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Murray Reich. Zapping for Zeke, 1988. [A red grid of punched-out circles overlays a background of yellow, orange, white, and black rectangles.] -
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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 long rectangular table and chair in the background. In the foreground is a bookshelf with a row of books with silver covers.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a performer dressed in white, kneeling on all fours. A bright light from their pelvic area shines onto the floor, as viewers stand around the figure.] -
Aristotelis Nikolas Mochloulis, Aristotelis Nikolas Mochloulis, 2025. Marionette. Photo: Carter Seddon. [A marionette wearing a black suit, collared shirt, and white Nike Air Force 1s is positioned laying prone on a windowsill. Red curtains cover half of the window behind the marionette. In the corner, a small stage lights is directed at the marionette. Outside of the window is an alleyway with graffiti.] -
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Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage behind a music stand.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A cylindrical lamp with cutouts in various shapes projects a shadow on white walls. The lamp sits on a white base, surrounded by three circular floor cushions. On the far wall, there is a mounted television screen showing white text.] -
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.] -
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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] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A man stands at a copy machine with the hood lifted and its light on. On a wall directly behind the copy machine, black fabric hangs from a small, horizontal pole to the right of the standing figure.] -
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 three tv monitors on a wall with vinyl lettering that reads "New Red Order", in the right corner is a water cooler.] -
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Richard Prince, Oedipus Schmedipus, 1994, Screenprint on white T-shirt Stretched over canvas in white lacquer frame, 25 1/4 x 19 1/2 in (64.1 x 49.5 cm), Edition of 26, Signed & numbered. [The image shows a white t-shirt in a frame with text printed on top in a wavy text that says, "A mother is having a very tense relationship / with her fourteen year old son. Screaming and / fighting are constantly going on in the house. / She finally brings him to a psychoanalyst. After / two sessions, the doctor calls the mother into / the office. / "Your son," he tells her, "has an Oedipus / complex." / "Oedipus, Schmedipus," the woman answers. / "as long as he loves his mother."] -
Immanent Madness. Installation View. Artists Space, 1985-86. [Drawing of an axe attached to a tree branch. Line of the paper visible in the background. Written on upper left: "Forest/Nesescity". Written on the upper right: "Oct 31, 1985. G.W." Written on the bottom: "Axe-Tree. "Tranquility vs. Self Preservation = Survivor.""] -
Union Gaucha Productions in collaboration with Fabio Kacero. Still from Totloop, 2003. 16mm film (silent, color), 4 min 49 sec. Courtesy of Union Gaucha Productions. [A still from Totloop, set during the twilight, featuring an empty model house being lit on fire, with a small tree visible to its left.] -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A band of three performers plays on stage. From left to right, the performers play: a guitar, drums, and a violin. The room and stage are bathed in blue, pink, and orange light created by a live video projection of the performance.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Close-up color image of a performer sitting on stage facing a laptop. The room is dark, lit with blue light and patches of rainbow abstract projections. There are white dots on the back walls reflecting from a disco ball. The performers face is lit up, they are wearing glasses and their hands are on the table.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls to the left and right.] -
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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.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A shallow white cylinder sitting on a dark wooden floor. A small green light glows from inside the cylinder.] -
Flipside. Installation view, Artists Space, 2004. [Two white walls meeting in a corner. The wall on the right has three large black and white photographs of people on winter streets with their small dogs. The wall on the left features a canvas covered in a red, green, and peach colored plaid pattern.] -
Aristotelis Nikolas Mochloulis, Frog Man & Baby Frog, 2025. Michigan J. Frog plushies, miniature directors chairs, ARRI 150 Junior light, Manfrotto Nano light stand, speakers, audio excerpts from movies. Photo: Carter Seddon. [Two pieces of wood are joined to create a miniature stage set. In the center, sitting in a miniature director's chair are two cartoon frog plushies wearing black top hats. The larger frog plushy cradles the smaller frog in it's arms. Two more director's chairs are positioned facing the plushies, along with a miniature stage light and stand that shines a spotlight on the plushies.] -
Drake Carr: Housecalls. Installation view, Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [A color image of a room with white walls and pink carpet. A large painting depicting multiple fish leans on the left wall, along with a white canvas, and a cut-out of the picture of a potted plant. Across the room, a white table, a white lamp, a wooden easel and cushioned chair can be seen. Five colorful drawings of different sizes hang and lean on the back wall. A cut-out of a photograph of a piano with some sheet music hangs on the right wall.] -
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[An image of rocks, trees and coastline overlooking a large body of water. Collaged on top of the photograph are cutouts of flowers, carved stones, and a mosaic. Gray text gives details about a virtual reading event, with zoom meeting information written in yellow at the bottom.] -
KH Hödicke Magic Window Cleaner II , 1967 80 copies + 40 artists proofs, signed and numbered screen print on Plexiglas, 83 x 59 cm Courtesy of Edition Block, Berlin [A red image, portraying a window squeege at the bottom left of frame, of which the section of it's width above is a darker red.] -
Dies alles Herzchen wird einmal dir gehören (All This Darling Will Once Belong To You). Performance organized by Paul Maenz and Peter Roehr, Galerie Dorothea Loehr, September 9, 1967. DVD transfer, 6 mins, 55 secs. [Black and white image of a crowd of people gathered in a large open space. Several hollow, metal sculptures composed of geometric components are installed in the space. Some performers interact with the sculptures—one figure walks across one of the metal forms that lays on the ground.] -
Caitlin Keogh, Interiors, 2016, Silkscreen on paper, 24 x 18 in / 61 x 45,7 cm, Signed and Numbered. [A graphic illustration of a headless female mannequin is seated against a checkered background. Her arms suggest the motion of tightening a sash around her waist, but the implied fabric around her body is missing from the image, leaving an empty space that divides her body in two halves.] -
Other Minds, San Francisco. Photo: John Fago [Black-and-white photograph of a figure, walking in the middle of the frame between two sets of suspended wires that run from across the room. The figures hands manipulate the wires on each side of them.] -
David Armstrong, Enrique, 2003, Silver Gelatin Print. © David Armstrong; Courtesy of the David Armstrong Estate -
Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon [Three works are seen in the gallery space. To the far left, five rectangular wooden boards stand stacked on top of each other. Central is a tall box made of similar wood boards. To the right sits an eagle-headed sculpture and an object resembling a modem. ] -
New Red Order, still from CULTURE CAPTURE: TERMINAL ADDITION, 2019. [A figure wearing a black, puffy coat and a white, waxy mask that covers their entire head stands beside a stone structure with an illegible inscription. Their hand rests on the stone next to a small, spherical surveillance camera as they look off into the distance.] -
Sistema Sandinista de Television. Still from Aqui En Esta Esquina (Here On This Corner), 1983. Video (sound, black and white). 30 minutes (excerpted). Spanish with English subtitles. [Two shirtless boys stand in front of each other, one with their back toward the viewer and the other facing the viewer. A partial view of taller figure is in the right side of the image and a crowd is seen seated in the background. Scan lines in the image and the outer box of a CRT monitor are visible.] -
Union Gaucha Productions. Still from A Vida de Infra - Tunga, 1999. 16mm film (sound, black and white), 10 min 17 sec. Courtesy of Union Gaucha Productions. [A black and white close of of a person, with slightly scraggly hair and amblyopia, looking into the camera.] -
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Neraldo de la Paz. Melania's Thigh, 1982. [A small constructed dancing figurine appears on a pedestal with light shining on it from the right creating a shadow on its left.] -
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Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A two-toned wall with three paper collages hanging next to a niche that houses a red elevator. Vinyl text displayed on the wall above the niche reads, "Jack Smith, Art Crust of Spirtual Oasis, June 22 - September 9."] -
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, a figure holding a video camera with a rig on their shoulder takes footage of the back wall, which has blue and purple light projected onto it.] -
Jenny Holzer. Poster, 1982. [Magenta pink background with black text that reads, "YOU GET AMAZING SENSATIONS FROM GUNS. YOU GET RESULTS FROM GUNS. MAN IS AN AGRESSIVE ANIMAL; YOU HAVE TO HAVE A GOOD OFFENSE AND A GOOD DEFENSE. TOO MANY CITIZENS THINK THEY ARE HELPLESS. THEY LEAVE EVERYTHING TO THE AUTHORITIES AND THIS CAUSES CORRUPTION. RESPONSIBILITY SHOULD GO BACK WHERE IT BELONGS. IT IS YOUR LIFE SO TAKE CONTROL AND FEEL VITAL. THERE MAY BE SOME ACCIDENTS ALONG THE PATH TO SELF-EXPRESSION AND SELF DETERMINATION. SOME INNOCENT PEOPLE WILL BE HURT. HOWEVER, G-U-N SPELLS PRIDE TO THE STRONG, SAFETY TO THE WEAK AND HOPE TO THE HOPELESS. GUNS MAKE WRONG RIGHT FAST."] -
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Split/Vision. Installation View. Artists Space, 1985-86. [A number of framed images appear on the wall, on the left there is an organized section of 16 and 8 are hung horizontally next to that grouping.] -
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[White text overlays a painting of a cityscape at night, which is predominantly black. The text reads: “Feb 24 / Alexandra Auder / Stephanie LaCava" 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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Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of small photographs with wide white matting, affixed in a grid formation on a wall in a gallery.] -
[A digitially generated image of a series of curved, x-shaped cutouts stacked one on top of the other in long rows. The rows are clustered around white text that reads "h-edge." The shadows of the cutouts are visible on the ground directly below the text.] -
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.] -
Benje LaRico. Goa VI, 1987. Enamel, Plastic, Wood, Wallpaper on plywood. 52 inches x 8.5 inches x 1 inch. -
Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Several sculptures and models sit in a gallery space with wooden floors. To the left of the image, there are several shining metalic forms supported by long, spider-like legs standing at hip height. On the image's right is a large model of a futuristic building. Hanging from the ceiling behind the metal sculptures is a shiny, white rectangular sculpture with sleek, ribbon-like forms.] -
Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A drawing of various nude human figures appearing in space with a white background.] -
[Catalogue cover design featuring a black and white photograph of a series of animal skulls arranged on a back backdrop. The skulls vary in size and shape, and many have large, fang-like teeth. Small white text running along the cover's lower edge reads, "reconstructions Jim Rittimann march 14 - may 4, 1991 Artists Space."] -
Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of three individuals captured amidst lively conversation. Two individuals in the group have their backs facing the camera, attention focused on a woman in the center. A variety of party guests seated at different tables in an elegant venue can be seen in the background.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space featuring two large windows on the left and a row of dark metal columns in the center. A pile of grey posters, a table with red chairs, hanging framed images, and blue posters are visible in the space. A large grey and yellow vinyl partially hangs from the wall on the right, cascading down to the ground in the far right corner.] -
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.] -
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[Black text overlays a color-scheme grid background. The text reads: “Jan 6 / Pierre Joris / Tyrone Williams." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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.] -
Still from The Last Days of Jack Sheppard (2009). [Two men in powdered wigs and colonial dress, surrounded by pieces of paper fluttering in the air and on the ground.] -
Bookstore at 55 Walker Street. [A photo of the bookstore at 55 Walker Street - the front half is a bookstore, while the back half is an empty exhibition/performance space. Both have white walls and a light wood floor. They are divided by a temporary wall with a large doorway, which leaves a large gap between the top of the temporary wall and the ceiling. The back half is empty, with windows letting in light on the furthest wall. The front half has bookshelves adorning the walls, with a lower shelf to keep some books on display. A red pipe runs floor-to-ceiling between two columns of shelves.] -
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 aviators, talking to a soldier.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A large decorative panel painting with sculptural elements hangs on the back wall adjacent to photographic images on the wall. In between two columns are two glass covered cases.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging in a white-walled gallery space.] -
Hito Steyerl. Still from Liquidity, Inc., 2014. HD video with sound, 30 minutes. [A video projection playing in a blue lit room with a large curved surface for viewing.] -
Cheyney Thompson, Untitled, 2015, Offset and metal powders in acrylic binder on synthetic paper, with handwriting, 22 ½ x 19 in / 57,2 x 48,3 cm, Each unique with hand notation [An abstract, gestural drawing in neutral tones, with the names of metal elements at the bottom of the page.] -
Salad Days. Installation view, Artists Space, 2004. [A black converse shoe with a white sock. Extending out of the shoe is a white plastic false shin with a metal bone coming out of the top.] -
Laurie Hawkinson, CineTrain, 1986. [A black and white photograph of a linear model consisting of many elements.] -
Maltz, Russell. 1979. [A drained inground swimming pool surrounded by greenery.] -
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Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A diptych drawing of one figure sitting cross-legged on the left and another figure lying down next to flowers in a vase depicted on the right.] -
Metaphysical Visions. Installation view, Artists Space, 1989. [An abstract sculpture made of sticks, cords, and a textile sits in the center of a gallery space. Three large paintings hang on the walls around it, all blending abstract, painterly designs with latin text.] -
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.] -
[An anatomical, drawn figure of the interior of a human ear. Small lines of serif text placed below the image label the various parts and nerves on the ear, which are labeled with corresponding numbers on the drawing.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a black display case depicting an image of woman printed on a white cloth, with the title *2000 WASTED YEARS*. She is sitting down in an antique chair, one foot up, wearing a full-body black-and-white suit adorned with black English and Japanese lettering.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [Six monitors in a row are lined up in the middle of a floating bookshelf, displaying stills from the film. On the left corner of the image, a desk holds long slips of black paper with white text on it, curled and intertwined, resembling film strips.] -
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Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [An illuminated performer sings into a microphone. ] -
![[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.”]] -
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The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A television sits on the floor, encaged by a wooden structure extending at an angle into the air. On the walls opposite, there are assorted photographs of varying sizes, showing primarily landscapes.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Gray silhouettes are displayed on adjacent walls. Miscellaneous items are displayed on gray tables. A microphone and its extended wire lays on the floor in front of a speaker.] -
Ilana Halperin: Physical Geology (slow time). Installation view, Artists Space, 2009. [Protruding clusters of dots and triangles form designs in a gray surface.] -
Paintings by Fontaine Dunn. From Gary Bower, Fontaine Dunn, Hermine Ford, Artists Space, 1976. [A color installation image of a gallery space. Several small canvases painted with geometric forms are hung on the walls.] -
[White text overlays an image of a puddle surrounded by soil and grass. The text reads: “May 13 / Ksenia M. Soboleva / Wendy Vogel." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Establishing Shot. Installation view, Artists Space, 2004. [A large space with a wooden floor and white walls. On one wall is a black and white floorplan with 3D structures. On the other wall, there are a series of photographs with several small street signs arranged in a clump. To the right of that, there is a block of wall text with four frames below. Two of the frames hold *Time Magazine* covers.] -
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Spring Exhibitions. Installation view, Artists Space, 2009. [Two black plinths stand in the center of an otherwise empty room. Each has a glass-encased top protecting a patch of grass, lit from below by a white light.] -
Visit to Artists Space to see exhibition Zoo or an Orchestra, Char Jaré, 2024 -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space. On the left, a large piece of grey and white vinyl hangs from the wall. A row of dark metal columns occupies the center of the space, extending back to a perpendicular section of grey metal scaffolding. On the right of the space there is a large grey table with four red chairs. The table holds a stack of yellow posters and two smaller stacks of grey handouts. The wall on the right has a large window and a blue poster.] -
Trip to Artists Space to see fwiw Constantina Zavitsanos exhibition, 2024 -
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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.] -
Lonnie Holley with his painting The Hand of My Grandfather (1984), 1987. Photo: William Arnett. © Lonnie Holley / Artists Rights Society (ARS), New York. Courtesy of the artist and BLUM Los Angeles, Tokyo, New York -
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.] -
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.] -
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. ] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [A display case holding an assortment of artist memoriabilia from letters, art objects, paintings, books, and zines. To the left of the display case is metal, grocery divider hung on the wall, and to the left of this is a framed painting illustrating an array of characters. On the wall above is vinyl lettering that reads "LIFE — a group show."] -
Cosima von Bonin, Le Chic, 2023. Photo: Filip Wolak. [Color image of two replica rockets, created from wood and white and red enamel paint over top. They are placed on a small white platform.] -
Photo: Reilly Horan [The artist devynn emory in their grandmother's fleece jacket covered in polar bears, standing in front of a silver sterile table. In the background is collaborator Joseph and cinematographer Jorge discussing where the ancestor forms draped in yellow fabric should be placed.] -
Developing cyanotypes, 2022 -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A grid of four drawings on paper displayed on a light, mauve-colored wall. The drawings contain organic shapes and linework depicting abstract forms.] -
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."] -
Artists Draw. Installation view, Artists Space, 1979. [A drawing of a man's head cut off at the neck with horns made of hair. Text along the top reads "flames of genius."] -
Diane Tallan, Royal Flush, Baby!, c. 1977. Acrylic, glitter, canvas, deciban. 9x13 inches. [A black and white photograph of a sculptural hand of cards with a ten, jack, queen, and king of diamonds. The piece is placed over a brick surface.] -
Ritsuko Taho, Untitled, 1985. [A black and white photograph of two constructed shoe-like objects on small constructed shape sitting on the grass in a foresty area.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure in a red sweater and a black bowler hat stands behind three microphones, speaking into them.] -
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Abstraction in Process. Installation view, Artists Space, March 26, 1987 - May 2, 1987. [On the right abstract paintings on rectangular wooden blocks, a column bisects the frame centrally and painted wood constructions are visible on the walls in the background in a white-walled gallery setting.] -
Eileen Gray. E. 1027, 1926-29. Interior [Black-and-white photo of the interior of a house, with several paintings, a round and square rug, and two armchairs, of various styles considered modern around the early 20th century.] -
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Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
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LIFE—a group show, curated by Arnold J. Kemp. Installation view (Catherine Sullivan in collaboration with George Lewis and Sean Griffin, Afterword via Fantasia, 2015; Nick Raffel, No title, 2025), Artists Space, 2025. Photo: Carter Seddon [On the left gallery wall is a sheet of paper listing the credits of Catherine Sullivan's film "Afterword Via Fantasia." On the right gallery wall is a still image from this film featuring Pope L wearing a suit.] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [A performer is surrounded by equipment, playing on stage. The stage is bathed in green and blue light patterns created by a projection.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A performer sings and plays the keyboard on stage, facing an audience. The performer is lit by a spotlight, and the audience is bathed in a red and blue light. ] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the saxophone on a stage.] -
Charlotte Posenenske. Configured by the staff of Artists Space. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor in front of a large, light-filled window. The sculpture is modular, hollow, and consists of rectangular and triangular metal components. Two vent-like openings in the sculpture face the viewer, while the opposite side of the sculpture bends towards the gallery window.] -
Gregg Powell, video still, c. 1977. [A black and white image of a figure in a field, they bend at the waist and place their hands on their knees.] -
Jana Euler, Unstretched, bound, outside mission, 2020, acrylic on linen, bubble wrap, ratchet strap, chicken wire, dimensions variable. Photo: Daniel Pérez [A large, orange and brown stuffed slug sculpture is strapped around a Greco-Roman style columns on the facade of a cast iron building. The slug’s antennae points upwards.] -
Entrance to Marble Cemetery. © Paula Court Photography, 2018. [A black metal gate with raised letters that read "New York Marble Cemetery, Incorporated 1831" with several inflatable lobsters attached to the gate.] -
Kelly Poe, Untitled (Chaemaea fasciata, Wrentit caught in mist net. Monitoring Avian Productivity Survivorship, Canada Gobernadora, Rancho Mission Viejo, California), 2003. Courtesy the artist and Anna Helwing Gallery, Los Angeles. [A small grey bird with its head and feet caught in a net.] -
Heather Rowe, A Careful Arrangement, 2008, Archival pigment inkjet and silkscreen on Somerset velvet paper, Image size: 12-1/2 x 13 inches (31.8 x 33 cm) Paper size: 21-3/4 x 17 inches (55.2 x 43.2 cm), Edition of 25 + 8 AP. [The photograph shows an ornate room decorated symmetrically with couches on the left and right of the image and a fireplace at the back flanked by two windows. Overlayed on top of the image is a series of black squares and rectangles that overlap each other.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Framed works on paper hang on a white gallery wall. Some feature large circles composed of smaller ornamental swooping lines. Others feature abstract calligraphic strokes that resemble text.] -
Christopher Wool, untitled (wool poster between bridges), 2020, 23.5 x 16.5 inches [A black and white image featuring a large, dark shape that resembles a plus sign. The plus sign sits at the center of a white backdrop covered by various irregular markings, including a large ink blot and print markings. While the surface of the plus sign is opaque, the background markings are slightly transparent. Small black text placed at the image's lower left corner reads, "2020Solidarity - Christopher Wool," while text placed at the image's lower right corner reads, "A project by Between Bridges."] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dimmed room with three projections, one casting purple light, the other two depicting stills of shorelines. In the corner, a small, round seat is visible.] -
Charles Simonds. Still from Mythologies, 1974. From Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A black and white film still of two figures on a sidewalk, one stands against a stone wall looking through a small opening in the stone.] -
Robert Gero, Untitled, 1989. Corn, copper, tar. [A rectangular column against a white background. The bottom segment is covered in corn kernals, then there is a layer of black tar, and the top is a cube of copper.] -
Exterior of exhibition invitation. International Art Exhibition for Palestine. Beirut, 1978. Courtesy Mona Saudi. [A flyer with an abstract, colorful artwork on the left and exhibition information on the right.] -
Rita McBride, General Growth, 1991. [A black and white photograph of a large convex panel strapped to a white column, its circular side extending out into an empty room.] -
Frank Dimario, Octavius Neveaux. [A yellow print of a person with glasses leaning over and looking forward. Next to him is another person, his hands holding his chest, looking down.] -
Abasement #86. Performance documentation, April 6th, 2026, Artists Space. Photo: Joshua Wildman. [A performer, wearing a bright headlamp, plays a theremin on stage next to a table of musical equipment. ] -
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.] -
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Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [The title TIME // TIME is written centered on a white wall. To the right, a white shelf displays objects and a colorful poster of Ernie Kovacs.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to each other, the left one depicting a lush mountain view in hues of burgundy, green, and blue, and the right one depicting a vertical slit in the ground, slightly parted, revealing a light brown interior crust surrounded by a dark, rippled exterior.] -
[A woman dressed in a suit sits among clouds in a blue sky, smiling, with six arms. Each hand is holding two phones, an alarm clock, globe, laptop, and folder.] -
Tiffany Sia, The Bastard Scroll (detail view), 2021. Photo: Filip Wolak [A photograph of a black table next to a black chair. The end of a long sheet of white paper on the table rests on the chair.] -
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Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Three figures adorning firefighter costumes pass white buckets back and forth while being menaced from above by a figure wearing a wig.] -
Renee Gladman, Black Wandering, 2022, oil pastel, pigment, and gouache on paper, 30 x 44 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [An abstract drawing consisting of two white circles and two grey rectangles, from where lines and shapes emerge. Blurred white lines, and illegible text complement the composition. On both sides, green strokes, and a continuous white line create other abstract figures.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A room with white walls, with two windows on the back wall with shades pulled halfway down. The wall to the left of the windows has three framed photographs, and a white plinth with a glass top. In front of the windows, a television on a low table faces sideways toward a low black couch. On the far right side, a protruding corner of a wall has white text projected on it reading "cupholder mount vaio."] -
[A circular shape with a textured fill on a blue background.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak [A color image of a gallery space. A freestanding white wall runs perpendicular into an existing white wall. On the right side, projected onto the existing wall, is a black and white image of a spoon resting next to a bowl of water. To the left of the projected image is a single black frame containing a black and white photograph, hung above a small floating vitrine. Installed in a single row on the freestanding wall, is a series of seven black and white photographs housed in black frames. Behind the freestanding walls, a sliver of window that faces the street outside is visible. Contained within the four transom windows are black and white enlargements of a white man smoking and blowing smoke rings. ] -
Michael Kalil, an analytical study for Osmotic Membrane (detail), 1986. [Drawing of a globe figure bisected with long vertical rectangle, overlaid with line grid.] -
Eniya Alonzia, The Sky, 2018. [A skewed black-and-white image looking up at the façade of a building and the sky. An LED sign spelling "DINER" hangs from the left side of the building.] -
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.] -
Joan Jonas, Night Light, 2013, Steel and LEDs, 37 x 15 x 10 inches (94 x 38 x 25 cm), Edition of 10 + 1 AP, Signed certificate. [The photo shows steel rods that make a curved pyramid shape laying on its side with an LED light-strip running along one of the rods. The sculpture lies on a wooden floor against a white wall.] -
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.] -
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.] -
Jim Hodges, Untitled, 1999, Etching and aquatint with chine-collé, 22 x 30 inches (55.9 x 76.2 cm), Edition of 30, Signed & numbered. [A white image with a faint grey line that bisects the page lengthwise. In small text, the word "with" Iies at the center of the image.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [An audience observes two performers playing a keyboard and a bass on stage. The performers are seated at an angle towards each other, and the stage is bathed in orange light and blue cloud-like patterns. ] -
Miyoko Ito at the opening of Miyoko Ito: A Review, The Renaissance Society at the University of Chicago, 1980. [Faded photograph of artist Miyoko Ito standing with her arms crossed in front of two of her paintings.] -
[White text overlays a background of a close-up picture of grass and grey rocks. The text reads: “April 15 / hannah baer / Early Shinada." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Everything is common. Installation view, Artists Space, 2022. Photo: Steven Cottingham. [Color photograph of a gallery installation view. Two walls converge in a corner: on the left wall is a larger, colorful painting with a smaller one to its right. On the right wall, there is one smaller painting and one black and white image under plexiglass.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo: Jean Vong. [A framed, oval-shaped painting of a man and a conical plant sculpture decorated with hanging crepe paper tassels are displayed in a gallery.] -
Critical Art Ensemble, Disturbances (London: Four Corners Books, 2012). [The front and back cover of a book; on the front, the title in white and red - on the back, two people in hazmat suits walking through a foggy field.] -
[An orange-tinted image of a woman partially obscured by a table full of electronic equipment and a large plant.] -
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Collaborative team working on chandelier, 2018 [Two girls stand, cutting threads, while working on a handmade chandelier. The chandelier has a small number of flower petals, with a purple rose in the center] -
New Red Order Cover the Earth, detail, 2021 Painted mural with cut vinyl, dibond prints, kiddie pool, sod, inflatable alligator, turtle sandbox, beach towels, towel racks, beach balls, beach chairs, beach umbrella, real estate lawn sign, cooler, and pool noodles. Photo: Filip Wolak [An image of a multicolored exhibition space consisting of beach paraphernalia, a real estate lawn sign, and a mural wall collaged with images and drawings.] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery space with white walls. Two vitrines are built out of the walls, and contain various ephemera. Above the left vitrine hang black-and-white photographs. Above the right vitrine, placed over a window, is a blown-up image of a man kneeling with his head to the floor.] -
Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of four individuals crowded together as they look at something on a cellphone. Two individuals in the group are seated at a dinner table, where other guests are also engaged in conversation. A dimly lit and elegant venue full of other individuals can be seen in the background.] -
Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. [Solo performer on stage behind a table of electronic instruments with a large speaker to their right. The walls and musician are covered with pink and purple patterned projections. A group of audience members are visible in the foreground.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a glass display case, above which several drawings hang from the wall.] -
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Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A series of photographs are installed on a white gallery wall above a series of pipes that run horizontally along the wall. The photographs depict figures superimposed by saturated imagery.] -
[A figure with dark, short hair wearing a brown shirt and white pants looks into the viewfinder of a large videocamera. They appear to stand on a precipice above the ocean, and their camera is aimed at the water below them.] -
Untitled, c. 1970s, 35mm slide, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [Two people in a mountainous, desert location face each other. One, dressed in an orange and green cloak, sits at a green desk. The other is posed with a mirror aimed at the clear sky.] -
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 "replace frony" and "Keep 1st amendment, stop helms," among other phrases.]
![[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)
