists Space, 2021. Photo: Filip Wolak. Courtesy Artists Space, New York. [A photograph of a print mounted on a pink gallery wall next to wall text. Below the wall text is a table with papers stacked on top.] -
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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.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure is shown in profile performing on stage into a microphone, with a music stand placed in front of them.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [An audience watches a performance, some are seated on the floor or chairs, while others stand behind them.] -
[A woman dressed in a suit sits among clouds in a blue sky, smiling, with six arms. Each hand is holding two phones, an alarm clock, globe, laptop, and folder.] -
Excerpt from Hito Stereyl, Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy of the artist and Andrew Kreps, New York. [A moving image of a person, dressed in black, side stepping slowly in the gallery as the camera pans over to them.] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a well lit gallery, with various multimedia works placed around the space, projected against the walls, and hanging on the walls.] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [A performer is surrounded by equipment, playing on stage. The stage is bathed in green and blue light patterns created by a projection.] -
Andy Robert: PAPALOKO. Installation view (bwa, 2023; Ruin, 2023), Artists Space, 2024. Photo: Carter Seddon. [A color image of two tree logs, placed on brown pedestals. The pedestal in the back features a taxidermied griffon vulture.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A makeshift screening room enclosed by unpainted wooden walls. There are two wooden benches arranged to face a projector screen. The screen displays an image of a luxury pool surrounded by palm trees, with the sun shining.] -
[A man and woman hold hands while running, captured as though suspended above the ground. The woman pushes a red baby stroller in front of her. The scene is backlit, with the sun over a body of water behind them. On the upper right hand corner is the logo for "WeWork," offset on a diagonal.] -
Cave of Animals, Listening Room project, May 2024 -
Tom Murrin, Johanna Went, 1985. Acrylic on foam core, 14.75 x 20 inches. Courtesy the artist. Photo: Patty Wallace. [A painting of a person with red hair, cross-shaped earings, and black paint under their eyes.] -
Bruce Colvin . Invisible Structures (Dates of Writing), 1976. From Sigrid Burton, Bruce Colvin, Ellen Phelan, Artists Space, 1976 -
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Courtesy No Total. [A cartoon drawing of a bedroom with a purple bed, chair, and window] -
[A flyer featuring a vintage orange and black computer with a small monitor and chunky keyboard set against a saturated yellow background. White, stylized text on a faded computer screen reads: "A READING BY ALAN FELSENTHAL AND BETSY FAGIN." Red text on the yellow background in the upper left corner reads: "Artists Space & the Segue Reading Series present" and in the lower right corner: "Saturday May 23rd / 5 pm NYC time / Zoom ID 378 232 567”] -
Exhibition Card (front) -
Pictures. Installation view, Artists Space, 1977. [A dimly lit corner of a gallery. A large, gray structure with a slight trapezoidal shape hangs on the corner's left wall. A series of small figurines of men riding on horses emerge in a line along the top edge of the gray form. Hanging on the corner's right wall is a frieze-style figurine of a man in a white shirt and tie that emerges from the wall. He tilts his head back as his arms bend, one extending forward.] -
Duane Zaloudek. Untitled, 1983. [An image of a wooden chair next to a wooden desk with a frame being prepared on top of it. They are placed on a wooden floor against a white wall.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Amiri Baraka, Cellar Vigil (Experimental Death Unit #2), 1966), Artists Space, 2023. Photo: Filip Wolak. [The entrance to a gallery space. Two video stills are projected on the wall facing the entrance. The left projector shows a black-and-white film image of two figures in trench coats with paper bags over their heads doing pushups. On the right is a black-and-white film image of a pair of black shoes hanging over a wooden ledge.] -
Young Fluxus. Installation view, Artists Space, 1982. [Contact sheet of photos from the exhibition.] -
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The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A white cloth banner hangs vertically from the ceiling, with text which reads "KARA-KUM, area 350000, disposed in Middle Asia." Below the text are drawings resembling Turkish architecture. To the right of the banner, a slide projector sits on a short wooden bench, projecting a small image onto a white wall.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs gaze into the distance.] -
Superstudio, still from Supersurface: An Alternative Model For Life On The Earth, 1972. 26min. [Six people are seated and lounging in a digitally rendered landscape.] -
Lyndon Barrois Jr., Divine Agent, 2022; Balthazar (After Bresson), 2021. Wicker pannier, plastic, copper, brass, conservation glove, moonshine jug, solvent transfers, plywood, brass, wooden owl figurine, dyed silk.; blue graphite on paper, antique brass frame. Dimensions variable. Photo: Filip Wolak. [A color photograph of a gallery space. In the foreground is a large wicker pannier with a white glove, small wooden stool, and ceramic jug on top. In the background a small portrait of a donkey in blue is visible.] -
Troy Brauntuch. Untitled, 1976. Silkscreen and offset lithograph. 50 x 40 inches. Photo: D. James Dee. [A photo of a 2D artwork consisting of a blank rectangular surface with the image of an classical sculpture bust in the lower left-hand corner.] -
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.] -
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.] -
Portrait of Loretta J. Ross. [A black woman sits behind a large table and looks off to the side. Behind her is a blue background.] -
Barbara Gladstone and Emily Wei Rales. Photo: Jenna Bascom [Two women stand close together and smile at the camera. Barbara Gladstone, who stands on the left, is wearing a black long-sleeved cowl-neck gown. Emily Wei Rales, who is on the right, wears a dark eggplant dress with fringe accents and trim.] -
Azian Nurudin. Still from The Headhunters of Borneo, 1989. 10 min. Photo: Micki McGee. [A black and white image of a shirtless woman holding a baby, while another woman looks on from a doorway to the right.] -
Flyer for Segue Reading Series featuring Diana Cage & Jackie Ess. Saturday March 20, 2021, Artists Space. [A yellow colored background features black text in the top half of the image that reads, "Segue Reading Series / Diana Cage & Jackie Ess / March 20 / 5pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."] -
David Antin, Sky Poem, La Jolla, CA, Santa Monica, 1987. Courtesy Getty Research Institute, Los Angeles. [Two people wearing large sun hats look up towards an empty blue sky framed by scattered palm trees. Faint, white text written in dotted cloud formations is visible in the sky.] -
[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “April 20 / Imani Elizabeth Jackson / Emily Simon.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Enough Tiranny. Installation view, Serpentine Gallery, 1972. [A black and white photograph showing a room filled with various standing lights and assorted objects sitting on the floor. Two people are standing, their outlines casting shadows on a white wall with the word "TIRANNY" handwritten in large, block letters.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view, Artists Space, 2023. Photo: Filip Wolak. [The corner of a gallery space with a wooden camper structure placed there. Two ramps lead to doorways along the front and side of the structure. The edge of a free-standing white wall sits to the left of the camper..] -
John Brattin, 1997. [A black and white Polaroid of a swirl on a striped background. At the bottom of the image, black handwritten text reads, "John Brattin - Enamel/Foam Giant Lollippop 7'H 3'Diam."] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An installation consisting of a series of readymade objects displayed on a wooden gallery floor. To the right, an open book rests on a wooden folding chair. One metal clamp light is attached to the chair, while a second light is attached to a reclining, green lounge chair on the left of the gallery space. Two additional clamp lights rest on the floor between the chairs. An ashy material is scattered on the ground between the chairs.] -
Union Gaucha Productions Still from Phantom Limb , 1998 16mm film (silent, black and white), 21 min 45 sec Courtesy of Union Gaucha Productions [A black and white image of various tones of traingle shapes and lines.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, September 16, 2022 - December 3, 2022. Photo: Filip Wolak [Image of a gallery space with a metal locker, mirrored wooden base, and some tree stumps and plants. A large light and construction nets hang from the ceiling, and on the wall in the back a video is projected onto a screen.] -
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Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [An image of a dark room with two spotlights, one pointed at wall text, and the other at a wall projection and glass display case.] -
Paintings by Fontaine Dunn. From Gary Bower, Fontaine Dunn, Hermine Ford, Artists Space, 1976. [A color installation image of a gallery space. Several small canvases painted with geometric forms are hung on the walls.] -
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.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure reading into a microphone, sitting behind a music stand.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Richard Kennedy, Both, Artists Space, 2017. [A photo of three performers standing in the middle of a room, surrounded by the audience. Two performers linked hands, and the third stands in between them, arms raised.] -
Pictured right:. Scott Burton. Pastoral Chair Tableau, 1971—74. From Scott Burton, Pamela Jenrette, Artists Space, 1975. [A dyptich of color photographs. The one on the left shows an empty alleyway. The one on the right shows six chairs in front of a blue curtain.] -
[Close-up of two hands holding a series of black and white photographs, as if presenting them to the viewer. The top photograph depicts the roof of a small home that has caved in, battered by a recent storm. Debris and fallen branches are strewn around the home.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [A series of sculptures in a large gallery space with wooden floors. In the center of the image, a dark sculpture forming an hourglass shape rests on a white plinth, while three potted ferns rest on another, low plinth to the right. A long chain with white appendages hangs from the gallery ceiling.] -
Mike Parker, This Town Needs an Enema, 1990. Oil on canvas. [Yellow cursive text superimposed over an array of plush, blue diamonds. The text is slightly hazy and reads, "Let's Broaden Our Minds."] -
Abstraction in Process. Installation view, Artists Space, March 26, 2020 - May 2, 2020. [A series of small rectangular abstract paintings hang above one another on the walls of a white-walled gallery setting with two columns visible in front.] -
Observational drawing exercises [A pineapple and two bananas sit on a table with a person's hands in the midst of drawing the fruit with pencil at the center of the image.] -
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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 with blue and green wires. In the base of the object a processing chip is embedded.] -
Be Nice Share Everything Have Fun, ed. Stefan Kalmár and Daniel Pies. Kunstverein München, 2010. [A book cover design featuring large, sans-serif orange text on a white background. The text varies in size and reads "BE NICE SHARE EVERYTHING HAVE FUN."] -
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. [An angled view of a large ramp leading to a large video monitor screen. The room is tinted blue. On the screen, an iPhone 4 sits on a glass table, it's lock screen on view; the time reads, "4:39"] -
ART CLUB2000 Gli Avvoltoi (The Vultures), detail, 1995 Vinyl paint and newsprint flyer Image courtesy Artists Space, New York Photo: Filip Wolak [A view of a wall mural displaying multiple cartoon vultures resting on black scaffolding.] -
Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. [Nine musicians sitting side by side at tables use electronic instruments. The wall behind them is covered with blue tinted lights. There are a few audience members visible in the foreground.] -
Danny McDonald, Midnight Snack Encounter, 2014. Photo: Filip Wolak. [Color image of a sculpture sitting on a white pedestal. A beige couch is placed on its side, with a cowboy twinkie figurine sitting in the corner of the couch. Behind the side of the couch stands a grim reaper figure peering over. Beneath the couch is a small rug, with various items (play cards, popcorn, etc.) strewn across it.] -
Installation view. Artists Space, 1983. Foreground: Jeff Koons. New Wet/Dry Triple Decker, 1982. Plexiglass, fluorescent light, new vacuum cleaners. 124 1/2 x 28 x 28 inches. [In the foreground is a set of vacuum cleaners on display vertically above each other on a plexiglass shelf rack with fluourescent lights underneath each one. Behind it on a wall is a Duratrans on a lightbox with text that reads: "New 100% Meri Ultra-lights" and a picture of a pack of ciagrettes appears next to the text. These works appear in a white-walled gallery space with a window in the far left back and a fluorescent light visible above.] -
ART CLUB2000 Selections from ART CLUB2000 archive, 1992–1999 Image courtesy Artists Space, New York Photo: Filip Wolak [A view of multiple glass cases displaying archival images and documents.] -
Mungo Thomson, The True Artist Helps the World by Revealing Mystic Truths (12 Step), 2004. [A black bumper sticker with white text on the back of a silver car reads, "The True Artist Helps the World by Revealing Mystic Truths."] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure with raised arms and in motion in an orange-lit space next to a small piece of audio equipment with a wire on the floor. A crowd looks on in the background.] -
Jana Euler, Unstretched, bound, outside mission, 2020, acrylic on linen, bubble wrap, ratchet strap, chicken wire, dimensions variable. Photo: Daniel Pérez [A large, orange and brown stuffed slug sculpture is strapped around a Greco-Roman style columns on the facade of a cast iron building. The slug’s antennae points upwards.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. -
Wade Guyton, Untitled (WG3521, 2015), 2020, 23.5 x 16.5 inches [Image of a large white canvas displayed on a white wall. The canvas is rectangular and two faint lines bisect each of its four sides, separating the canvas into four equal quadrants. A black "X" shape is emblazoned across the canvas' center, with the lower left leg of the "X" removed from the shape's figure. The floor below the canvas is a deep black color. Small, gray text at the image's lower right corner reads, " 2020Solidarity - Wade Guyton."] -
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AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A close up, black and white image of the seat of an antique wooden chair. A mold of a human brain emerges from the center of the chair's cushion.] -
Ed. Mario Pfeifer, A Formal Film In Nine Episodes, Prologue and Epilogue – A Critical Reader (Spector Books, 2013). [A white book cover with black text in English and Hindi.] -
Flyer for Segue Reading Series featuring Kay Gabriel and Paolo Javier. January 14, 2023, Artists Space. [Yellow and red text overlay a pink background with a drawing of a male bust in the bottom left corner. The text in the middle reads "Kay Gabriel / Segue Reading Series / Paolo Javier."] -
OUTER AND INNER SPACE. Andy Warhol, 1965. 16mm film (sound, black and white, double-screen projection), 33 minutes. [Two black and white images of the faces of two women projected side-by-side. The woman on the left is in profile and appears to speak in both frames, while the woman to her right appears to glance towards her companion in the first frame, and speak in the second.] -
[Two Artists Space tote bags lay in the autumn grass. One is black with a white line drawing, the other is pink with a black bold graphic.] -
[White text on a bright fuchsia background. The text reads: “Oct 25 / Wo Chan / Kay Gabriel.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “April 6 / Tilghman Goldsborough / Holly Melgard.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Axine M: Sold Licker Glass, 2024, Artists Space. Courtesy of ISSUE Project Room. Photography by Cameron Kelly McLeod. [View of 5 musicians on stage performing under blue tinted lights with the audience in the foreground. From left to right the instruments played are the cello, clarinet, horn, flute, guitar, and vocals.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of red, green, and yellow paper. Pieces of beige paper with typewritten text listing the performers and event details are scattered around the flyer.] -
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.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A television on a metal stand shows an image of a man in a cowboy hat. A white bar with black text on the bottom of the screen reads, "The actor said. He explains that thousands of bootleg copies."] -
Film Still from Gaslight, 1944. [A black and white image of a man and woman. The woman is pressed against a wall, looking with fear at the man who is grabbing her wrist. He is looking back at her sternly.] -
[Black-and-white photograph that has been double exposed. The dominant image shows a portrait of two smiling figures, standing side-by-side. Imposed on top of that is a faint image of a building and lights.] -
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.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A number of sculptures on pedestals can be seen in the foreground with paintings and sculptures behind them in a gallery setting.] -
Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An angled view of large blue painting hanging on a white wall in an exhibition space. To the right of the painting in the center of the room, a projector positioned on a small stand projects an image onto a screen that is also supported by a similar, small stand. The projected image depicts a side view of a man and woman sitting across a table.] -
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Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure stands behind a microphone and table with audio equipment. They hold one hand over their mouth and the other around their neck.] -
Young Fluxus. Installation view, Artists Space, 1982. [The outline of a bird in black is visible on white walls with black text on the left that reads, "If you are very intelligent you've got to find the connection between the drawing and the text." And black text on the right that reads, "If you look to the left, that is the left drawing, if you look to the right, that's the right drawing, but if you don't look anywhere that's the no drawing."] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [White gallery wall in foreground features two framed works on paper. The closer work features a diptych of delicately pencil-drawn crosses, while the further work is densely filled with calligraphic lines. Additional clusters of small framed works on paper hang on the wall in the background.] -
Jenny Holzer. Poster, 1982. [Pickle green background with black text that reads, "CHANGE IS THE BASIS OF HISTORY, THE PROOF OF VIGOR. THE OLD IS SOILED AND DISGUSTING BY NATURE. STALE FOOD IS REPELLENT, MONOGAMOUS LOVE BREEDS CONTEMPT, SENILITY CRIPPLES THE GOVERNMENT THAT IS TOO POWERFUL TOO LONG. UPHEAVAL IS DESIRABLE BECAUSE FRESH, UNTAINTED GROUPS SEIZE OPPORTUNITY. VIOLENT OVERTHROW IS NICE IF THE SITUATION IS INTOLERABLE. SLOW MODIFICATION IS EFFECTIVE BECAUSE PEOPLE ARE TRANSFORMED BEFORE THEY NOTICE AND RESIST. THE DECADENT AND THE POWERFUL CHAMPION CONTINUITY. "NOTHING ESSENTIAL CHANGES." THAT IS A MYTH. IT WILL BE REFUTED. THE NECESSARY BIRTH CONVULSIONS WILL BE TRIGGERED. ACTION WILL BRING THE EVIDENCE TO YOUR DOORSTEP."] -
Gwynn Murrill, Stalking Cat, laminated wood, 1974. From Don Wynn, Judy Pfaff, Gwynn Murrill, Artists Space, 1974. [A black and white photograph of a wooden sculpture of a seated cat.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An image of a hand holding a yellow golf ball projected onto the wall of a dimly-lit gallery space. Several square holes have been removed from several spots on the gallery wall, through which a space on the other side of the wall is visible.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage. The performer on the left is standing as they sing into a microphone and play the violin. The performer on the left is sitting down playing the drums with their mouth open in an expressive way. The drummer and the back wall are bathed in blue light, with blocks of white abstract patterns.] -
Students working with light and found objects, 2022 -
Poor Man's Expression - Technology, Experimental Film, Conceptual Art, edited by Martin Ebner and Florian Zeyfang, published by Sternberg Press, 2011. [A book cover design displaying an image of a series of triangular shapes of varying colors arranged in an abstract comoposition. Some of the triangles are semi-transparent and are overlaid over others. Large block lettering situated above and below the composition reads, "POOR MAN'S EXPRESSION Technology, Experimental Film, Conceptual Art."] -
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Jutta Koether, xxapollo. Performance documentation, Artists Space, January 5, 2020. Photo © 2020 Paula Court. [A person dressed in all pink extends a pink heart-shaped canvas over her head in front of a rapt audience. There are light spots reflected at even intervals patterning the room.] -
[Black text on a grey background. The text reads: “April 5 / Marie Buck / Matthew Walker / Simone White.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Martin Beck, An Organized System of Instructions (Carpenter Center for the Visual Arts and Sternberg Press, 2017). [A hardcover book depicting a blueish outdoor park obscured by several grey sheets.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure looks into the viewfinder of a camera. In the background, an abstract image is projected onto a wall.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A woman with dim red lights on her face in a dark environment stands and talks behind a microphone.] -
Julio Torres, Search Results: Drunks Kissing, 2010. [Low res image of two men, with tan skin and curly hair, kissing profusely.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down on one knee, placing their hands on top of a table made of wood and fresnel lenses while audience members watch in the background.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A dark room with a video projection on the wall and several benches. The image shows a crowd of people, some children and some adults, sitting on grass and watching a guitar player.] -
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 a wooden cafe chair with a green cushion in a gallery space. The chair is placed in front of a small seam in the wall. A television screen rests on top of the chair.] -
Alejandro Berlin, Artificial Spring, 1995. Balloons, artificial leaves, accordion bellows, wood, motor. [A sculpture resembling a pair of lungs installed on a white background. A stick covered with leaves forms the sculpture's treachea-like structure, while two bundles of uninflated, pink balloons form two lung-like shapes.] -
Bases of the equestrian monument to Kaiser Wilhem which was destroyed by the British occupation in Münster after World War II. The photographs were printed as post cards in the early 20th century and collected from eBay and oldthing.de in 2021. [A black and white photograph of the base of a monument in a city square. Steps lead up to a pedastal surrounded by three large spheres connected by a metal chain.] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [A figure in a blue dress sits behind a white table, with speakers and projectors on either side of them. The figure leans over and opens a small book.] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of three performers on stage. In the left foreground, a blurred figure in a black polo leans over, their arms stretched out, presumably towards an instrument placed on a table. In the midground, a tall performer dressed in all black with shaggy silver head and sunglasses is caught mid-motion with a pair of macarenas in their left hand. Behind the silver-haired performer, we catch a glimpse of a drummer in a black hat, their face turned down towards the cymbal they are about to strike. Behind all three performers, the back wall is illuminated in a white light. ] -
[Black text on an orange background. The text reads: “Oct 5 / Joan Larkin / Malcolm Tariq.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Matthew Langan-Peck. Installation view, Au feu rouge, Edouard Montassut, 2024 [Color image of a white gallery space, with three large boxes placed throughout. On the left, one side of a box is shown with a painted landscape of green hills against a blue sky, and a black fence in front of it. In the background, another wooden box is painted with a dark finish, and a pair of headphones are hung on the box. In the foreground, to the right of the room, sits a beige box.] -
Gordon Onslow-Ford, Being Space, 1985. [A number of abstract lines and shapes appear in a star-like nature with a black background.] -
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The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A white gallery wall with several components. On the floor, there is a television with a cracked screen. Above that, a protruding shelf holds several booklets. There is a framed image with white text written on a black background, in the style of subway text, with the F and J train symbols below. Next to that, there is a standing white plinth with a glass covered top, housing a single tiny object. On the far righthand side, there are three framed photographs. One is a single image of a person wearing a blue shirt divided into two frames, and the other a hand holding out a holstered gun.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A figure in a white graphic T-shirt has their eyes closed, while they stand and hold two cymbals over their head. Yellow and blue projections are cast onto them on stage.] -
Local Transit. Installation view, Artists Space, 2006. [A gallery space with two columns. One column is wrapped in an off-white fabric, the other in bright pink. There are four white plinths of various heights with gray objects on top. One of the surrounding walls has a long sheet of paper with a drawing of highway signs and a gas station on it; the other has colorful framed images.] -
[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “April 13 / Alexis Almeida / makalani bandele.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
John Neff, Tony Greene Movie, 2016. Photo: Daniel Pérez. [Two blue chairs face a monitor that displays a still image of framed windows in which three curtains have been tied to look like bodies in dresses.] -
Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Three gray objects rest on separate rectangular, white plinths in a gallery space with wooden flooring. Each of the objects is rectangular and has a 3D, biomorphic form.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A yellow object painted with a green and grey cracked surface sits on a white base. There is a rectangular panel with wiring attached to the front. On top of the object sits a small yellow figure.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging and standing in a white-walled gallery space.] -
[A gray image of a person in a hard helmet. The image is slightly fuzzy and worn, and mostly obscured by scratches. White text in the lower righthand corner reads, "A TERRIBLE BEAUTY."] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [Several figures sit on the ground, legs crossed.] -
Laurie Anderson, Whirlwind, 1996. Disk, 48 speakers, electronics, computer program. [A black and white image of a large room with a round black disk suspended from the ceiling over a gray circle in the floor. It is lit from above by mounted lights.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure with raised arms and in motion in an orange-lit space next to a small piece of audio equipment with a wire on the floor. A crowd looks on in the background.] -
[Black, capitlized text that reads, "The Colin de Land Library."] -
Collaged postcard by Sigmar Polke and the Hoehme class to Gerhard Hoehme Not dated (ca. 1965/66) Gerhard and Margarete Hoehme-Stiftung, Museum Kunstapalast Düsseldorf [A postcard containing an illustration of a house with collaged materials on top. At the bottom is the back of the post card, with a handwritten note.] -
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Nuestro Reflejo, Threads of History exhibition, Morris Jumel Mansion, March, 2025 -
Replica of a Lost Original. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A gray television sits on a rectangular wooden board. There is a mass of wires extending from the back of it snaking towards a pile of nearby photographs. On one white wall opposite, there are two identical images. Leaning on the other white wall is a framed photograph of two books, a wooden rectangle, and a photograph stacked vertically on each other. There is a second photograph offset to the right.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21 – January 30, 2021. Photo: Filip Wolak [A view of a small store display shelf stuffed with Gap clothing store bags and a small palm tree. On the wall, a blue band wraps around to the adjacent wall with text that reads "Every customer will have their needs determined and merchandise suggested to meet those needs." A group of life like cutouts of individuals dressed in animal costumes are clustered together near the gallery wall.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of a musician captured mid-performance as he plays his clarinet into a microphone positioned near his instrument. The musician stands in a dim venue space with a bright, warm spotlight that shines directly onto him.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [Along the gallery wall is an assemblage of objects hanging off the wall and to the floor connected by metal thread. Further down the wall is a painting, a plinth of colorful sculptures, a framed artwork, and a television playing a video in the corner. In the back is a glimpse of an alcove with three artworks appearing as colorful stripes, grey and yellow on the wall, and black on the floor. ] -
Hilary Kliros. Installation View. Artists Space, 1986. [A sculpture of a woman stands on a pedestal looking into a glass window pyrimidal construction with a large bug on top and a TV monitor underneath.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large white wall with symmetric, geometric patterns drawn on it.] -
You Are The Everything and The Everything Is In You. Installation view, Artists Space, 2005. [Two delicate, framed works on paper hang side by side against a white wall. A light blue color has been imprinted on the central portion of the wall. The artworks feature flecks of pastel color on an otherwise white surface.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures perform in a basement. On the left a figure with a video camera and shoulder rig takes footage of another figure on the right, dressed in a blue morph suit, and pushing a semicircular rolling table made of wood and fresnel lenses. Along the back wall blue and purple tinted live CCTV video footage is projected.] -
I ♥ John Giorno. Reading documentation, Artists Space, 2017. [Photo of John Giorno wearing a navy blue t-shirt and black framed glasses, standing in front of a microphone and reading from loose pages held in his left hand.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Bright red milk crates arranged on top of one another in descending height in a gallery space. Wooden planks are balanced on top of the crates and supported by longer wooden planks that rest against cinderblocks along the side of the structure.] -
What Do We Carry? Coil pots and coiled personal timelines, December 2024 -
[A grid of pink hearts on a green background.] -
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Jonathan Lyndon Chase, City of Beauty, 2023. Courtesy of the artist and Company Gallery, New York. [A painting in color depicting five Black Queer people within an abstract barbershop environment. The barber to the left of the scene holds clippers to the scalp of one of them positioned in the center. Another barber pictured in the upper right quadrant holds up a pair of shears between two other Black Queer figures with smocked patterning on their barber capes. Sgraffito-like swaths of grid serve as a tiled floor, shown in a floating perspective.] -
[A red background with white text which reads: "BDS IS THE FLOOR NOT THE CEILING", followed by the Decolonize This Place Logo.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [Three small televisions sit on a white shelf. Each displays a timestamped video of a person eating a lollipop.] -
Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [A black and white installation photograph of a gallery space. Several large framed pieces hang on the left and right walls.] -
Johanna Went performing at The Hong Kong Cafe, Los Angeles. Photo: Ed Colver [Black and white image depicting a performance. The artist is standing in the center of the frame and wearing spotted tights and cowboy boots. The upper half of their body is enveloped in a large plastic foam fabric, which covers their torso, face, and arms. Affixed to the large fabric construction are clusters of plastic takeout containers. Audience members are visible in the foreground.] -
Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space with several dark columns. A small wooden chest with a red piece of fabric and three white objects on top along with a small wooden stool are visible in the foreground. Further in the background are a yellow couch and a large wicker pannier..] -
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Masao Adachi, Galaxy, 1967 [Sepia toned image of three figures standing in the middle of the street. The figure on the left wears a white dress that flows in the wind, while the middle figure wears a button down shirt and stands in a pool of white liquid spilled on the ground. The third figure on the right wears a striped cloth over their body.] -
Darren Wardle, Jailbreak, 2002. [A symmetrical image of windowless houses rendered in inverted colors with tones of purple, yellow, and pink.] -
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Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [Objects are cluttered on the floor of a room lit with a warm, yellow hue. There is a low-hanging disco ball, two standing lights, and a small television showing white static mounted on a stand. There are two vases with plants and a string of white lights.] -
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.] -
Show and Tell: A Chronicle. of Group Material. Doug Ashford, Julie Ault, Sabrina Locks. Four Corners Books, 2010. Hardcover, 272 pages. $35 . $120 Signed. at the Artists Space Bookstore [A red room containing a pile of miscellaneous items. Yellow text that reads, "Show and Tell: A Chronical of Group Material, Edited by Julie Ault."] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of the audience. In the foreground, audience members are seated in chairs and in the background, folks stand and watch the performance. Almost all of their eyes are attuned towards the stage, which is out of frame to the right. Many of the audience members wear smiling, joyful faces as they watch the show. The audience sits in the dark of the seating area, small specks of bright white light reflecting from a disco ball scatter on their bodies and the walls behind them. ] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
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Joan Jonas. Organic Honey's Visual Telepathy, 1972 [A blurry black-and-white photo of someone wearing a large white headdress holding several unidentifiable objects.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to each other, the left one depicting a lush mountain view in hues of burgundy, green, and blue, and the right one depicting a vertical slit in the ground, slightly parted, revealing a light brown interior crust surrounded by a dark, rippled exterior.] -
Flyer for If improvisation could serve as a manual, if gesture could serve as a guide. May 26, 2022, Artists Space. [Digitally manipulated image of a cypress knee on a pink background. In the top left corner, "artists space / vleeshal center for contemporary art" is written in black text. In the centre “If improvisation could serve as a manual, if gesture could serve as a guide” is written in black text. In the bottom right corner “Thursday May 26 / 7:30pm 11 Cortlandt Alley” is written in black text.] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [A large sculptural abstract black object standing upright on the gallery floor behind a white wall.] -
Cave of Animals, Listening Room project, May 2024 -
[A person walking down a city street, speaking into a megaphone. Behind her are several cars and a truck, and she is surrounded by loft buildings.] -
[Screenshot of an unnamed Financial Times video, depicting an upward-trajectory chart titled "seven lean years for value."] -
Sam Pulitzer, Spirit the Key & Stake the Door, 2014, Photo toner on colored paper, 17 x 11 in / 43,2 x 27,9 cm, Signed and Numbered [Black and white print includes details of a branch and a willow tree with a bird sitting on a key. Text reads "& Stake The Door"]
