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Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a low-ceilinged gallery space. On the right, drawings on black paper are arranged in grids and arches on the wall. On the left, electrical equiment sits on top of a pedestal.] -
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.] -
[William Carlos Williams' poem "For Eleanor and Bill Monahan" written in black text on a white background.] -
The Issues of Our Time (3): Less Time, More Issues. Installation view, Artists Space, 2014. Photo: Adam Reich. [A floor covered in pieces of tan carpeting. Several black wires run underneath the carpet. The end of one cord pokes out from its surface.] -
[An angled view from a ledge containing household items, into a bedroom. Above the doorway black text reads, "Macho Man, Tell it to My Heart."] -
Harvey Weiss statement, 1993. [Black text on a white background reads, "WAILING WALL / This work is an act of retribution, / an assault on indifference and denial, / a proclamation of loss, / for the dead and the living, / a wailing wall."] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A miniature log cabin constructed of handwritten documents is displayed in a vitrine. The roof on the left side reads, "By the President of the United States of America, A Proclimation."] -
Still from livestream Foam Party Cancelled. [An internet browser displaying artistsspace.org/stream with two videos shown side-by-side, streaming from Ustream. On the left, a camera near the floor shows an empty room and a wall with the words "FOAM PARTY CANCELLED" drawn on. On the right, a close-up image of a bird sculpture and two candles, with a person's face and painting in the background.] -
Francesco Simeti: Volatili. Installation view, Artists Space, 2009. [A painting of a woman with blonde hair and a cape hangs on a wallpapered wall. The wallpaper is white and decorated with colorful images of tropical birds in trees.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Several wooden chairs placed in front of three monitors installed on two walls of an exhibition space. Each of the monitors displays a film.] -
[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."] -
[Two figures illuminated by a circular spotlight in an interior space. A mirror leans against the wall directly behind them. One figure stands in a brown suit, their hands behind their back. They are blindfolded. A second, mostly nude figure crouches directly below them.] -
Adrian Piper, It's Just Art, Artists Space, April 29, 1981. [A black-and-white image of a woman, wearing all black clothing and sunglasses, standing with her arms raised. An image is projected on the wall behind her, with a description reading "A Cambodian boy stands near the side of a road in Ban Laem, Thailand . . . and Cambodian civilians are turned back yesterday near Thailand . . .". Above her head, there is a cartoon thought bubble, with the text "14. We defend each other / (you certainly didn't come to an art performance to hear a lecture on current events)".] -
Art Day, Blue Sky Gallery, 2017 [Eight colorful paintings are exhibited in a grid pattern on a wall with a small didactic. "Blue Sky Gallery - P.S. 140 and Artists Space Expanded Art Ideas" is printed on the wall.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A barrel, converted into a grill, sits horizontally on a wheeled cart. It is opened, with a silver metallic interior, in the center of the room. On the left, three long planks of glass lean onto the wall. To the right, photographs displayed in a pane of glass sit at eye-level on the wall.] -
Mike Bouchet, My Cola LITE, 2007. Cola bottles in plastic cases, dimensions variable. [A corner installation view of red crates containing glass bottles of cola on a wood floor.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [On the left, two cream-colored folding chairs sit underneath a clear lampshade descending from the ceiling. On the right, the back of a projection screen is positioned between two standing speakers. A monitor sits on the ground beneath the screen.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a large painting of vines and water hanging on a white gallery wall. Beyond it, more painting and sculptures are visible in an adjacent gallery.] -
Louise Bourgeois Jitterbug, 1998 Lithograph, 18 x 24 in / 46 x 61 cm, Signed & Numbered. [Two red and blue spidery forms interlace, floating in the center of the page atop a blank sheet of staff paper.] -
Zilia Sánchez. Still from Soy Isla. Compréndelo y Retírate, 2000. [A VHS recording of a person holding an object on the beach.] -
Gerhard Richter Hotel Diana , 1967 80 copies + 40 artists proofs, signed and numbered screen print, 59,4 x 80 cm Courtesy of Edition Block, Berlin [A sepia photograph of an angled, above view of two men lying in seperate adjacent beds. On the walls above them, hang two small picture frames.] -
Model Modernisms. Installation view, Artists Space, 2005. [A series of small, black and white photo-collages displayed in white frames on a gallery wall. The collages depict various interior spaces overlaid with geometric cut-outs of other photographic images.] -
Friends of Artists Space Annual Dinner, 2018. [Three people posing and smiling for the camera in front of a small crowd.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Düsseldorf and the Rhineland (1957–1964)," Artists Space, 2014. [An angled view of two adjacent gray walls displaying various paper material, documents, and photographs.] -
Waiting room view of Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus , 1963 (Living with Pop – A Demonstration for Capitalist Realism) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A room, view from above a stair case, with a group of men sat scatted around the area.] -
Untitled, c. 1970s, 35mm slide, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [Two people in a mountainous, desert location face each other. One, dressed in an orange and green cloak, sits at a green desk. The other is posed with a mirror aimed at the clear sky.] -
MS 324 students outside Word Up Community Bookshop, 2018 [Students stand outside of a storefront in New York - Word Up Community Bookshop. In the window are several signs with Black Lives Matter and "Eat Sleep Read Local" slogans] -
Film still from Teaching TV, Artists Space, 1990. [A black and white image of a group of children clustered in front of a store window. On the right, the text "NO FRESH WORDS" overlays the image.] -
Community Listening event, Listening to the LES, P.S. 140, 2018 [A photograph of a classroom environment with several students sitting around the edges of the room and a few drawing directly onto a white tablecloth in the center of the room. An image of the underside of a large bridge is shown on a monitor at the front of the room] -
Hito Steyerl, Red Alert, 2007. Installation on 3 computer monitors. Courtesy of the artist. [Three red-orange panels in white frames hang on a white wall in an open space.] -
Charlotte Posenenske, Series D Vierkantrohre (Square Tubes), 1967. Galvanized sheet steel, dimensions variable. Photo: Burkhard Brunn. [Black and white photograph of three, geometric metal structures sitting on a wide, outdoor concrete plaza. One of the metal structures is situated in the center of the photograph, while the additional two sit behind it, flanking it on either side. The structures are composed of hollow cube-like and triangular components.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[An abstract, multicolored squareish sculpture standing on a white base. A potato sits on top of the sculpture with a wire plugged into the top. A 9v battery is affixed to the side of the sculpture, connected to two comptuer chips affixed to the front.] -
Gillian Wearing, All I Ever Wanted Was Love, 1992/93, 23.5 x 16.5 inches [Photograph of a youthful figure with short brown hair wearing blue jeans and a dark shirt with a green jacket tossed over their left shoulder. A black bandana covers their mouth, obscuring the lower half of their face. They hold a sign in front of their chest with both hands. The phrase, "ALL I EVER WANTED WAS LOVE" is scrawled across the sign in handwritten text. A hand-drawn image of a sun and palm tree decorate the right side of the poster. The figure stares directly at the viewer and poses against a dark wall. Small white text placed at the image's lower left corner reads, "2020Solidarity - Gillian Wearing."] -
Jayline Quiles, Landscape, 2018 [A colorful painting of a landscape, with a river running through the center of the image, a mountain across the river and a cloudy sky] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular and square panels, strips of wood, and portions of ornate frames installed on a white wall. The installed elements are positioned adjacent to one another such that they form a larger, irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text and collaged photographs.] -
Art Day, Photo Club exhibition, PS 140, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
[Black and white image of several popular romance novel covers arranged in a grid formation. Dispersed amongst the covers are photos of desert canyons and other abstract, inky images.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Two rooms in a large gallery space are visible, with artworks hung on the walls and sculptures in the center of the further room.] -
Flipside. Installation view, Artists Space, 2004. [A gallery space with a large metal structure in the middle of the floor. Four straw brooms are suspended from the top of the structure such that they just brush the floor. On the surrounding white walls, there are several pieces of art. One is a colorful canvas with geometric shapes, sharing a wall with several small objects arranged in an oval. On the other wall, there are series of framed depictions of nude figures in various poses.] -
Brett Reichman, Squeaker, 1991. Oil on canvas, 36 x 36 inches. Courtesy the artist. [A painting of a lamb figurine.] -
Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in the corner of a gallery space with white walls and wooden flooring. Two darker, square photographs with large white frames are installed on the corner's left wall, while a lighter photograph of a gate-like structure is installed in a slim black frame on the corner's right wall.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A brown object with a processing chip imbedded in its front sits on a white base. On top of the object, a small potato sits with a wire attached.] -
New Red Order, Informants Get Paid! Performance documentation, Artists Space, January 23, 2020. Photo © Paula Court. [Figures wearing partial face coverings stand in front of a projection that reads: "We cover for you / new red order"] -
Tom of Finland Untitled , 1985 Graphite on paper Collection John McConnell, San Diego [A man wearing a POLICE cap and aviator glasses, straddling half-naked. Two men wearing glossy leather jackets and boots, hold him close with their pants down. One takes the policeman from behind while the other holds the policeman's genitals in his hand.] -
Michael Robinson. Still from If There Be Thorns, 2009. [A hand reaches toward the bark of a tree, drawing a thick red line. There are leaves in the background.] -
Tom of Finland, Untitled, ca. 1930. Watercolor, pen and ink on paper. Courtesy The Family of Touko Laaksonen, Finland. [A vitrine displaying a nuclear family of paper dolls with their various options of clothing.] -
Exhibition Catalogue [A black and white image of a man photographing a plastic penguin in front of a decorative gate. Sideways text on the right reads, "Jack Smith, Art Crust of Spiritual Oasis, June 22 - September 9, 2018, Artists Space."] -
[A black and white drawing of a chair inside of a circle. Above the illustration, text announces an audio-visual installation by Bradley Wester, with details noting the collaborators, time, and place. Under the illustration, text reads, "Still Sitting / He reads to me. My blood rises to leave, to escape the underneath. I am dead. I am new. I was safe in his arms asleep to the sound of the chair creaking with the turn of each page, a story. I am still sitting. Where will I go?"] -
Hito Steyerl, Guards, 2012. HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, gesturing towards the viewer with both hands together, is on the back wall.] -
Raúl Zurita, La vida nueva, 1982. Video, color, sound; 27 minutes 42 seconds. Videography by Juan Downey. Courtesy the artist. [A yellow industrial machine rests atop a pile of rubble and stone. Across the clear blue sky, sky-typers write “MI DIOS ES MERIDA” in white smoke-dots.] -
A New World Order II: Remapping Tales of Desire. Installation view, Artists Space, 1992. [Two maps, one of Asia and one of the Western United States, on red backgrounds positioned side by side. Black and white photographs are overlaid on particular cities in each map.] -
Charlotte Posenenske. Configured by Ei Arakawa. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Several geometric, silver metal sculptures sit on a wooden gallery floor in a light-filled exhibition space. The sculptures are modular, hollow, and consist of cube-like and triangular metal components. At the photo's center, a long roll of crinkled brown paper enfurls across the floor of the gallery, resting in between the sculptures.] -
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.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A small device with a screen and cables is stuck to a closed door with a glass window and safety guard. The screen displays a blurred close up image of two hands grazing one another.] -
Charlotte Posenenske. Configured by the staff of Artists Space. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor. The sculpture is modular and hollow and consists of rectangular and triangular metal components arranged in a long form that snakes across the ground before arching up and down, forming a large U-shaped archway.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A crowd of people sitting in a dimly lit room. Most have their eyes obscured by black blindfolds. In the background, a white projection with black text just visible reads, "No-peep show."] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [Two fountains of water in a dark room. The stream on the left is lit from behind by a red light, and the right stream by a yellow light.] -
[A computer rendering of a purple and amorphous form composed of long, extending tube shapes on a white background.] -
Zona. Carga y Descarga, Issue 3, 1973. Courtesy Rosario Ferré. [A blue and yellow promotional flyer with text in Spanish.] -
Front Yard Exhibition Galerie Parnass, Villa Jährling, Moltkestraße 67 February 1964 Photo: Rolf Jährling, Zentralarchiv des internationalen Kunsthandels ZADIK [A black and white image of four men, dressed in coats, standing on a walk way leading to the door of a building. On the ground sit several painting leaning against walls and trees.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Three unmatching plastic bottles filled with urine are sitting in a line on a wood floor. In the background, a mixed-media installation piece sits in front of the gallery doors. Wooden poles project into the frame through two standing columns.] -
Based on a True Story. Installation view, Artists Space, 2004. [Three paintings arranged in a horizontal line on a white wall. Each painting depicts a man walking on city streets or in a park.] -
Visit to Nathaniel Mary Quinn exhibition at Studio 94 [Two people hold up reproductions of a painting below the original that hangs on the wall. The painting depicts a collaged face obscured in parts by red, blue, and brown geometric shapes.] -
Jutta Koether, Fifth Season Act, Apotheosically, Artists Space, 2012. [A close-up image of an assemblage with a figure on the left-hand side in a white suit holding a microphone.] -
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"] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[An Elegoo microcontroller is affixed to the side of a brownish sculpture sitting on a white base. Two blue wires are plugged into a lemon and an onion on a platform, each connected to the microcontroller.] -
[Black, typed text that reads, " Everything is About to Happen: An ongoing archive of artists’ books selected by Gregorio Magnani."] -
[A person with a long braid is sitting on one of many brightly colored bundles of objects. The bundles are sitting on the dirt ground.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An angled view of a paneled wall displaying a long line of framed photographs in an exhibition space. A white mannequin wearing a blue shirt stands to the right of the wall. A large red carpet covers the ground in the bottom right portion of the image.] -
Crystal Colon, Cherish Atlas, 2014 [An artwork depicting a long pier with checkered black floor, splitting a waterway, with the outline of a city skyline in the distance. Two long cream-colored couches appear in the foreground, alongside a round and rectangular red table. The top left corner of the image contains an empty white circle] -
[An equilateral triangle filled with a white and purple gradient. The triangle's bottom right corner is a dark purple color, while its bottom left corner is a bright white color.] -
John Neff, Authorization Sessions Set 2018: Manhattan Project, 2018. Photo: Daniel Pérez [A monitor on a wheeled stand is displayed in the corner of two white walls. The monitor projects an image of a whiteboard with hand written text that reads, "People think because, People lie others..., People ignore..." circled in red, green and blue. A green office swivel chair with headphones is placed in front.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[A green object with a processing chip embedded in its front sits on a white base. On top of the object sit a red potato with a wire attached, false teeth, and a telephone cord.] -
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.] -
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.] -
Anicka Yi, Flirting Is An Algorithm, 2015, Silkscreen on archival box, 24½ x 20½ x 1½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A spotted pattern against a white ground, with each spot having a unique stain, splatter, or drops of ink.] -
Miyoko Ito: Heart of Hearts. Installation view, Artists Space, 2018. Photo: Daniel Peréz. [Six paintings are hung on white walls at eye level. The paintings contain muted and vibrant warm colors depicting abstract shapes.] -
Darien Urena, Living Brick, 2018. [A close-up photo of a snake plant in a white pot next to a brick wall, in front of a mural with somoene's instagram handle painted on.] -
[A warm colored room, surrounded by windows across two walls with view to a dimly lit horizon. String lights illuminate a scene of miscellaneous items scattered across a living space furnished with a table and chairs.] -
Adrienne Kennedy, The Owl Answers. Performance documentation, Artists Space, February 29, 2020. Photo ©️ Filip Wolak. [A head-on view of six figures, each standing before a music stand in front of a seated audience. They are arranged side by side in a horizontal line, illuminated by overhead lights.] -
Photo: Mirelle Borra. [Close up of three rows of pre-packaged salads in plastic containers on the shelves of a grocery store refrigerator.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two video monitors installed on a freestanding wall in an exhibition space. A woman stands in front of the leftmost monitor, which displays a bright, red image. A larger monitor to the right displays a cool-toned scene of an ocean. White text superimposed over the image reads, "Death Mask III."] -
Emily Wardill. Still from Basking in What Feels Like ‘An Ocean of Grace’ I Soon Realise That I’m Not Looking at It, but Rather I Am It, Recognising Myself, 2006. [A figure in dark, loose clothing pulls on a glass door, their mirror image reflected back through the glass. They are lit from behind by a pink glow.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large, empty room with three white walls. The right wall displays glossy papers folded into geometric shapes. The left wall has symmetric, geometric patterns drawn on it.] -
[A red background with white text which reads: "WE ARE NOT TOOLS FOR WHITE-WASHING OCCUPATION", followed by the Decolonize This Place Logo.] -
Lukas Duwenhögger, Restive Childhood, 2016, Archival inkjet with silkscreen on 320 gsm Hahnemühle Photorag Pearl paper, 20 ¾ x 15 ¾ inches (52,7 x 40 cm), Edition of 10 + 3 AP, Signed & Numbered. [A framed image with black text, white background, and a black & white photo in the center hangs on a wall. The photo depicts a cop on the left who reaches towards a man holding a gun and a young child on the right. Above the photo it says, "Out of the blue: / Children march on capital / demanding homo-adoption / innumerable casualties / heart-wrenching scenes." Beneath the photo, the text repeats but in Turkish.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three planks of glass lean on a white wall. Etched displays read from left to right; "The more you teach the less you learn," a smiley-face,"But I swear dis beat go."] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Detail view of a sculpture with a shiny grey finish. The shape of the sculpture forms a skeletal structure around amorphous square voids.] -
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.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Three yellow-toned paintings hang at eye level, adjacent to four black viewing boxes installed on a gallery wall to the right of the canvases. A kite hangs from the ceiling in the middle of the exhibition space, its tail touching the floor.] -
Harris, Cheryl I, "Whiteness as Property." Harvard Law Review. Vol. 106, No. 8, June 1993. [The title and table of contents page of an essay published in the Harvard Law Review.] -
Ken Okiishi, Wish I Were Here, 1997 – 2001. pigmented inkjet prints. Courtesy the artist [Five framed photographs and documents displayed on freestanding, white panels in an exhibition space.] -
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[A black and white scan of an invoice from Corcraft Products issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details a net purchase of $603.10] -
Ralph Paquin and Ann Stoddard, ERAWA - ERA WAS, 1990. Installation view, Artists Space, 1990. [A large, hollow paper mache head is seen from below in a black and white photograph. The head is held up by a metal armature and scaffold.] -
Dies alles Herzchen wird einmal dir gehören (All This Darling Will Once Belong To You). Performance organized by Paul Maenz and Peter Roehr, Galerie Dorothea Loehr, September 9, 1967. DVD transfer, 6 mins, 55 secs. [Black and white image of a crowd of people gathered in a large open space. Several hollow, metal sculptures composed of geometric components are installed in the space. Some performers interact with the sculptures—one figure walks across one of the metal forms that lays on the ground.] -
Tom of Finland Untitled , ca. 1975 Collage on paper Tom of Finland Foundation, Permanent Collection [Several portraits of men in various shapes, sizes, and colors, layered on top of eachother.] -
[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.] -
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.] -
Louise Lawler, Egg and Gun (distorted for the times, dire), 2008/2017. [A composited image of a gallery scene, building from a street view, hand gun, and a blue rose against a yellow back ground, distorted through buldges and pulls.] -
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Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Several black-and-white magazines and documents opened and organized on a white surface.] -
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
Screenshot from Tan Lin's Bibliographic Sound Track, 2012. [Screenshot of two vertically oriented rectangular shapes, one white and one blue. Fragments of text appear in both rectangles, spelling out phrases like "17 black random [marks on] : lemon," "Particles disable rendering [ I ]," and "Etc. a state to each other."] -
Beverly Semmes, Tree Net, 1989. [A black and white photograph of a sculpture, which sits on the ground near the corner of a room, its wiry frame covered by a transparent mesh material.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Four collages, framed in a grid on a wall. Each collage features the same backdrop of a man stopped in the middle of the road opening the hood a car, the drivers seat door opened. Each collage features a different colored filter, arranged with images of various Indigenous people on reservations, European historical paintings, animals, gags, signs, objects, and detritus.] -
Opening at the Tanager Gallery, NY, 1959. [A black and white photograph of a crowded room filled with people conversing.] -
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.] -
Scott Burton, Pastoral Chair Tableau, 1971 – 1974. [A stage set with a blue curtain, in front of which sit 6 chairs facing different directions.] -
The Informants, 2017. [A black-and-white photo from between sitting members of a crowd. A performer kneels in silhouette, with one hand in the air. A topographical map is projected on a wall behind the performer, with a timecode in the top right corner of the screen] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [Six glass vitrines displaying books, photographs, and other paper ephemera are installed in the center of a gallery space. A series of old Hollywood films are projected on the back wall of the exhibition space.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink steps over a mass of wires. She is illuminated from behind by a bright, white wall. In the foreground, dimly lit figures face varying directions.] -
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.] -
Felix Gonzalez-Torres. Julie Ault, Miwon Kwon, Robert Storr. steidldangin, 2008. Hardcover, 400 pages. $200. at the Artists Space Bookstore [A blue book cover that reads, "Felix Gonzalez-Torres, Julie Ault."] -
[Long metal poles extend downward with several meathooks attached to their bottom ends. Behind the poles is a brick wall painted blue. Capital white letters painted across the wall read, "MEAT."] -
BGL, Elevator, 2007. Site-specific installation. Courtesy the artists. Photo: Bill Orcutt. [A third floor entrance off of an elevator. Beyond its black-floored vestibule is a large object standing at an angle inside the doorway. It emulates the interior panels of an elevator. A partially obscured sign saying "ARTISTS SPACE" is visible in the room beyond the doorway on its far wall.] -
Hito Steyerl, I Dreamed a Dream: Politics in the Age of Mass Art Production, 2013. Two channel HD video with sound, 29 mins 28 secs. Courtesy of the artist. [A monitor suspended in the middle of the room on a pole displays an image of Hito Steyerl speaking at a podium. Stacks of pillows, forming a seating area, surround the view of the monitor.] -
[A 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.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Meinke Klein. [An angled view of several dividers displaying artworks in the middle of a room. Colorful textiles hang from two of the central dividers, while several framed photographs lean against rightmost divider.] -
Exhibition poster for ‘The Sights and Sounds of the Jewish East End’ at The Whitechapel Gallery, London. Design by Richard Hollis, 1980. Courtesy Richard Hollis [An advertisement split down the middle with text and image. On the left text reads, "The Sights and Sounds of the Jewing East End at the Whitechapel Gallery." On the right, a portrait of a family outside a corner shop of which the window reads, "John Jameson Whiskey."] -
[Black, lowecase text that reads, "edition hansjörg mayer."] -
Amalle Dublon & Constantina Zavitsanos, Interferometer (Quantum Eraser), 2018 (detail view). Photo: Daniel Pérez. [An inferometer in the foreground, bolted onto a black peg-board table, projects a green dot, through multiple lenses, onto a white wall.] -
Social Surfaces. Installation view, Pearl River Mart, 2017. Photo: Ron Amstutz. [A view of paintings and photographs across three walls in the space. Black columns divide the room; to the left, a sculpture is displayed on the ground.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [An installation shot of a room warmly lit by yellow and pink light. There is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a second disco ball, strands of string lights, and more.] -
Kerry Tribe. Installation view of Florida, 2003. Video (sound). [A darkened room with several wooden platforms with white pads on top facing a wide screen. The screen shows the image of a pond surrounded by trees.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a large gallery. In the center of the room, a person gazes at large, geometric sculptures.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Multiple paintings are hung on white walls, some in rounded frames, depicting various people in outdoor settings. Suspended from the ceiling is a sculpture in the shape of an inverted cone and covered in artificial plants. Multicolored streamers hang from the base of the sculpture.] -
Activated Walls. Installation view, Artists Space, 1993. [A person sits in a chair with a ladder next to them, bent over and painting on the bottom of a wall. The wall is painted top to bottom with a large black cross and several figures. Hand-painted text at the top of the wall reads, "WHAT THE CHURCH OFFERS."] -
Laurel Woodcock, (Untitled), Neon Quote, 2005. Neon sculptures. Courtesy the artist. [The exterior of a Soho building at night. Inside the third floor are two glowing blue neon quotation marks visible from outside.] -
Pop or Populus: Art Between High and Low, by Bettina Funcke, published by Sternberg Press, 2009. [A white book cover with patterned text reading, "Pop or Populus." In between these words, small black text reads, "Art between High and Low" and "Betinna Funcke".] -
Jean-Michel Wicker. wee willy wanted (la rivoluzione siamo me), 2013 [A black-and-white image of a man, a white bar with text, that reads "WANTED," covers his face. Below, a white bar with text that reads, "wee willy."] -
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Flyer for Segue Reading Series featuring Kimberly Alidio and Joyelle McSweeney. Saturday, November 7, 2020, Artists Space. Artist: Keith Higginbotham [A group of basketball players sit on a bench, a cutout photograph of a pink flower collaged over each of their heads. On top of the lower half of the image, black text reads "Kimberly Alidio / Joyelle McSweeney" and in the b Segue."] -
[A sideways image of a photograph sitting on top of an open book. The photographs shows four people sitting next to each other. The book page is split with a column of text and a black and white image of a billboard that reads, "Growing with Birmingham!"] -
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.] -
[A few empty seats on an NYC subway - the 6 train, with the originating station titled "Maintaining Good Relations"] -
Artists Space logo, 1980s. [A black, sans-serif A on a white background, with a black outlined square positioned at once in front and behind the letter, intersecting it at all three corners.] -
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.] -
[A photo of a city alleyway acts as the background for this image. Superimposed on the photo are two groups of people in motion with right arms raised, holding cellphones. The group on the right faces toward the viewer, the group on the left faces away.] -
Marcos Lutyens: Hypnotic Show. [A pencil-drawn portrait of a person with curly hair, the bones of the forehead well-defined.] -
Folio Series: Intangible Economies, 2012. [A white book cover depicting silver coins with the text "♥good for all night♥".] -
Kaisa Lassinaro, We (Not I), 2015. [A red, white, and black text logo that reads, "We (not I)."] -
Ally Bueno, Katz's, 2017. [A black-and-white photo of a man smiling with his arms crossed, standing in front of a number of hanging salamis, and wearing a hat with a logo stating "send a salami"] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three metal cutouts of hands hold neon green cards displayed on a white wall. The hand on the rightmost side of the wall is holding up its middle finger.] -
Jutta Koether, xxapollo. Performance documentation, Artists Space, January 5, 2020. Photo © Paula Court. [A person dressed in all pink, holding several sheets of paper, speaks into a microphone, her arms are draped with masses of cords. A crowd of audience members surrounds her, some seated and some standing.] -
Nam June Paik Young Penis Symphony from Wolf Vostell, décollage No. 3 , 1962 © Nam June Pak Estate Collection Peter Wenzel [Red text that reads, "Young Penis Symphony, -curtain up-, the audience sees only a huge piece of white paper stretched across the whole stage mouth, from the ceiling to the floor and from the left to the right wing. Behind this paper, on the stagem stand ten young men... ready, -after a while- The first sticks his penis out through the paper to the audience..., The second sticks his penis out through the paper to the audience..., The third sticks his penis out through the paper to the audience..., The fourth sticks his penis out throught the paper to the audience..., The fifth sticks his penis out through the paper to the audience..., The sixth sticks his penis out through the paper to the audience..., The seventh sticks his penis out through the paper to the audience..., The eight sticks his penis out through the paper to the audience..., The ninth sticks his penis out throught the paper to the audience..., The tenth sticks his penis out through the paper to the audience..., N.J. Paik, Expected world premier about 1984 A.D., ref. Taiyono Kisetza Ishihara"] -
[Black text that reads, "9/11, TRILOGY, Laura Poitras."] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [Six monitors in a row are lined up in the middle of a floating bookshelf, displaying stills from the film. On the left corner of the image, a desk holds long slips of black paper with white text on it, curled and intertwined, resembling film strips.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A miniature home crafted out of printed and handwritten material is displayed on a vitrine. At the front of the house above the doorway reads, "CHEROKEE PHEONIX & INDIAN ADVOCATE." Two other homes can be seen in the background.] -
Wolfgang Tillmans, Speedmaster #2, 2011, Offset print on paper, 47 1/4 x 48 3/8 in / 120 x 122,9 cm, Hung with two metal brackets, Edition of 170, Signed and numbered, Printed on LuxoArt Velvet 200 gsm paper with Speedmaster XL by Dr. Cantz’sche Printshop, Ostfildern [A large, square, sheet of paper, which has been folded into a 4x4 grid, unfolded, and hung on a white wall, leaving the creases. It is covered in a four-color gradient, from dark red, green, blue, to black, left to right, roughly not overlapping with the creases.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A person stands at a microphone reading off sheets of paper. In the background, there is a slightly blurry image of a book cover: "Twice-Told Tales" by Nathanial Hawthorne.] -
Anja Kirschner and David Panos, still from Living Truthfully Under Imaginary Circumstances, 2011. [A man and a woman in a split screen view with a black space between them. The man's face is turned to the side; the woman is facing towards him, her eyes cast downwards, with two fingers pointing.] -
[Screenshot of an unnamed Financial Times video, depicting an upward-trajectory chart titled "seven lean years for value."] -
Rashaad Newsome. Still from Shade Compositions, 2012. Video, color, sound; 50 minutes. Courtesy the artist. [A group of five performers dressed in red and white monochromatic outfits stand in front of microphones gesturing with their hands.] -
REALLIFE Magazine, First issue, March 1979. Artwork by Sherrie Levine. [A silhouette of a human head in profile is filled with a photograph of a woman looking directly at the camera, her arms outstretched either side of a dark scultpure of child's head. Text situated above the image reads, "REALLIFE Magazine, March 1979, $1."] -
[Pink cursive text at an ascending angle which reads "Undoolay," with horizontal green text underneath that reads "Lucas Duwenhogger."] -
[Screenshot of an Instagram image posted 18 minutes ago by an account named "tusetamer." The photo depicts an outdoor concrete wall with an air conditioner unit visible in the background. Red text spray painted across the wall reads, "Tayyip / WINTER IS / COMING."] -
Art Day, Blue Sky Gallery, P.S. 140, 2019 [Several students and two teachers smiling for the camera in front of their artwork hanging on the wall] -
Felix Gonzalez-Torres, “Untitled” (A Portrait), 1991. 5 min. [A grid of fifteen black and white monitors, each displaying a unique text that names objects, phenomena, or other nouns characterizing an unidentified subject, such as "a silver sea," "civil disobedience," and "a new lesion."] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Black and white photographs hang in a horizontal line across a dark wall descending into an exhibition space. On the right, a video monitor sits on the ground. In the background is a free-standing wall featuring a series of framed photographs. A mannequin dressed in orange and green fabric is displayed in front of the photographs.] -
Bill Hayden, It's Get Better. [An irreverant cartoon promotional poster with text in grafitti.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A television sits on the floor, encaged by a wooden structure extending at an angle into the air. On the walls opposite, there are assorted photographs of varying sizes, showing primarily landscapes.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large white wall with symmetric, geometric patterns drawn on it.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Two painted portraits sit on the ground of a gallery space to the left of several other artworks. A kite hangs from the ceiling of the exhibition space in the center of the image. Various small documents are tacked across a wall to the right of the kite with red thumbtacks.] -
Our Terrible Country. Dir. Mohammad Ali Atassi & Ziad Homsi. 2014. [A movie poster depicting the title and pertinent information of the film, showing a man walking away from the camera down a dirt road in the desert, shot in sepia.] -
Still from The Empty Plan (2010). [A hand is writing in German on a chalkboard with white chalk.] -
Hiroshi Araki, still from Mechanic and Angel, 1990. [Black and white photograph of a doll lying on a wooden surface. To the left of the doll, white text on a metal surface reads, "GOD POWER." A cross is situated between the two words.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [The corner of a room with two white walls. On one wall, there is a white collared shirt on a hanger, a black and white abstract image, and a small white sculpture.] -
AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A black and white image of an antique wooden chair with a plush seat. A mold of a human brain emerges from the center of the chair's cushion.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Six plexiglass slides holding large poster boards, arranged side-by-side such that they create two adjacent walls in the middle of a gallery space. The bottom left corner of each poster is marked with a year ranging from 1993-1997 and is filled with a collection of images and short texts. The rightmost poster is blank, save for a single photo.] -
[Red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org” are overlaid on an image of a face obscured with white plaster.] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [A black and white image of three people wearing winter coats and scarves, observing something to the left of the camera.] -
Ministry of Interior building in Plaza de la Revolución, Havana, Cuba. [The façade of a building adorned with a large, metal frame sculpture of the face of Che Guevara.] -
Union Gaucha Productions in collaboration with Fabio Kacero, still from Totloop, 2003. 16mm film (silent, color), 4 min 49 sec. Courtesy Union Gaucha Productions. [A man lies on the street in a horizontal position, centered within the frame. Behind him is a playground, with an Argentinian flag waving in the background.] -
YAP (Young Artist Perform), P.S. 140, 2019 [Several students sit on the edge of a wooden stage holding printed sheets of paper. One girl reads from her paper while holding a microphone] -
Those Lost Trees by Viola Yesiltac (2005). [A woman stands, facing away from the camera. She is standing on a photo backdrop of trees in a forest, which covers part of the floor and is raised into the air by stand. Studio lights surround her, casting a slight glare off the backdrop.] -
Selections: Aljira & Artists Space Announcement Postcard [A white postcard with purple text announcing fall 1990 exhibitions at Artists Space, including Selections: Aljira & Artists Space.] -
Image courtesy Anne Gillis and Blank Forms. [Photo of a woman partially obscured by a white umbrella. A light shining on the umbrella casts a large shadow of the woman's hand on its curved surface.] -
YAP (Young Artists Perform), P.S. 140, 2018 [Several students sit, looking down towards printed sheets of paper, in front of colorful silk banners with writing stating "Your dreams can become a reality," "like a cheetah in a snail's race," "bridge can just go like boom bom boom BOOM," "I see a light it's so BRIGHT -Destiny" and others.\] -
Rirkrit Tiravanija, untitled, 2011 (print mo’ money), 2011, Copper etching plate, Signed certificate. [A printing plate for a $100,000 bill, featuring a portrait of Woodrow Wilson.]
