-
Gregg Bordowitz, Open Book: Letters, Marks, Politics, 2024, lecture performance, Bonner Kunstverein. Photo: Max Beck. [A figure stands behind a microphone stand, one hand raised to their chin and the other arm up and pointing away from themselves. The figure stands in front of a blank background.] -
[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.] -
Flyer for Segue Reading Series featuring Kimberly Alidio and Rae Armantrout. October 8, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Kimberly Alidio & Rae Armantrout / October 8, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortland Alley + Zoom / Zoom ID: 893 9594 7519."] -
Kayla Asalcedo, Lower East Side Map, 2018 [A black-and-white drawing in a collage style, depicting many public parking signs, street-level façades, advertisements, buildings, a bycicle, smoke, and two large, flowing arrows] -
Gary Burnley, Martin Cohen, Candace Hill-Montgomery, Louis Stein, and Haim Steinbach. Contact sheet of photos from exhibition opening, Artists Space, 1979. Photos by Gary Burnley. [Contact sheet of installation images taken during exhibition opening.] -
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. ] -
Hito Steyerl. Installation view, Artists Space, 2015. [A monitor facing a seating arrangement constructed of stacked pillows. Two pairs of monitors are suspended on poles in the background. An image of Hito Steyerl is seen in both pairs; next to an image of a pile of cigarettes and an image of shipping containers.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A long, cubic rectangle held by suspension wires on a weathered wooden floor. A small, white box rests within the rectangle.] -
Tim Doud, 2001. [A painting of a bald man with glasses looking off to the side. He wears a red Lacoste polo shirt.] -
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.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage. The stage and wall behind it are bathed in blue, patterned lights.] -
-
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Three figures perform in a basement. Two figures in blue morph suits act out a scene together. The figure on the right scratches a fresnel lens attached to a wooden rolling table while the left figure walks toward the table. A third figure takes video footage of the scene.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures in blue morph suits face off, with one figure sitting down on a wooden box looking up at the other figure who stands above them wearing wings made of fresnel lenses. All the way on the right a figure takes video footage of the scene.] -
[Dark blue text overlays red-pink background. The text reads: “February 4 / Dodie Bellamy / Paige K. B." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
The Friends of Artists Space Dinner, May 8, 2010. Julie Ault's speech. [A woman in a dark dress with shoulder-length auburn hair stands before a microphone in a gallery space, reading from a sheet of paper. She looks up from the paper to gaze in front of her.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large black display case with several books arranged in a small viewing window. One book is titled *MOBY-DICK*, while another displays japanese text and a woman on its cover.] -
Gerome Kamrowski. Trinity, 1978. [Colorful animal figures appear in space with a black background.] -
Crystal Z Campbell, Revolver, 2022. 16mm film transferred to Digital Video, Stereo, Sound. 17:27 min. Courtesy the artist [Negative film image of two hands holding down either side of a blue board. Objects are placed to create vaguely recognizable patterns and figures.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A small strip of pixeled colors is displayed left of center above a large window looking out onto a building.] -
Postcard from Robert Morgan. Artists Space, 1977 -
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.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A metal cutout of a hand, holding up its middle finger with others curled back, is installed on a white wall. The hand holds a stack of neon cards. Black text on the front of the top card reads, "High five, girls earned the point, they have a good feel."] -
-
Murray Reich. Two Ply, 1989. [A plywood board with rows of circular holes cut out of it overlays a black rectangle with blue and yellow lines on it.] -
-
Bert Carpenter. Reflections, 1980. [A number of paintbrushes and artists gloves appear inside a tin can next to other tin cans and paintbrushes lying on a canvas and table underneath.] -
Underground: Gail Rothschild. Installation view, Artists Space, 1990. [A group of human figures made of clay are seated on benches around a long table, which extends to the length of a dark room. The walls of the room are patterned with handprints.] -
Poster from Polly II - A Plan for a Revolution in Docklands (2006). [A city skyline on fire behind black and white waves. Above that are four circular portraits of people and a title decal with the words "POLLY II: Plan for a Revolution in Docklands."] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in all white, dancing in a corridor bathed in red light.] -
Nicole-Antonia Spagnola: Italian Hardcore. Installation view, Commercial Street, Los Angeles, 2021 [A color photograph of a television screen resting on a wooden chair with a red cushion. The screen displays a black and white image of several masked figures.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in overalls reaches up to pin a dark tarp along the length of a wall. Behind them, another figure adjusts a camera on a tripod.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [Half-eaten fruit, chocolate, candles, and grape leaves sit on a low, stone tabletop under dim lighting.] -
[Black text on a green background. The text reads: “Jan 25 / Ted Rees / Jimin Seo.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
[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.] -
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.] -
Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Three sculptural forms sit and hang in a large gallery space. A large gray form with anemone-like tendrils is spread across the floor. Behind it on the gallery wall there is a large, shiny orange sculpture covered in bud-like forms. To the left of the space hangs a yellow sculpture with metal spikes protruding from its surface.] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A long, thin metal pole attached to a round base sticks into the air at a jaunty angle in a gallery space. Several metal clamps are attached to the bottom third of the pole. A collection of photographs, drawings, and paintings are framed and hung on the gallery wall behind the metal pole.] -
-
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Lining the wall are multiple glass display cased filled with ephemera, text and images hang on the wall above them, in the corner sits a tv monitor on a shelf.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two white panels of canvas positioned together to form a square shape. Both canvases display an organic pink form. Parts of the canvas within the pink shapes stretch outwards to form protruding circular and ovular, knob-like shapes.] -
Mike Kelley, Untitled, 1992, Beech wood paddle with screen print and leather strap, 23 1/4 in x 6 in x 3/4 in / 59.1 cm x 15.2 cm x 1.9 cm, Edition of 50. [The image shows a wooden paddle with the preamble for the U.S. Constitution reproduced on it. It says, "We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America."] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of yellow, orange, blue, and red paper. Small pieces of paper with typewritten text listing the performers and event details are scattered around the flyer.] -
-
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.] -
-
Ed Bereal, Miss America: Manufacturing Consent: Upside Down and Backwards (detail), 2000-2014, mixed media and found objects, dimensions variable. Photo: Filip Wolak [A close-up detail of a large assemblage sculpture.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Malcolm Peacock, How to address the full capacity of our will, 2023), Artists Space, 2023. Photo: Filip Wolak. [A gallery space with a wooden camper structure situated in the corner of two walls, to the left of the space. Through the open doorway can be seen a small ciruclar window and a shelf with various items placed on it.] -
Cover of Everything Is Now: The 1960s New York Avant-Garde—Primal Happenings, Underground Movies, Radical Pop, Verso, 2025. [Book cover featuring yellow and white text on a black background, and a black-and-white photograph. The text reads "Everything Is Now / The 1960s New York Avant-Garde— / Primal Happenings, / Underground Movies, / Radical Pop / J. Hoberman."] -
-
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A figure in a black hoodie and an LED light stapped on their chest performs on a stage, behind a table full of audio equipment. A green light projection is cast onto the stage.] -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays the upright bass on stage. The stage and wall behind it are bathed in orange and blue light.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017); edited by Nina Felshin, But Is It Art?: The Spirit of Art as Activism (Toronto: Bay Press, 1995). [A collage of images including book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," displayed alongside images of protestors holding up banners reading "Decolonize This Place" and a large banner draped across a clocktower that reads, "Free Education to All."] -
[William Carlos Williams' poem "For Eleanor and Bill Monahan" written in black text on a white background.] -
Chris Johansen. [Black and white mixed-media drawings of cartoonish, smiling faces.] -
Tisziji Muñoz [A black and white image of a figure with long, wispy hair and a mustache playing guitar.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[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 two wires attached.] -
Sixth Anniversary Exhibition. Installation view, Artists Space, 1979. Artwork by Thomas Laningan-Schmidt. [Three pedestals, covered with fabric scarves and various objects, sit atop a dark floor covering. Framed images hang on the walls. Along the back wall, large windows are adorned with candlesticks.] -
Robert M. Young, still from Short Eyes, 1977. 35mm, 100 min. [A man wearing a denim vest is seen within the cramped, barred space of a prison.] -
![[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='1309' height='876'%3E%3C/svg%3E)
Amelia Bande. Stills from El estallido / The Outbreak, 2020. Recording of a live performance held over Zoom on August 7, 2020. Stage design and camera collaboration with Rachel Higgins. Courtesy the artist. [[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]] -
[Black, typed text that reads, " Everything is About to Happen: An ongoing archive of artists’ books selected by Gregorio Magnani."] -
Developing cyanotypes, 2022 -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of a large, open gallery space. The visible walls feature a continuous painting that wraps around the room, showing human figures on saturated blue, yellow, and red backgrounds. A single person stands int he room and looks at the painting.] -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [Two performers play side by side on stage. One performer plays the drums and the other a standing bass. The performers are bathed in colorful lights, created by a live video projection of the performance.] -
Shelley Hirsch, It's Get Better IV, organized by Stewart Uoo, Artists Space, 2016. [A woman stands in the middle of a room, surrounded by a crowd of people. She is speaking on a microphone, gesturing with her left arm, and standing on a carpet covering a raised section of the floor.] -
-
Image provided by Oki Sogumi [Two furry, brown and mahogany moths stand back-to-back, behinds touching, on a green leaf. More leaves can be seen in the background.] -
[White text on a bright fuchsia background. The text reads: “Nov 15 / Lauren Cook / Funto Omojola.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of beige, yellow, pink, turqoise and red paper. Small pieces of paper with red typewritten text listing the performers and event details are scattered around the flyer.] -
DIVA TV Collective, Target City Hall, 1989. 27 min. [Onlookers and news reporters with cameras crowd around helmeted police officers surrounding a graffitied truck.] -
-
P.S. 140 student poems from “I am” project, 2018 [Two poems. On the left, by Quentin: "I am from a computer and websites and games. / I am from a fun house and a loud house. / I am from an acacia tree and a bush whose stems I remember as if they were my own. / I am from Fourth of July and birthdays and from being sick toether and my sister Sivanda. / I am from my niece and being observant and independent. / I am from "stay out of the trouble" and "wait until you're older" and *Wheels on the Bus.* / I am from always eating at 7 o'clock. / I am from Manhattan and Puerto Rico and Africa and chicken and rice and seafood. / I am from fighting all the time and shiny and precious jewlery." The second poem, by Gabby, reads: "I am from Hip Hop music and cocoa butter and sprite. / I am from Joy and love. / I am from a cherry tree and daisies whose stems I remember as if they were my own. / I am from church and birthday parties and from bravery and confidence. / I am from Sabrina and cleaning the house and from family that is protective of me. / I am from 'mind your business' and 'I don't have friends, I have associates' and 'stay alive longer!' and the song *Body Party* by Ciara. / I am from visiting with family in Pennsylvania. / I am from East Harlem and West Indians and fried chicken and mac 'n cheese. / I am from Shakina who passed and I am named after her and a beautiful Egyptian statue"] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Gary Burnley. [A black and white photograph of a multicolored globe sitting on a wooden floor.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of two black leather stools in front of an LED sign crawl of a text.] -
[White text on a blue and grey ombré background. The text reads: “Feb 1 / Shelley Hirsch / Maggie Lee.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Abasement #73. Performance documentation, November 4th, 2024, Artists Space. Photo: Joshua Wildman. [Two performers on stage, the one on the right is playing the drums and using electronic audio equipment, and the performer on the left is leaning over a large case on top of a table. The room is bathed in yellow, pink, red, and purple light. The wall behind them is projected with abstract patterns.] -
-
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Paintins appear on white gallery walls with two sculptures on pedestals on the gallery floor.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage, speaking into a microphone and holding papers in their hands.] -
Danh Vo, Chevrolet Suburban, 2010, Digital C-print, 16 x 24 in / 40,6 x 61 cm Photo, credit: Thomas Cato Signed and numbered sales receipt. [A close-up photo of the front grille of a car, depicting the bottom half of the Chevrolet logo and a section of the front metal grille. Several bugs are visible, dead and stuck to the grille.] -
-
Carlos Motta. We Who Feel Differently, 2012. New Museum, New York. Courtesy Mor Charpentier Galerie, Paris [Installation photograph. The floor is covered with multicolored carpet strips, some of which are raised above the floor to create seating or shelving for CRT television monitors. On the wall, several black-and-white artworks are hung, depicting human figures, and text is printed on the wall "WE WHO FEEL DIFFERENTLY." Several visitors stand and sit around the room.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close up image of a glass display case holding, images, books, and handwritten text. On the wall above is a paragraph of text that reads, " Anyway, dear Taylor, I will visit all the soft and dark spots in our town. I will walk backwards on old Endleman's fence, I will stare at the old books and try to place what words went with which conversation about whatever it was you said. I'll go to church and eat fruitcake, sweep the pavement, water the flowers, hose out the garage and tell our fathers about the big city, I might even have a few drinks to show them how much I have changed. And I will come to the cemetery and tell you how different it all is, and what it's like up here hanging on year after year."] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A small statue of a bird sits on the floor of a dimly-lit gallery space. A long black wire runs from the sculpture to the ceiling. Several square holes have been removed from several spots on the gallery wall behind the sculpture, through which a space on the other side of the wall is visible.] -
Adjua Gargi Nzinga Greaves, SELF, 2021. Chromogenic print with pigment ink pen, 41 ½ x 41 ½ inches. Courtesy Artists Space, New York. Photo: Filip Wolak [A digital print of four books with annotations on each side.] -
Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space divided by two walls, with columns running down the middle. There are multple paintings and drawings hanging on the walls. In the center of the back room, a black-and-white checkered floor. To the right, an A-frame sign with the words "Barber Shop." Another space, on the right, is illuminated with blue light.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure points a microphone towards an audience, while various figures wearing white costumes and balancing plants on their heads can be seen just out of focus in the background.] -
Aristotelis Nikolas Mochloulis, Frog Man and Baby Frog, 2025, Michigan J. Frog plushies, miniature directors chairs, ARRI 150W light, Manfrotto Nano light stand. [In a dark room with a black wall and wood floor, there is a spotlight shining on two frog plushies. One sits horizontally in the lap of another who is seated in a director's chair. Two more director's chairs, not illuminated, sit facing the frogs. The spotlight, the chairs, and the frogs all appear miniature-sized.] -
-
Flyer for Book Launch of Susan Brockman: Soft Network 01. [White text on a purple background reads: "Soft Network & Soberscove Press / Book Launch / Susan Brockman: Soft Network 01 / January 7, 2025, 7-9PM / Artists Space, 11 Cortlandt Alley, NYC." A black and white photograph of a woman standing in a desolate space is featured on the bottom left corner of the flyer.] -
Cecilia Dougherty. Still from Grapefruit, 1989. Video. [Two people with hats, sunglasses, and long straight hair. One looks into the camera, the other diagonally past.] -
Seth Price, Untitled, 2010, Inkjet print on Dibond, 7 x 9 in / 17,8 x 22,9 cm, Signed and numbered [A silhouette figure of a person riding a horse, mid-stride. The combined figure appears as a white cut-out, with a black shadow, on a transparent (alpha) background. Details are sketched onto the silhouette in blue pen.] -
Abasement #78. Performance documentation, June 16th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of three performers on stage. The performer on the left is sitting at a table with a tape deck, the performer in the middle is playing cello with a bow, and the rightmost performer is standing with a microphone. One audience member is visible in the foreground. The musicians, as well as the wall behind them, are bathed in an abstract light projection.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of three paintings hanging in a row on a white gallery wall. The closest to the camera, on the right, shows a ship at sea, the center shows a fountain, and the painting on the left is an abstract composition of black diagonal lines.] -
-
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [Several figures sit on the ground, legs crossed.] -
-
Cover of BIOTA: A discourse between Art and Architecture from the 1970s to the present, co-published by Gregory R. Miller & Co. and Hunter College Art Galleries, 2025. [Book cover featuring a grainy close-up image of a flower. Black text across the center of the cover reads "biota."] -
-
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A side projector projects an image of a figure in an elaborate dress onto a freestanding wall in the middle of a gallery space. A mannequin wearing a decorative orange costumes stands to the left of the projection. In the background, a video monitor sits on a table and framed documents hang on the walls.] -
Wine sponsor Vivanterre. Photo: Jenna Bascom [A bottle of wine sits on a set dining table covered in a red tablecloth, surrounded by wine glasses. The wine label features an irregular curved white semi-oval, overlaid with a smaller burgundy red shape, and the embossed text "Vivanterre"] -
Deven Golden. Drawing for Death of Pompey, 1986. [A drawing with seven figures without appendages where six of them are carry a large figure and one follow behind. The outline of an urban landscape is visible behind them.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A bar with four wooden stools positioned in the corner of a room. A neon sign hangs above to the left of a fiber sculpture. On the left wall, a monitor is displayed on top of plastered posters.] -
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.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Three figures perform in a basement. Two figures in blue morph suits act out a scene together. The figure on the right scratches a fresnel lens attached to a wooden rolling table while the left figure walks toward the table. A third figure takes video footage of the scene.] -
P.S. 140 students painting sound, 2019 [An image of several students paitning with watercolors, each on their own desk] -
Five Spanish Artists. Installation View, Artists Space, 1985. [A large painting appears in a white-gallery space with various drawings of city architecture around a large amorphous black section in the middle. White columns and other paintings are visible in the surrounding area.] -
Yasunao Tone and Suzanne Fletcher performing Voice and Phenomenon, Experimental Intermedia Foundation, New York, 1976. [Black-and-white photograph of a TV against a brick wall, connected to a camera recording directly above a spotlighted chair and desk. A figure sits across the empty chair at the desk, while another figure kneels down to the left side of the desk working on something.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays a stringed instrument on stage. The performer and the onlooking audience are illuminated in bright lights. ] -
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.] -
-
Richard Klauber. Small Black Painting, 1975. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black and white abstract painting on a white wall.] -
Anne Walsh + Chris Kubick, Room Tone, 2007. Sound Installation. Courtesy the artists. Photo: Bill Orcutt. [A carpeted gallery with two benches. One wall is painted dark gray and on it are two audio speakers mounted on either side. Between them are eighteen sheets of paper attached to the wall and lit with a spotlight.] -
Artists Space's locations, 1973-2019. [A stylized map of SoHo and TriBeCa, stretching in latitude from West Houston Street to White Street, and in longitude from Hudson Street/West Broadway to Broadway. Each past location is marked by a red dot, indicating its address and years active, alongside a photo of the space's exterior.] -
ART CLUB2000 Untitled (Drum kit), 1994 Miniature drum kit and spotlight Image courtesy Artists Space, New York Photo: Filip Wolak [A close up of a dramatically lit small drum kit that reads "art club 2000".] -
Kembra Pfahler, Garden Party at the New York Marble Cemetery: In celebration of Jack Smith, 2018. Photograph: ©Paula Court [A group of people gathered outside in a semicircle around a performer. Some sit on benches, others on grass, and others stand. The performer is dressed in a long white robe and knee-length, high-heeled boots; their face is painted blue and they are speaking into a microphone.] -
[Black text on a grey background. The text reads: “March 21 / Dave Morse / Anahid Nersessian.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
The Founders Dinner, 2019. [A color photo of two smiling individuals seated at a banquet table, the person to the right has her hand on another guest's shoulder. The background depicts several other guests out of focus.] -
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..] -
Lyndon Barrois Jr., Divine Agent, 2022. Wicker pannier, plastic, copper, brass, conservation glove, moonshine jug, solvent transfers, plywood, brass, wooden owl figurine, dyed silk. Dimensions variable. Photo: Filip Wolak. [A color photograph of a gallery space. Two small paintings hang on the wall between concrete columns set into the wall. In the foreground, a large wicker pannier is visible. Two strips of police tape can be seen in the right corner of the frame.] -
Flyer for Segue Reading Series featuring Monica de la Torre and Joan Retallack. Saturday, January 23, 2021, Artists Space. [An animated setting of an icy background with miscellaneous objects and imagery appearing throughout. Light green text over the top half of the image reads, "Monica De La Torre / Joan Retallack". Light green text in the center left of the image at a left-slanted angle reads, "SEGUE." On the left hand corner in light green text reads, "23 January" and on the right hand corner in light green text reads, "5PM EST."] -
[Two rectangular cards arranged on a white background. Large black text printed on each card reads, "LADYLAND" and is framed by a pattern of swirls. The top card is blue, and the bottom card is yellow.] -
Attention Line. Installation view (exceprts from Clairvoyant Journal, 1974, Clairvoyant Journal cassette tape, 1974, If Workshop, c. 1990 ), Artists Space, June 11 - August 20, 2022. Image courtesy Artists Space, New York. Photo: Filip Wolak [An image of a display case with several letters, and a television sitting on top.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Close-up color photograph of a vocalist and a musician playing a bass at the edge of the stage. The vocalist has long curly black hair and wears an army-green cargo jacket. They are kneeling down as they hold the microphone up to the mouth. To the right of the vocalist, the bassist looks out to the crowd as picks the strings. The drums and the drummer are visible behind them. The wall behind the stage is illuminated by a bright white light emitted from a projector. ] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Sherrie Levine (left), Irving Sandler (right). Photo: D. James Dee. [A black and white photograph of two figures standing in a gallery space. The figure on the left looks at the one on the right. In the background, a crowd of people and se veral large wall hangings are visible.] -
Photograph of Arthur Russell. Photo courtesy of Audika. [A vintage photograph of a man wearing black headphones, sitting behind a table in a cluttered room full of music equipment. A keyboard leans against the table, which is covered in AV equipment and snaking wires.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Along the wall are two glass display cases holding ephemera, in the center of them three images hang on the wall, on the left sits a tv monitor on a shelf.] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [Color image of 5 musicians performing in front of blue, pink and yellow projected swirling visuals. From left to right instruments shown are clarinet, vibraphone, trumpet, cello and violin. A small group of audience members are shown in front of the stage.] -
-
[A digital rendering of a large, rectangular aquarium filled with fish. Resting on top of the aqaurium are three terraria of different spherical shapes.] -
Milford Graves: Fundamental Frequency. Installation view (Hand painted LP, 1966; Photograph of Milford Graves and Don Pullen, c. 1970s), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of a hand painted LP in a glass frame and a small photograph in a plastic bag in a gallery space.] -
-
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [Two glass topped vitrines stand in an open gallery space. The walls surrounding the display large color photographs. On the far left, a larger-than-life portrait rests horizontally. On the right hangs three vertical images with thick black borders and hazy imagery. ] -
Carolyn Lazard: Two-way. Installation view (Fiction Contract, 2025; Borne, 2025), Artists Space, 2025. Photo: Greg Carideo. [A darkened gallery space with dark blue walls, dark blue carpeting, and light blue linoleum tiling. In the foreground a bench is centered in front of a large wall projection. The projection depicts a close-up of a newborn black mannequin laying down, being tended to by medical professionals.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A stack of large papers filled with text sit on a low, white plank on the ground. To the right of the paper stack, a newspaper clipping is displayed on a white wall. A small glass filled with rubber bands sits on the ground to the right of the paper stack.] -
-
Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. [Two musicians on stage use various instruments. The musician in the foreground plays a mandolin. The musician behind them is using electronic instruments on a table. There are yellow and pink patterned projections, a red light bulb, and reflections from a disco ball around the room. ] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing in an orange-lit space next to a small piece of audio equipment with a wire on the floor. A speaker is visible in the background.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two light blue panels of canvas displayed on a light mauve wall. The canvases are positioned side-by-side such that they form a square shape. Two semicircles are depicted on each of the canvases, which together form a white circle in the center of the two canvases. At the center of the circle, the edges of each of the canvases stretch outward to form two protruding flaps that curve towards and on top of the opposite canvases.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [A crowd of people standing outside in Cortlandt Alley surrounding several performers. The performers are mixed in with the crowd, holding metal poles, some looking at a baby doll which is photographed in midair after being thrown upwards.] -
Jerry Beck. Installation view of Cryptic Cross. Artists Space, 1985. [A sculpted pedestal with a black object on it is visible below a sculpted multilayered cross hanging on a gallery wall. Sharp lighting shrouds most of the image in darkness with a light falling on the figure on the pedestal.] -
Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [A close-up image of a musician sitting on the floor playing the violin. Three other violins lay on the stage before her.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands. The figure on the right speaks and gazes forward. One of their hands rests on the music stand, the other reaches out in front of themselves, their fingers extended.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [On the left wall of the gallery space sits of shelf containing a display case of photographs and jars. In the corner of the walls sits a televion on the floor playing a video. On the right wall is a painting vertically reading "NIGHTMARE" with skulls, stars, and abstracted forms superimposed on top. To the right of this is a framed landscape. A painted ceramic sits on a table in the foreground.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [Half-eaten fruit, chocolate, and candles sit on a low, stone tabletop under dim lighting.] -
Michio Okabe, Crazy Love, 1968 [Black-and-white image of nine figures sitting around a small table. One figure is playing a hand drum while the others chat and smoke.] -
Richard Weise and Harald Vizenor. Still from Harold of Orange, 1983. 16mm film (sound, color). 33 min 21 sec. [A black and white portrait photograph of seven individuals looking at the camera with text partially visible behind them.] -
When Time Becomes Form: The Money Mountain. Installation view, Artists Space, 2008. [Roughly two dozen stuffed laundry bags, piled up against a wall. The bags are white and are each imprinted with a large black dollar sign.] -
Reenactment of Chris Burden's Shoot (Synthetic Performance in Second Life), 2007. Courtesy of Postmasters Gallery, New York. [A digital rendering of two people in a room with white walls. One avatar has long blonde hair and is pointing a gun at the other avatar, who stands up against the wall.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure in a completely dark room, facing one wall and shining a light from their body against the wall.] -
-
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Ruben Ulises Rodriguez Montoya, The Lil Rat that Made it on Board the Ship, 2021; Ruben Ulises Rodriguez Montoya, Goyas lil bat from “sueño de la razón produce monstruos”, 2022), Artists Space, 2024. Photo: Carter Seddon. [A hulking biomorphic black sculpture, composed of car parts and a large black t-shirt smeared with pigmented dragon skin silicone, hangs from the ceiling. To the right, a small sculpture of scuffed white plastic, brown fur, and various jutting animal teeth sits on a shelf.] -
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.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [An installation shot of a gallery room. There are two black plinths with glass-encased tops. On the left, the glass cover has two speakers embedded in it, facing inward toward the dried grasses which it covers. On the right, the glass covers brown grasses standing in white sand. A print of green leaves encircling a yellow background is installed on the gallery wall behind the two plinths.] -
-
Jim Pavlicovic. Installation view, Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white installation photograph of a gallery space. A square blank canvas hangs from the wall on the left, and two windows are visible on the right.] -
-
[A series of booklets with monochrome covers sit in stacks on the interior of a windowsill. Each of the booklets' covers displays thin text spelling out various names, including "Ian Wallace," "Carolyn Christov-Bakargiev," and "G. M. Tamás."] -
Tiffany Sia, The Bastard Scroll (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a long sheet of dot matrix paper with text on a black table.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure leans into a microphone from the side with blue, purple, and pink projections cast onto them.] -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [Color image of a gallery space. To the left, a tree trunk sits on the pedestal. On top of the tree trunk there is a taxidermied crow covered in porcupine quills. Behind the tree trunk, there are more sculptures featuring taxidermied birds, tree logs, and shovels.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of a man with tan skin and facial hair, wearing a aviator-style glasses. The caption underneath his image reads, "It was the Americans who did the killing, not the National Guard."] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [The image positioned below a speaker shows a performer singing while playing the keyboard. ] -
SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [Two figures perform in front of large projected images.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of two figures performing in a dark gallery space, lit only by an installation of LED lights covered in dried SCOBY material. One figure wearing black leans down in front of one of the LED lights. Partly hidden behind a column, another figure stands wearing a red suit.] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
-
Abasement #69. Performance documentation, March 18th, 2024, Artists Space. Photo: Jay Sanders. [Photograph of a performer, leaning over a white table filled with audio equipment. The performer has their leg up on the table and use one hand to manipulate the equipment.] -
Flyer for Segue Reading Series featuring Richard Loranger and Yanyi. Saturday, November 21, 2020, Artists Space. Artist: Keith Higginbotham [Two cropped photographs of figures cut into irregular shapes are laid over a light blue background. White and blue text on the image reads "Richard Loranger / Yanyi / Segue."] -
Eva Buchmüller selects Bern Nix and his trio. Performance documentation, May 7, 1996, Squat Café at Artists Space. [A man with a bald head wearing wire frame glasses strums an electric guitar by a set of microphones. A potted plant and a large sculpture of a baby with glowing, blue eyes are situated behind him.] -
-
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [Inside a pink-hued room are three tanker desks and three rolling office chairs in a single-file line. Security monitors with color videos sit on each desk alongside small pieces of clay. In the distance, tree trunks wrapped in fabric rest on the floor and construction nets hang from the ceiling. A wooden structure and an aquarium with purple-colored lights are positioned behind the tree trunks.] -
-
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three paper bags, decorated in collage and drawing, sit on pedestals of varying heights. An abstract lanscape painting hangs on a wall behind them. To the left, a purple painting of an buffalo hangs on another wall.] -
Friends of Artists Space Dinner, 2023. Photo: Destiny Mata. [Color image of four individuals holding hands and dancing in a circle energetically. The background depicts a dimly lit venue with a glowing discoball and a variety of guests.] -
Flyer by Eric Wrenn. [Flyer with light gray text against a white background, with the names of performers. A simplified painting of a flower runs across the image, with a vibrant patch of red paint in the upper right corner.] -
Abstraction in Process. Installation view, Artists Space, March 26, 1987 - May 2, 1987. [intermezzo?] -
Lise Soskolne. Installation view, Artists Space, 1999. [Three large, monotone paintings, each hung on its own white wall. A protruding white wall with a blue canvas and white text in French partially obscures a black canvas with white text. Perpendicular to that is a red canvas.] -
![[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]](https://artistsspace.org/media/pages/programs/repeat-viewings-2020-2021/2789376304-1628182793/el-estallido-2-168x.png)
![[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]](https://artistsspace.org/media/pages/programs/repeat-viewings-2020-2021/2789376304-1628182793/el-estallido-2.png)
