-
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage behind a music stand.] -
Flyer for Segue Reading Series featuring Holly Melgard and Trey. Saturday, January 22, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Holly Melgard and Trey (also known as Vernon Keeve III)" The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday January 22, 5pm, Zoom ID: 893 9594 7519, Suggested donation $5". The image of a 5 dollar bill is placed within the text.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Detail view of four sculptures hung on the wall. The sculptures are ordered in neutral tones ranging from light to dark. Their shapes are approximately rectangular, each divided into quadrant segments.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures hold a table with a mannequin on it.] -
SCRAAATCH, Untitled July 4th Performance, 2022. Photo: Mo Costello. [A microphone and lights are set up in a field, with trees along the horizon line.] -
Michael Robinson. Still from And We All Shine One, 2006. [A digitally rendered image of a green with mountains in the background, pixellated with horizontal lines.] -
Courtesy No Total. [A cartoon drawing of a bedroom with a purple bed, chair, and window] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure wearing a conical sheath of reflective one-way mirror film that covers most of their body. They lay on the floor and spread one arm out from under the mirror film. A bright light shines from under the film.] -
Black Cat Collective. Still from Many Faces of Paper, 1989. [Black and white video still of a figure in a packed crowd, speaking into a microphone. A date and time stamp at the bottom left corner of the still read, "PM 1:11" and "FEB. 15 1988."] -
-
CaptionKari Altmann, still from XOMIA, 2015. Courtesy the artist and Ellis King Gallery. [Two figures crouch next to two abstract artworks standing on the floor of a gallery space. Both people have dyed hair and half-blue facepaint.] -
-
Ana Vieira-Gerbracht, Untitled, 2021, digital photography -
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.] -
Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a blye and white ceramic jug on a small wooden stool. Next to the jug is a color control strip.] -
Jim Lutes. Lazy, 1985. [A view of a large amorphous creature with eyes and mouth on the right next to a dwelling space with a figure lying on a bed with clothes and other accoutrements nearby.] -
[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)] -
[A hand-drawn image in pencil of a bedroom or living room scene. The room's double windows have been blown open, scattering several papers across the room. A crudely drawn figure stands upright in an uncomfortable manner in the middle of the room.] -
[A red background with white text which reads: "SETTLER COLONIALISM OUT OF BROOKLYN", followed by the Decolonize This Place Logo.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A grey object with brown surface sits on a white base. A metal antenna extends out on a diagonal.] -
rafa esparza: Camino. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with large panels of adobe with paintings of various figures on them. Adobe bricks are laid out on the floor to create a small walkway.] -
Klara Lidén, Untitled (mailbox), 2012, Archival inkjet print, 24 x 18 inches, Signed and numbered certificate [A black and white photo captures a New York City postal service box.] -
SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [A crowd is pictured in front of a performer. Behind the performer are three large colorful projections.] -
Still from Resonating Surfaces, 2005. Courtesy of Manon de Boer, Auguste Orts and Jan Mot Gallery, Brussels. [A grainy image of a woman looking to her left. She is leaning against the back of a chair, one arm outstretched while the other is bent and holds a cigarette.] -
Artists Draw. Installation view, Artists Space, 1979. [Six framed drawings are hung in a row on a white wall.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in a baseball cap stands beside a table covered in scattered drinks and a laptop, typing on the computer’s keys.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Gary Burnley. [People standing around a gallery space with various globes surrounding them and frame images hanging on the wall to the right.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures move a table on wheels.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A long rectangular wooden table with three TV monitors facing outwards on different sides. Six small wooden seats with wired headphones resting on them are arranged in front of the monitors. One visible screen displays an image of a man sitting at a table.] -
Installation view from Annual Selections Show, Artists Space, 1985 [A close up black and white image of multiple paintings hanging on a white wall and a sculpture occupying the gallery floor.] -
Mike Henderson, Four Clocks, 1990. Installation view, Artists Space, 1990. Four panels, encaustic on masonite, 19 x 18.5 inches. [A black and white photgraph of four square paintings of clocks in a horizontal line, each showing a different time.] -
John Salvest, Cipher, 1989. Wood, brass, plexiglass, alphabet noodles, 80 x 24 x 6 inches. [A narrow, white door with the number "0" on it is partially open against a white wall, obscuring what is behind it.] -
Pictures. Reception documentaion, 1977, Artists Space. [A group of individuals in conversation while sitting on a radiator.] -
Neraldo de la Paz, Angel, 1982. [A figurine human head and hands appear from an amalgamation of various objections and materials hanging on a white wall.] -
Milford Graves: Fundamental Frequency. Installation view (ephemera from FESTAC, c. 1977), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a white framed vitrine containing ephemera such as newsprint and several photographs.] -
Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon [Stools and black electronic objects are dispersed around the floor of the gallery. Suspended above hangs a transparent sheet, framing three large white balls and a selection of drawings. ] -
Jeff Feld, Performance of the only part of Robert Rauschenberg's "Pelican" that I know, 2001. [A person on roller skates and knee pads with a large, fabric umbrella held on his back.] -
Lyndon Barrois Jr., Comedy Production, 2022. Oil on canvas, cardboard, chiseled nails, copper pigment. 24 x 36 inches. Photo: Filip Wolak. [A color photograph of a painting in a gallery space. The canvas is mostly dark, featuring a set of hands with cards in the lower left corner. In the background, some wall text is visible next to a door with a red exit sign above.] -
Lise Soskolne, Film Still: Characters, 1999. Oil on canvas, 66 x 108 inches. [White text arranged in two columns on a black background. Film roles, such as "Desk Clerk" and "Beauty Queen" are listed on the left, with names of actors on the right.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
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.] -
[A pink pamphlet with black text announcing "Artists Space Presents: PUTT-MODERNISM", an "artist created 18-hole fully playable minature golf course." There is an illustrated map showing the location of the event, and additional printed information on the location and hours.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A color image of a freestanding white wall that emerges from the left side of the frame into the gallery space. On the wall, there is a row of six items including two handwritten documents, a drawing, a map, a mounted TV screen displaying a black and white image of a cloth and a small white shelf that holds a plexi box. In the background, a black and white projected image of a fork and spoon is visible on a back wall. ] -
[Two shirtless men doing the splits on top of large boulders outdoors.] -
Axine M: Sold Licker Glass, 2024, Artists Space. Courtesy of ISSUE Project Room. Photography by Cameron Kelly McLeod. [View of 5 musicians on stage performing under blue tinted lights with the audience in the foreground. From left to right the instruments played are the cello, clarinet, horn, flute, guitar, and vocals.] -
Barbara Steinman, Of a Space, Solitary/Of a Sound, Mute, 1989. Installation view, Artists Space, 1989. [Two rectangular works are hung next to each other on a wall. The left is solid grey, the right is a photograph of an outstretched forearm against a black background.] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [A close-up color image of a drummer captured in the middle of a performance. Abstracted projections of bright yellow and purple hues are cast against the musician, who looks out at something out of view.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Assorted Delorean paraphernalia displayed on a white background, including several images of cars and a binder filled with a user manual.] -
-
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.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [Toile curtains gather around the gallery windows, producing a soft, glowing white light. A glass-topped vitrine stands parallel to the windows, displaying small open books.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A gif of installation images from Sam Pulitzer's, A Colony for "Them."] -
-
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure plays the flute into a microphone.] -
Four Artists: An Exhibition of Painting and Sculpture. Installation View. Artists Space, 1985. [Three paintings appear on two adjacent walls in a white-walled gallery space.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure standing on a black stage. They smile out at the audience as they prepare to perform in front of a reedorgan covered in plastic wrap.] -
[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)"] -
[Three book covers, arranged in a triangle, with title text reading from top to bottom, left to right, "Danger In Dusseldorf," "Die, Chastrommel," and "Berliner."] -
Slab works, c. 1978–1980. Cast concrete sculptures with acrylic paint. Dimensions unknown. Courtesy of the Frances Mulhall Achiles Library, Artist File, Whitney Museum of American Art [Installation view of three cast concrete blocks - the middle one leaning against the last one - standing on a wood floor.] -
Anna Gili, Casi del Mare. [Five glass sculptures of varying colors arranged in a line. They are painted with small circular and oval dots.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure kneels down on stage on all fours and sets up audio equipment layed out on the floor.] -
Mitch Corber, video still, c. 1977. [Black lowercase typewriter text on a white background reads "we can't wait."] -
Ruben Ulises Rodriguez Montoya, Gloria Gloria, Balenciaga 2010 FW/RTW by Nicolas Ghesquiere, and Kate Moss as a hologram for Alexander McQueen, 2022 [Color image of the corner of a gallery space with three hanging sculptures. The sculptures are made of pigmented silicone, old clothes, zip ties and various other found materials. The sculptures are mainly made of white materials, and feature anthropormorphic and abstracted forms.] -
[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.] -
Orchidary Siahaya, headline poem, 2019 [A hand holds up a lined notebook with a poem collaged from newspaper cutouts which says, "This is not normal what's at stake life,/ our lives death most people run/ to a sadness disbelief/ and play bloody/ fire."] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A gallery space with three columns running down the right side. Projected onto a wall on the left is a video still of a woman in a red blanket hunched over. Two projector screens can be seen on the far left wall. In the back is a ramp which leads to the doorway of a wooden camper structure.] -
Margia Kramer. Installation view, Artists Space, 1980. [Black and white photograph of cursive white text on a black background on the floor of a room with an upside down chair in the foreground and a heater in the background.] -
Tiffany Sia: Slippery When Wet. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a black rectangular table and a chair in the foreground. There are eight photographs and print-outs hung on the back walls, and a row of floor-to-ceiling columns is visible in the background.] -
Judith Barry. In the Shadow of the City (Vampry...). Installation view. Artists Space, 1985. [A video projection on a scrim of an urban environment with a store and a park lot visible with buildings in the background. A standing box with a wire coming from the back is visible and another box with a wire from the back is visible on the right wall. All of this is set up in a gallery setting.] -
-
Vaginal Davis, The White to Be Angry (still), 1999. [A grainy black and white photo of a woman craning her head and shoulders, looking into a large camera. In the background there are trees with leaves.] -
Video from Sidi El Asphalt's Mulid. Dir. Wael Shawky. 2003. [Two figures' faces positioned close to one another. The woman on the left looks away from the camera, while the man on the right closes his eyes and opens his mouth. The image is blurred, as though the figures are in motion.] -
Works by Mark Morrisroe. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [In a corner of a gallery space, a small black and white photograph hangs in a black frame on the left wall. On the right, a small white panel of black text hangs above a sign attached to a glass box that protrudes from the wall. Inside the box are what appear to be bloodied white linens, and on the sign above them the words "AM I DEAD YET" are written in blood.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with two sculptures made of wood and fresnel lenses placed on either side of the image. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
[White text overlays a green and brown background. The text reads: “May 6 / stefa marin alarcon / zavé martohardjono." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
-
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown, blue, and tan object stands on a white base. On the flat surface of the object sit an onion and a lemon, each with wires connecting them to the object. Under the onion, a purple earring hangs down.] -
Jenny Snider. A Solitude Encompassing the World, 1985. -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A color image of the white wall of the gallery space. In the center, a projected image of two hands tying rope around the body of a fish. The black and white projected image is flanked by two sets of six black and white framed photographs. Each frame is black, with three on the top and three on the bottom.] -
Yasunao Tone: Region of Paramedia. Installation view (Social Eclipse, 1997), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a framed artwork. Various images of people, the sun, and other objects are cut-out and in red ink over them are japanese characters.] -
Young Fluxus. Installation view, Artists Space, 1982. [Various sculpted insects appear on the white gallery wall and the word "Bread" appears in the center of the right section and the word "Queen" appears in both parts of the image.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans over a wooden box placed on the floor, while another figure to the left films them. Blue light is projected onto the back wall to the right.] -
Constantina Zavitsanos: fwiw. Installation view (Wishing Well (Korpi), 2024), Artists Space, 2024. Photo: Carter Seddon. [A close up photograph shows patterns of ripples in water, lit in iridescent blues.] -
-
Flyer for Segue Reading Series featuring Evan Kennedy and Jennifer Nelson. Saturday, November 28, 2020, Artists Space. Artist: Keith Higginbotham [Two figures are pictured side by side in matching clothes. A cutout picture of a head, its mouth wide open, is collaged on top of the figure on the left side. White and black text over the image reads "Evan Kennedy / Jennifer Nelson / Segue."] -
-
Cover of Christopher D'Arcangelo, Kunstverein Publishing and Artists Space. Photo: Cathy Weiner. [Scan of the cover and back cover of a book. On the front cover, black text on a white background reads "Christopher D'Arcangelo." The back cover features a black-and-white photograph of a figure doing a headstand, their back facing the viewer. The figure is shirtless, exposing black text written on their skin.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Shala Miller, Genesis, 2023), Artists Space, 2023. Photo: Filip Wolak. [A life-size vinyl against a black wall depicting a black-and-white image of a body in motion, multiple images are overlayed on top of each other to create a ghostly atmosphere.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit stands on stage, behind a music stand and speaks into a microphone.] -
Portrait of Dorothy E. Roberts. [A black woman stands, smiling, with her arms crossed in front of her. Behind her is a small fountain inside a courtyard.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large exhibition space with light wood flooring, wide windows, and white columns fills with gentle daylight. The far windows and walls the space are covered in white, semi-translucent curtains, which gently glow.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An open hallway in a window-filled exhibition space. A gallery wall on the left side of the room displays a sideways, brown and gold American flag as well as a black and red fleg. A monitor sits on the ground to the right of the exhibition space, near one of the windows. A visitor stands in the background, viewing artworks displayed in the hallway.] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [Various colorful posters hang in a disassembled row on a black wall. In front of the wall sits a large display case exhibiting newspaper clippings, flyers, and drawings.] -
-
-
P.S. 140 students performing at YAP (Young Artists Perform), 2019 [Eight people sit in a row on a wooden stage in front of a navy blue curtain. They are holding pieces of paper, one speaks into a microphone.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [A color image of a pink-hued room inside which an irregularly shaped platform with a reflective surface sits on the ground. Objects such as plants, a fish tank, and tree stumps sit on and around the platform.] -
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.] -
Photo: Mirelle Borra. [Close up of three rows of pre-packaged salads in plastic containers on the shelves of a grocery store refrigerator.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer sings into a microphone. The performer and stage are bathed in psychedelic, colorful patterns. ] -
Édouard Manet, A Bar at the Folies-Bergère, 1882. [A painting of a female bartender standing behind a bar, facing the viewer. A large mirror directly behind her reflects the space of the crowded bar before her. Another woman behind and to the right of the bartender, her back to the viewer, turns to speak to a man with a top hat and mustache.] -
[Black-and-white photograph that has been double exposed. The dominant image shows a portrait of two smiling figures, standing side-by-side. Imposed on top of that is a faint image of a building and lights.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [Along the gallery wall from left to right is an assemblage scultpure of found objects ranging from lightbulbs to racoon tails. To the right is a sculpture of chicken wings dangling from the wall. Further along is an offwhite square nearly flush with the wall. And on the floor sits a chair adorned with cloth and green onion.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Shala Miller, Genesis, 2023), Artists Space, 2023. Photo: Filip Wolak. [Two hanging projector screens are placed in the middle of a darkened gallery room. They both show the same black-and-white video still of a figures face, illuminated on one side by a bright flash of light.] -
Collier Schorr, D., 2012, Archival pigment ink print, 14 x 11 inches, Signed and numbered [A black and white photo of a nude person in profile with arms crossed.] -
[William Carlos Williams' poem "For Eleanor and Bill Monahan" written in black text on a white background.] -
-
-
Yara in the dojo, c. 1970s. Courtesy the Estate of Milford Graves [A black-and-white photograph depicting three men equally distanced from one another. They hold their hands up to the ceiling with their palms out and stand near a floral printed wall.] -
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.] -
Richard Hollis. Installation view, Artists Space, 2013. [A small television on top of a vitrine shows John Berger looking at the viewer. In the vitrine, several books and documents are opened for display.] -
-
-
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [Three glass vitrines displaying books, photographs, and other paper ephemera in the center of a gallery space. A film is being projected on the back wall of the exhibition space.] -
Installation view, Robert Morgan. Artists Space, 1977. [A photograph of a white gallery wall with multiple photographs mounted in a crooked row.] -
Don Baum, Safe, 1984. [A black and white photograph of a sculpted, rough-hewn house-like object with a black background.] -
-
-
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph of white picket fence opening with dark painted background behind it.] -
John Mendelsohn and Donald Sultan, Installation view, Artists Space, 1977. [A black-and-white photograph of a room with photographs arranged in a row on the right-hand wall, and in a large grid on the left wall.] -
Rummana Hussain, Living on the Margins, 1995. Video, color, sound; 28 minutes. Courtesy Rummana Hussain Family Collection. [Rummana Hussain stands in an open courtyard cradling half a papaya in her hands, her mouth wide open in a silent scream. Behind her, indigo powder is scattered across the pavement.] -
New Economy. Installation view, Artists Space, 2007. [An installation view of multiple sewing stations and a clothing rack of red and white sweatshirts.] -
-
-
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A continuous strip extends around the perimeter of the room, hung up on the walls. The strip alternates between photographic stills and black boxes overlaid with white text.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An image of a hand holding a yellow golf ball projected onto the wall of a dimly-lit gallery space. Several square holes have been removed from several spots on the gallery wall, through which a space on the other side of the wall is visible.] -
The Body Politic. Installation view, Artists Space, 1991. [A black and white photograph of four sculptures resting on slightly elevated rectangular plinths. The sculptures are constructed of metal molded into headless and limbless humanoid body shapes.] -
Flyer for Segue Reading Series featuring David Rothenberg and Robert Fitterman. December 3, 2022, Artists Space. [Light teal and pink text overlay a dark teal background with abstract lines and drawings of a female portrait in the bottom left and a hand holding a phone in the top right corner. The text in the middle reads "David Rothenberg / Segue Reading Series / Robert Fitterman."] -
-
-
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall with twenty-four framed photograms arranged in an eight by three rectangle.] -
-
Portrait of Carman Moore. [A color photograph of a figure from the chest up. Moore wears a green collared shirt and looks directly into the camera. He stands in front of a translucent glass background, in whose reflection buildings are faintly visible.] -
Ethan Crenson, Fission, 1996. Mixed media installation. [Mousetraps on a wooden floor in motion, snapping to capture ping pong balls resting atop them.] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [Audience members in a crowded room, seated, with a bright green light flaring from the center of the room. Around the back walls the lights from a disco ball can be seen.] -
Audrey Glassman, Untitled, 1983. Cibachrome, 28 x 42 inches. [A cropped face of a figure is seen on the right with the image of a lantern light perched on a tree branch filling the left side of the image.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a TV screen playing blue-tinted video footage of the performance with a fresnel lens placed in front of the screen, distorting the image.] -
Ilana Halperin: Physical Geology (slow time). Installation view, Artists Space, 2009. [Protruding clusters of dots and triangles form designs in a gray surface.] -
-
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of an audience in a room. Some of them are seated, others in the background are standing up. A bright yellow light is pointing into the camera, creating a dramatic light flare. The wall in the background features an abstract image projection, resembling a piece of shattered glass. The atmosphere in the room is hazy, and white dots of light from a disco ball fill the room.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Seven vertical light blue panels, positioned side-by-side, displayed on a light mauve wall. Each panel contains a white circle positioned near its vertical center. Within each circle, the panel's canvas is stretched outward by a dowel.] -
Dr Andrew Torres, Teaching Artist leading a poetry class for Grade 8 students, 2022 -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [An assortment of artworks are seen in the large gallery space. On the left wall, a painting reading "NIGHTMARE" at a vertical angle with images of skulls, stars, and abstracted forms superimposed on top, as well as a framed painting to the right. In the center of the room is a gridded artwork with letters inside, a table behind displaying two ceramic works, and metal armatures with red, white, and blue wax candles spelling "LOVE." The space is divided by a row of columns with both framed and hung paintings behind.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures in blue morph suits engage in an argument, standing on either side of a wooden table with a fresnel lens as the tabletop. A third figure to the right films their encounter, while audience members watch in the background.] -
Installation view. Artists Space, 1983. Foreground: Jeff Koons. New Wet/Dry Triple Decker, 1982. Plexiglass, fluorescent light, new vacuum cleaners. 124 1/2 x 28 x 28 inches. [In the foreground is a set of vacuum cleaners on display vertically above each other on a plexiglass shelf rack with fluourescent lights underneath each one. Behind it on a wall is a Duratrans on a lightbox with text that reads: "New 100% Meri Ultra-lights" and a picture of a pack of ciagrettes appears next to the text. These works appear in a white-walled gallery space with a window in the far left back and a fluorescent light visible above.] -
Artists Draw. Installation view, Artists Space, 1979. [Four drawings are hung in a row on a white wall. The foremost depicts a man and a woman looking out a window through window blinds. The next depicts two men sitting at a table.] -
Drake Carr: Housecalls. Installation view, Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [Color image of a booth at an art fair. At the center of the image, there is a white wall with three works made out of cut-out panel. The one on the left is cut in the shape of curtains, which are yellow with pink ruffles. The work in the center is a male-presenting figure with one hand above its head, and the other one in its pocket. It's wearing a white jacket, black shorts, pink tights, and black shoes. The work on the right is a woman-presenting figure, with short blond hair. It has its arms crossed over the chest, and is dramatically looking up. It's wearing a black suit and a single red glove.] -
ART CLUB2000 Selections from ART CLUB2000 archive, 1992–1999 Image courtesy Artists Space, New York Photo: Filip Wolak [A view of multiple glass cases displaying archival images and documents.] -
Friends of Artists Space Annual Dinner, 2016. [A large room with numerous people seated at long, rectangular tables. Many are eating, talking, and drinking wine. Several waiters walk between the tables.] -
Leslie Thornton. Jennifer, Where Are You?, 1981. [A closeup of a young girl with dark hair and bangs, frowning as she applies red lipstick in a messy circle around her mouth.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a figure dressed in black performing in front of an audience in the background. The room is dark, with LED light sculptures made from dried SCOBY in the background. The figure sits on the floor, looking off to the right and holding a mask in front of their face.] -
Flyer for Segue Reading Series featuring Will Alexander & Mei-mei Berssenbrugge. Saturday, April 10, 2021, Artists Space. [Two hands hold an orange ball against a light orange background. The image is overlaid with text that reads, "the segue reading series / & artists space / present an online reading by / Will Alexander / & / Mei-mei Berssenbrugge / saturday, 4.10.21 / 5pm nyc time / $5 suggested donation / zoom id: 830 2698 4031] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, September 16, 2022 - December 3, 2022. Photo: Filip Wolak [Image of a gallery space with a metal locker, mirrored wooden base, and some tree stumps and plants. A large light and construction nets hang from the ceiling, and on the wall in the back a video is projected onto a screen.] -
Image provided by Gordon Hall. [In a grassy clearing in the shade of two green oak trees mostly obscuring the sky, the words “CENTER for EXPERIMENTAL LECTURES” are projected onto a small screen supported by a wooden frame held upright between leaning cinderblocks. Small monitor speakers are in the foreground on either side, one with a clamp light attached to it and a stack of books on top of it.] -
Young Fluxus. Installation view, Artists Space, 1982. [Detail of diamond-shaped sculpted object in its square container.] -
New Red Order with Maiingan “iNDiO1763” Wiikwedong, Gaile Pranckunaite, and Inpatient Press. Conscientious Conscripture, 2018 - Ongoing Polyester knit feather flag, polyester knit fabric step-and-repeat, table, tablecloth, chair, vinyl retractable banner, dibond print on easel, three televisions, red phone, newspaper box, and childrens activity book. Image courtesy Artists Space, New York Photo: Filip Wolak [A table with red cover that reads "NEW RED ORDER" sits in between three tv monitors. On either side of the tv monitors sits a banner and a newspaper dispenser.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit stands, their hands on their waist, and looks to the left. A figure behind them films them. Blue video footage is projected onto the back wall.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [Ten black and white photographs arranged in a rectangle on a white wall. The images show various scenes of assorted trash on streets.] -
Kent Monkman. Still from Dance to Miss Chief, 2010. [Two skewed images of Native American men holding drums on either side of a person in a sheer red dress and mask, posing for the camera.] -
-
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.] -
[A screenshot of the google images search results page for the query "a history of negations."] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three photographs are mounted next to one another on a colorful gallery wall, which is covered with a photo decal of a mosaic. Each of the photographs show different urban walls covered in grafitti. Graffiti on a city wall shown in the far right photograph reads, "pueblo nueva."] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two black monitors facing opposite directions sit on a large, rectangular wooden table. One screen is visible, showing an image of two hands holding a piece of white paper with typed text. In the background, a framed photograph is installed on a white gallery wall.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer playing the drums. Their eyes are closed and their mouth is open, they are wearing a black t-shirt and glasses. The face of the performer and the wall in the background are decorated with colorful pattern projections.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of two performers sitting on the ground in a dark venue space that is illuminated by deep red overhead lights. The performers are holding up clear, geometric objects against a neon yellow and blue projection on a wall.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space. Behind three dark columns a large vinyl printed with text is attached to the wall, falling to the ground on the left side. In the center a large grey table with four red chairs and stacks of yellow and grey posters is visible.] -
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.] -
Sherry Markovitz, Carmine, 1985. [A moose head with antlers is designed with a decorative flower pattern with a white background.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [The walls on either side of a large glass window have various ephemera hanging from them. On the ground stand four large humanoid costumes, with a TV monitor behind them.] -
-
Students creating prints at International Print Center NY, 2019 [Two people in aprons use a printmaker. One stands in the foreground, using the machine, while the other stands to the left in the background.] -
Portrait of Bill Gunn. [A person sits on a wooden chair and looks off into the distance. His right elbow rests on a table partially visible in the photograph.] -
-
Poor Man's Expression - Technology, Experimental Film, Conceptual Art, edited by Martin Ebner and Florian Zeyfang, published by Sternberg Press, 2011. [A book cover design displaying an image of a series of triangular shapes of varying colors arranged in an abstract comoposition. Some of the triangles are semi-transparent and are overlaid over others. Large block lettering situated above and below the composition reads, "POOR MAN'S EXPRESSION Technology, Experimental Film, Conceptual Art."] -
Min Joong Art. Installation view, Artists Space, 1988. [An image of an exhibition space with multiple walls in the foreground and background displaying art work.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in white, laying face down across two ledges of a raised desk.] -
Lyndon Barrois Jr., Guardians Gate (Farfanicchio), 2022; Masters of Fine Arts, 2011/2022. Wood, latex paint, antique brass elements, cast iron, oil paint, twigs, brass, burlap, packing felt; oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a door with multiple nested smaller doors within the doorframe. Each individual doorway is framed with a gold outline. To the left are several empty picture frames and two studio lights. In front of dark green curtains is a painting set in a gold frame.] -
Still from Shani Strand, No Telephone to Heaven (The Freedom of Unfreedom), 2023, 7 min 42 sec, Video and sound. [Two images are superimposed over each other. The background image features car lot with a sign reading "ZAKI'S AUTO." In the foreground two women wearing plastic masks dance horizontally while a third women, shown from the back, squats down.]
