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Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [In the foreground a musician is playing a clarinet, slightly bent forward. Behind them are two other performers on stage at rest. The wall behind is lit with soft green light and the lights from a disco ball.] -
H_edge. Installation view, Artists Space, 2006. Photo: Whitney Cox. [A large gallery space full of hundreds of metal cutouts shaped like curved "x"'s hanging from lengths of metal chainlinks. The cutouts are arranged in the gallery so that they form a hedge-like landscape of varying heights.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure in profile, seated behind a reed organ covered in a sheet of clear plastic. A clock sits on a music stand behind the organ. The figure reaches their arm under the plastic and holds the arm of the organ.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dark room with a screen projection showing an image of a man with a partially cut out button down shirt. The sleeves and top button are intact, with the chest and torso bare except for three elastic strips spaced out spanning the torso.] -
Jeff Koon. Installation view, Artists Space, 1983. [A black and white Duratrans on a lightbox of a portrait of a child holding a crayon with a box of crayons and a small book lie on a desk in front of them under their crossed arms. This is on a wall with the plug for the box coming from under the left side.] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [Color image of a performer captured in the middle of a bassoon performance. The musician stands in the middle of a crowd of seated guests who are observing her in a dimly lit performance venue.] -
Michael Asher, Untitled. Installation view, Artists Space, 1988. [In the corner of a room, close to the ceiling, is an industrial light fixture. The lightbulb is on and faces up towards the ceiling.] -
[An exhibition flyer featuring an image of a small fig tree growing in an interior space. Yellow text superimposed over the image lists the participating artists as well as dates for the opening event and gallery hours.] -
Flyer for Segue Reading Series featuring Ted Rees and Jean Day. January 21, 2023, Artists Space. [Purple and dark gray text overlay a light gray background with abstract patterns and a drawing of a male figure smoking a pipe in the bottom left corner. The text in the middle reads "Ted Rees / Segue Reading Series / Jean Day."] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A dimly lit, empty room filled with several low chairs. A projection illuminates a dark wall opposite the chairs. The projection displays an image of a figure, their index finger blotted purple, inserting a document written in Arabic into a machine.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two sculptures installed in a gallery space featuring rectangular sheets of laminated, paper rectangles held together by metal rings. The sheets are suspended at their four corners by metal poles mounted in silver buckets.] -
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Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space with two columns in the middle. Framed drawings depicting colorful abstract compositions hang on the white walls. Five of the drawings are made on black paper, and two on white paper.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of three wooden cafe chairs with green cushions. One chair is stacked upside down on another on the left, and two pillows with black backs and sequined gold-silver fronts are placed between the chair's upturned legs. Another pillow rests on the cushion of the chair on the right.] -
Exchange Show: Hallwalls, Buffalo, NY. Documentation of Opening Reception, Artists Space, 1976. Photos: Cindy Sherman. [Three black and white images arranged in a column. In the top photograph, a figure stands very close to a white wall. In the center photograph, a firue holds the sides of a their dark jacket, opening it up to reveal a white t-shirt. They stand next to a wall with three circular objects. The bottom photograph features a dog in the center foreground.] -
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.] -
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 wide angle image of a beige wall lined with multiple tv monitors and glass display cases filled with ephemera, hanging on the wall are four black and white contact sheets.] -
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.] -
Artists Performance Series. Installation view, Artists Space, 1977. [A black and white photograph of a gallery space. A chouch with two figures is visible in the lower left corner. On the walls, several framed works are hung, each with a grid of smaller black and white images.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[A brown and green object with a processing chip imbedded in its front sits on a white base. There is a battery with two wires sticking out the left side, and a small, silver crank device sitting on top.] -
Irving Sandler, Goodbye to Tenth Street (New York: Pleasure Boat Studio, 2018). [Cover of the novel Goodbye to Tenth Street, featuring a blue-toned image of a streetpost with a road sign for East 10th Street and a one-way sign.] -
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.] -
[Two Artists Space tote bags lay in the autumn grass. One is black with a white line drawing, the other is pink with a black bold graphic.] -
New Red Order Give it Back, detail, 2020 Acrylic LED displays with cut vinyl, water cooler, poster, couch, desk, chairs, magazine rack, The New Red Times Magazine, and three televisions. Image courtesy Artists Space, New York Photo: Filip Wolak [A close up image of a white building facade with numerous real estate listings lining the windows.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$3,500
[An object with tones of tan, blue, pink, and grey sits on a white base. A metal antenna extends out on a diagonal.] -
Still from video of Yasunao Tone performing Paramedia, Experimental Intermedia Foundation, 1990 [Color image of a figure looking to the left and leaning over a table filled with audio equipment. The figure holds sheets of paper with instructions, and manipulates an audio machine.] -
Artists Draw. Installation view, Artists Space, 1979. [Various drawings are hung up on white walls. The drawings consist of simple shapes and lines.] -
Tiffany Sia, In Plain Sight (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with eight photographs and print-outs hung on the walls next to a wooden bench. In the foreground, there is an orange LED light on the floor.] -
Yasunao Tone: Region of Paramedia. Installation view (Instrument for Aleitheia, 1987), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a piano. Six solenoids are placed along the piano's strings.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view (Kristan Kennedy, B.E.W.E.L.L.P.O.P.E.L., 2025; Pope.L, Maybe, 2009-2010), Artists Space, 2025. Photo: Carter Seddon [To the left sits a chair adorned in cloth and green onion. On the gallery wall is a square MDF wall with graddied sardine cans along in. On the floor in front of this MDF wall is an assortment of objects: bag, box, electrical cord, and more sardine cans.] -
Marian Zazeela, 19 XI 66/2, 1966, India ink on card. Courtesy of the artist. [Black-and-white drawing of a cluster of black curled lines organized into a square shape in the middle of a white page. Handwritten text in faint pencil along the bottom of the page reads "© Marian Zazeela 1988."] -
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.] -
Miyoko Ito, Heart of Hearts Basking, 1973. Oil on canvas, 44 x 31 7/8 inches. Courtesy Collection Matthew Marks Gallery. Photo: Daniel Peréz. [A painting with orange and neutral hues is hung on a white wall with nails around the perimeter of the canvas.] -
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Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space with two columns running across the room. On the left wall, four framed abstract drawings on black paper are displayed in a horizontal line. On the right wall, three framed abstract drawings on white paper are shown in a horizontal line.] -
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.] -
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.] -
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Dean Blunt, The Redeemer. [A cartoon outline of two hands pressed together.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [An audience looks at a mannequin on a table.] -
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.] -
Four Artists: An Exhibition of Painting and Sculpture. Installation View. Artists Space, 1985. [Paintings are hanging on walls in a white-walled gallery space with columns in the background.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a colorful background, with blue, pink, yellow and beige paper. Cut up pieces of beige paper are scattered throughout the image, and feature typewritten text listing the performers and event details.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls as guests enjoy the exhibition opening.] -
Isabelle Frances McGuire, The Death of a Giant, 2024. Photo: Carter Seddon. [A life-size foam sculpture of a naked human form in the likeness of Abraham Lincoln rests supine on a low white platform.] -
Pictured right:. Scott Burton. Pastoral Chair Tableau, 1971—74. From Scott Burton, Pamela Jenrette, Artists Space, 1975. [A dyptich of color photographs. The one on the left shows an empty alleyway. The one on the right shows six chairs in front of a blue curtain.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [Various objects sit on a concrete floor, including a miniature disco ball, a painted heart-shaped canvas, and a tangle of cords.] -
Flyer for Segue Reading Series featuring Benjamin Krusling & Momtaza Mehri. Saturday February 13, 2021, Artists Space. [[A tan colored background features black text in the top half of the image that reads, "Segue Reading Series / Benjamin Krusling & Momtaza Mehri / February 13 / 5pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."]] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Two figures on stilts appear in motion.] -
Flyer by Joe Frivaldi. [Magazine cut-outs featuring faces are overlayed on a pink background. Other cut-outs contain hand-written text that reads "Abasement 67" and lists the performers and date of the concert. Thin white lines are scribbled over the composition.] -
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."] -
Milford Graves: Fundamental Frequency. Installation view (ephemera c. 1965-1987), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a vitrine containing ephemeral material, including pamphlets, photographs, and a blue flyer.] -
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Jack Smith, Untitled (Plaster Foundation of Atlantis), 35mm slide, c. 1970. Copyright: Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels. [An assortment of fake flowers, tinsel, a disfigured mannequin's leg, used tissues, empty whiskey bottles, and other festive detritus.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Photographs hanging on walls in a gallery space with a doorway on the right.] -
Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [A black and white image of three figures. All three of them attentively look to the right of the image, towards the same direction. The figure in the center, holds a ladder, which has a projector taped to the top, with their right hand.] -
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.] -
Ken Okiishi, detail from Wish I Were Here, 1997 – 2001. Five archival inkjet prints. Courtesy the artist [Two small items in a white glossy frame, one is a photograph and the other a postcard. The photograph is a black and white image of a man standing, slightly hunched over, pasted on top of an image of a sailor. Beneath the photograph, a faded handwritten postcard reads in blue ink, "11 July 1997, Dear Cindy Sherman, I am lost - not physically, but emotionally. I am on a cruise ship to Greece with my straight best friend, who I am in love with. Acting like "The Girl" is getting me nowhere with him. Did it get you anywhere? Sincerely, Ken Okiishi."] -
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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.] -
Hannah Weiner, Book of Revelations, 1989, Pencil in altered book, dimensions variable [An image of a brightly photographed display case with a book which has been cut into in the center.] -
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage. The musician on the left is in profile, standing up, while playing the guitar. On the right side of the frame a musician is sitting down, out of focus, playing the drums.] -
Establishing Shot. Installation view, Artists Space, 2004. [A dim, twilight image of a city on a coastline. Bright, turquoise blue streetlights dot the photograph.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A metal plaque engraved with text is displayed on a white gallery wall that extends into the left half of the image's frame. Past and to the right of the wall, a series of colorful panels are staggered around a white column in front of a red wall. Some of the panels are decorated with cartoonish illustrations of animals and forests. Large text on one of the visible panels reads, "We're all going to really miss doing your work for you."] -
John Knight, The Right to Be Lazy, 2008. Hamburger Bahnhof Museum für Gegenwart, Berlin. [The façade of a large, stone museum. A cobblestone, roundabout path snakes in front of the museum, with a series of bushes and greenery planted in the middle of the roundabout.] -
Ei Arakawa. Social Muscle Rehab (early edit for exhibition), 2021. 5:19 minutes. With Dan Chen, Danielle A. Jackson, K.O. Nnamdie, Masako Shiba, Kenneth Teng, Ivanny Pagan, Britnie Williams. Camera by Lazar Bozic (Ortvi.com). Image courtesy Artists Space, New York. Photo: Filip Wolak [View of a florbound television screen and speaker next to a brown pole. The edge of a black net is visible on the left.] -
Young Fluxus. Installation view, Artists Space, 1982. [A number of sculpted objects lie suspended from the ceiling in front of a wall with other sculpted works and a nearby drawing is also visible.] -
Dayna Goldfine and Dan Geller, still from Kids of Survival: The Art and Life of Tim Rollins & K.O.S., 1996. 87 min. [Two people seated at a table covered with assorted art supplies. They talk to each other as they paint or prepare to draw.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [A black and white installation photo of a gallery space. An illuminated low pedastal on the floor holds a crescent shaped object.] -
Ei Arakawa: Social Muscle Rehab (outdoor performance). Performance documentation, October 16, 2021, Artists Space. Photo: Filip Wolak. [Tennis players stand in an alleyway, ready to hit balls from an automatic ballfeeder. A crowd watches intently in the background. Suspended above them the words "Social Muscle Rehab" are painted in white capitalized text on black and green signs.] -
[A man and woman hold hands while running, captured as though suspended above the ground. The woman pushes a red baby stroller in front of her. The scene is backlit, with the sun over a body of water behind them. On the upper right hand corner is the logo for "WeWork," offset on a diagonal.] -
David Gesualdi. Placeredii, 1987. [Black background with a white outline of an amorphous white figure.] -
Joel Katz, History Lessons, 1990. Installation view, Artists Space, 1990. [A photograph, taken from above, of rows of school desks facing a television with a map behind it.] -
[A posterr with the silhouette of a man in the middle, dressed like a cowboy. Before him appear blue scan-lines, as if on a television set, which are boxed off into several rectangles.] -
Anna Gili, Flower Dress, 1987. [A mostly nude woman with parts of her body obscured by plants and flowers. She holds her arms up, with a large plant sprig in each hand. She has a large stem woven through her hair, and a single flower held between her toes.] -
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Gary Falk, Brigid Kennedy, Ladd Kessler, Peggy Yunque. Installation view, Artists Space, 1981. [A dim photograph of mulitple sculptures placed in the exhibtion space. A couple of black curtains are hung in the gallery.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Two photographs are hanging next to each other on a wall.] -
New Galleries of the Lower East Side. Installation View. Artists Space, 1984. Photo: Kenji Fujita. [A view of a large window with the facade of other buildings, a restaurant is visible on the left. Graffiti text is visible above the length of the horizontal window and lights appear hanging from the ceiling directed to opposite sides.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a wire. In the base of the object, a processing chip is embedded.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [20 photographs arranged in 5 rows of 4 on a white wall. The photos show various shots taken under beds. There is descriptive wall text to the right of the photos.] -
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.] -
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Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of a installation and sound work. In the right foreground, two lab tables contain a lab equipment such as beakers, distilling chambers, jars, hot plate and two blenders. On the left midground, an antique cabinet with its doors open, reveals shelves and drawers filled with more lab equipment, such as a microscope and household items such as a dustpan. In the background, two box television screens sit on top of wooden lab tables. A posterboard with a periodic table rests on top of the televisions. Each "element" of the periodic table features a small lightbulb that glows.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Large black straps wrap around some cast-iron columns, an orange, slug skins covers one of the cast-iron columns and other large, orange slug forms interact with the white-walled gallery space in the background. A black table sits in the corner and a figurative painting of an upright shark is in the back left corner.] -
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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.] -
A Strategy Hinted At. Installation view, Artists Space, 1997. [A gallery space with a seat made from a wooden block in the center. On one wall, five artworks hang in a horizontal line. Several perpendicular walls emerge from the gallery wall to the right of the space. The perpendicular walls are arranged such that they create small booths, with a square hole in each wall.] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of a mixed media collage hanging on a gallery wall hanging opposite of four mixed media collaged in frames with a back-projected slide image of two faces centerd in the image with a dark curtain covering its surroundings.] -
Las Nietas de Nonó, Sala Portal Omi, 2022, dried vegetable leather, 3D animation, video landscapes, ambient sound, LED lighting, linoleum floor; Dimensions variable. Photo: Filip Wolak [A large gallery room's walls are painted black, with a black vinyl floor, and white ceiling. Along the walls are yellow and orange LED lighting sculptures that have dried vegetable leather stitched on top of the lights. In the corners of the room three TVs playing animations of rushing water are placed on top of each other.] -
Joseph Marioni. Installation view, Joseph Marioni, Andrew Ginzel, Barbara Schwartz, Artists Space, 1975. [A black and white photograph of a black square painting with a lighter border on the left and right sides.] -
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Amalle Dublon & Constantina Zavitsanos, Mach Zehnder Interferometer, 2018. [Detail view of an interferometer emitting a green light onto a white wall.] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [Musician holding a microphone stand with both hands. Their eyes are closed and they are wearing glasses. A blue guitar is around their body. The background and the musicians face are decorated with green, blue, red, and yellow abstract patterns.] -
Catalina Parra, Fosa común, 1984. Installation at Art Awareness Gallery, Lexington, New York, USA. Courtesy Archive, Catalina Parra, New York. [A woman uses a shovel to dig a shallow rectangular pit in a grassy field. Four burlap sacks filled with earth lay to the left side.] -
Ernest Silva, Artist's Suitcase, 1975. Installation view, Deborah S. Freedman, Judy Rifka, Ernest Silva, Artists Space, 1975. [A color photograph of an abstract painting, composed of curving blue, teal, purple and pink forms.] -
Scott Burton, Pastoral Chair Tableau, 1971 – 1974. [A stage set with a blue curtain, in front of which sit 6 chairs facing different directions.] -
Ann Goldstein has been a museum professional for over forty years. She currently serves as Deputy Director and Senior Curator at Large at the Art Institute of Chicago and on the board of directors and as President of the Michael Asher Foundation. Goldsstein joined the Art Institute in 2016 as Deputy Director, and Chair and Dittmer Curator of Modern and Contemporary Art. Prior to joining the museum, she served as Director of the Stedelijk Museum in Amsterdam from 2010–2013, and as Senior Curator at The Museum of Contemporary Art in Los Angeles (MOCA) from 1983–2009. She is recognized for such large-scale historical survey exhibitions as A Minimal Future? Art as Object 1958-1968, 1965-1975: Reconsidering the Object of Art, and A Forest of Signs: Art in the Crisis of Representation, as well as numerous solo exhibitions and projects over the years with Jo Baer, stanley brouwn, Judy Fiskin, Felix Gonzalez-Torres, Roni Horn, Richard Hunt, Mike Kelley, Martin Kippenberger, Barbara Kruger, William Leavitt, Steve McQueen, Cady Noland, Pope.L, Josephine Pryde, Nancy Rubins, Lawrence Weiner, and Christopher Wool, among others. In addition to the Asher Foundation, Goldstein serves as a member of The Felix Gonzalez-Torres Foundation Fellows Forum, on the board of trustees of the Richard Hunt Legacy Foundation, and as a member of the Serralves Museum Advisory Committee. In recognition of her work, the Center for Curatorial Studies at Bard College presented her with the Audrey Irmas Award for Curatorial Excellence in 2012. -
Ei Arakawa, Mega Please Draw Freely, 2021 (The artist wears Uniqlo Roger Federer). [A person in a red shirt, white cap, and multicolored pants smiles and poses with a tennis racquet, standing atop a large piece of paper with colorful drawings on it. In the background are people sitting on the ground and printed images of trees.] -
[Black and white image of an unmade bed under a wall covered with small images of people and idols.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color installation photograph of five chairs spread out in a gallery space bisected by two dark columns. The chairs have tv screens resting on their green cushions.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands in front of a seated audience. The figure on the right appears to read from a text propped on the stand, while the figure on the left looks towards the audience, speaking and gesturing towards them with one hand.] -
Ted Stamm, Blue Line Group, 1975. Installation view, Louisa Chase, Ted Stamm, Meryl Vladimer, Artists Space, 1975. [A black and white installation photograph of thirteen dark squares hung in a gallery space.] -
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[White text overlays a painting of a cityscape at night, which is predominantly black. The text reads: “Mar 23 / Dubravka Djuric / Fanny Howe" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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John Monti, Rocker Variation, 1991. [Two identical large wooden sculptures on a black and white checkered floor. The sculptures have rounded, semi-circle shaped bases with rectangular pieces set crosswise atop that.] -
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Alejandro Berlin, Artificial Spring, 1995. Balloons, artificial leaves, accordion bellows, wood, motor. [A sculpture resembling a pair of lungs installed on a white background. A stick covered with leaves forms the sculpture's treachea-like structure, while two bundles of uninflated, pink balloons form two lung-like shapes.] -
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Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall displaying nine framed photographs of people. In the foreground, there is a vitrine with papers encased in glass.] -
Jack Smith, Untitled, 35mm slide, c. 1980. Copyright: Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels. [A double exposure divides a photograph into two scenes. On the left, a man reclines against a floral patterned ground next to a tray with a lobster. The man on the right holds a pair of sunglasses in his right hand while gazing towards a drink on the table in front of him.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A figure facing a microphone looks upon a computer with audio software open.] -
Flyer for Segue Reading Series featuring Sueyeun Juliette Lee and Brian Teare. November 19, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Sueyeun Juliette Lee & Brian Teare / November 19, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519."] -
Friends of Artists Space Dinner 2024. Honoree LaToya Ruby Frazier. Photo: Joshua Wildman [LaToya Ruby Frazier smiles while seated at a dinner table, holding hands with someone whose body is out of frame. She wears an orange suit jacket, a purple collared shirt, and a pocket square bearing a print of various orange flowers.] -
Traci Tullius, Some People Never Learn, 2001. [A figure with long brown hair wearing a gray sweater over a light pink and white button-down shirt clenches their eyes shut as a red ball hits their face.] -
Goodman, Ken. [A sculpture is seen on the left leaning on a platform and on the right is a painter's palette lying next to it.] -
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Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space. [Close up detail of a sculpture composed of a large glass pane with a painted canvas installed in the pane's center. The back of the canvas faces the viewer, and faint words are penciled onto its surface. A golden tassle and necklce cluster and hang around the canvas' edge.] -
Cover of FWIW: Constantina Zavitsanos. -
Warnung vor einer heiligen Nutte (Beware of a Holy Whore). Dir. Rainer Werner Fassbinder. 1971. [Two men sit at a bar discreetly discussing an event that occurs off-screen. Two other men appear in the background, focused on a separate activity.] -
Jeff Francis, 1996. Photo: Gordon Munro. [A chandelier-like structure with clear crystals at its top and bottom, and green jewels arranged in increasing tiers at its center.] -
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Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure wearing blue clothing uses the body of another person beneath them to hold their weight up.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Stephen Sewell. [Three projected images illuminate three disparate walls of a darkened room. The image on the left wall is white, while the image on the far center wall shows a figure who appears to be singing against a blue and green background. The image on the right wall shows two figures wearing headphones with their backs turned from the viewer.] -
Untitled (Performance at Galleria L'Attico), 1974 35mm slide, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [A person, clad in a white jumpsuit and blue eye makeup, lies horizontally on the ground. Their top half body is visible in the bottom left corner. Next to them floats a handwritten thought bubble, which reads, "How can a queer escape the mocking laughter of wealthy normals if they visit his very rejection-sewer home to get art."] -
Alan Michelson. Permanent Title, 1993. Wax, muslin, charcoal. Overall: 144 x 144 x 9 in. (366 x 366 x 23 cm). Courtesy the artist. [Eleven brown bags of varying sizes are displayed on a wall, pinned so that their mouths hang open slightly. Charcoal rubbings on the bags trace out corporate logos and other words and phrases.] -
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In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Two newspaper clippings and a sheet of written correspondence are installed in black frames on a gallery wall above a small vitrine. The vitrine displays a series of open, vintage magazines.] -
Performance at Artists Space, 1980s [Five people dressed in white, carefully looking down and stepping around an otherwise empty room.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly-lit basement with various sculptures made of wood and fresnel lenses placed around the space. Contact microphones are attached to the fresnel lenses and audio wires wrap around the floor. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [A smooth, white branch extends up from the floor vertically. Behind it is a wall, papered with a pattern of tropical birds in trees on a white background.] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A small stack of papers sits on a white, square tile in a gallery space with wooden floors. Directly behind the stack of papers, a black couch sits back-to-back against a wooden reception desk and counter. Several framed and unframed drawings, photographs, tote bags, and posters hang on the wall behind the reception desk.] -
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.] -
Salad Days. Installation view, Artists Space, 2004. [A white wall with orange and yellow lollipops arranged in lines. In front of the wall is a small television on a white plinth.] -
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 [Four dynamic images of a group of individuals pinned by large push pins on a blue gallery wall.] -
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Milford Graves: Fundamental Frequency. Installation view (Chair, 1989; Untitled drawings, 2020), Artists Space, October 8, 2021 – January 8, 2022. Photo: Filip Wolak. [A color installation photograph of a gallery space, a painted wooden chair with an asymmetrical back is visible in the foreground. In the left background, two framed drawings hang from the wall.] -
The Founders Dinner, 2019. [A color photo of several individuals seated at banquet-style dining tables. Individuals are clapping and looking around the large reception space.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans their arms on top of a rolling table made of wood and fresnel lenses, pushing it toward another figure that stands in front of them filming them. In the background a third figure in a blue morph suit sits and leans down on top of a rectangular wooden frame. Blue footage is projected onto the back wall.] -
Caroline Key. Still from Speech Memory, 2007. 16mm film on video, color, sound; 23 minutes. Courtesy the artist. [White text on a black screen reads: “From there, he learned to speak in sign…”] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [An angled view of a display case containing several framed drawings. To the left of the display case, three vintage television sets rest a white support and play video footage. Framed documents and photographs hang along the back wall on either side of a doorway.] -
Still from The Last Days of Jack Sheppard (2009). [A animated cartoon in tones of black, blue, and grey depicting a silhouette of a prisoner with a chain on his leg and hands in the air, facing a large door with multiple locks.] -
S*an D. Henry Smith, stringency principle of the looking drum, presented at 47 Canal, New York, February 17, 2023. Photo: S*an D. Henry Smith [Photograph of a wooden table covered in a plethora of audio equipment, a tambourine, and wiring. Around the table are three microphone stands, that point at the empty space above a black chair behind the table. Next to the chair is a camera and tripod.] -
Tiffany Sia, Barriers Buy Time, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a bookshelf lined with books covered in silver mylar.] -
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[Pablo Picasso looking at an image of Joseph Stalin.] -
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.] -
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Laurie Hawkinson, CineTrain, 1986. [A black and white photograph of a linear model consisting of many elements.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work. A row of structural columns cut through the installation. In the foreground, a kinetic scutlpure featuring a sock being dipped into a pot sit on the floor next to a column. Behind the first column, two windows with images painted on the glass hang from the ceiling. Behind the windows, ceramic sculptures and kinetic sculptures featuring branches surround another column. To the right of the ceramic sculptures and branch sculptures, large paper-mache sculptures rest on the floor and hang on the walls. In the right forground, a large drawing done on craft paper featuring a cow hangs on the wall. In the background, two large drawings done on cardboard are hung from a wooden partition wall.] -
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.] -
Still from In It Together, Amelia Bande and Rachel Higgins, 2020 [In front of a pixelated red background, a yellow caption appears on top of a black bar that reads: “But whatever debt we’re in, whatever risks, we’re in together."] -
P.S. 140 students recording sounds at Tompkins Square Park, 2019 [A cropped image of a group of students smiling for the camera in Tompkins Square Park. One holds a recording device, which has been overlaid with an opaque orange image of a lampshade. Green digital circles emanate out from it, as if to simulate a doppler-effected sound] -
Tiffany Sia, The Bastard Scroll, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a long rectangular table and a black chair. On the table is a long sheet of white paper. In the corner hangs eight photographs and print-outs next to a wooden bench.] -
Mark Morrisroe. Still from Hello from Bertha (1983). [A person is seen in profile, speaking to someone out of frame. They are wearing a glittery gold top with a pink fur neckline and beaded necklaces of different colors. They have large flower-shaped earrings and colorful makeup, including blue, shiny eyeshadow. Their dark hair appears to be covered by a bleached wig.] -
Paul Lamantia. The Critic (A Portrait of Dennis Adrian), 1984. [Three figures with misshapen faces appear together in an surreal setting.] -
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.] -
Herman Wallace. Drawing. [A colored pencil rendering of a prison cell is contained inside a rectangular box with rounded edges, floating on a white lined sheet of paper. A pink heart in motion extends beyond the confines of the cell and onto lined paper.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Two figures standing behind a set of music stands. The figure on the left gazes downwards, while the figure on the right looks up, speaking. Her hands are raised by her torso in a gesture. Both figures wear dark clothing.] -
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Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A line of people marching forward hold up signs reading, "NO TAXATION WITHOUT ARTISTIC REPRESENTATION" and "FASCISM BEGINS WITH CENSORSHIP,' among other messages.] -
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Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A color installation photograph of a figure in front of a curved white wall in a gallery space.] -
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.] -
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_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. [Black text affixed to a white wall reads: "Christopher D'Arcangelo / Louise Lawler / Adrian Piper / Cindy Sherman."] -
Union Gaucha Productions Still from Totloop , 2003 16mm film (silent, color), 4 min 49 sec Collaboration with Fabio Kacero Courtesy of Union Gaucha Productions [An overexposed image of a person looking at the camera, their face partially obscured by the exposure.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Close-up color image of a persons hands on a red audio mixing device. Various blue and red cords stick out of the machine. A camera on a tripod sits on top of the machine. The background is blurred, with a few audience members visible. The scene is lit with soft pink light.] -
Amy Westpfhal, still from The Informational Cookie Project, 2006. [A figure in a white military uniform shirt approaches a group of women on a city street. She holds out a platter of small cookies wrapped in small plastic wrappers to one of the figures, who has taken the cookie, unwrapped it, and reads a small note attached to it.] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure stands on the stage with a mic, speaking to the crowd.] -
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.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A TV monitor is displayed left of center on a white wall plastered with black-and-white posters that read, "Wanted, wee willy," and two large "e"s. To the right behind a doorway, large beanbags sit infront of bookshelves.]
