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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.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [An image of a shoreline is projected on a trifold screen.] -
Hito Steyerl, excerpt from, Liquidity, Inc., 2014 HD video with sound, 30 mins Courtesy of the artist and Andrew Kreps, New York [A moving image of a computer generated ocean horizon line that pixelates into a recorded video of a real ocean horizon.] -
[A scan of an invoice from Corcraft, issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details the purchase of a two oak court benches, totalling to $1309.00.] -
Hunter Reynolds, Patina du Prey’s Memorial Dress: 1997 to 2007. Historical performance documentation. Photo: Maxine Henryson. [A portrait of a heavily made-up standing person in a ballgown with outstretched arms in black evening gloves. The dark ballgown has rows of light names on it.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [Five flower arrangements sit side-by-side on a gallery floor. The flowers have been arranged such that they form the shape of four italicized, lowercase letters and a period. From left to right, the arrangements spell "abbr." White flowers form the letters' shapes, while green leaves frame the flowers.] -
Local Transit. Installation view, Artists Space, 2006. [A corner made by two white walls. One wall has four framed images of yellow amorphus shapes on different backrounds, arranged in a horizontal line. The other wall has three framed images, one hung by itself and the other two stacked vertically.] -
Frederick Weston, SoBar, 2018. Collage. [Collage featuring a color image of the Mr. Peanut brand logo surrounded by black-and-white imagery, including a boy carrying a bindle.] -
Gerhard Richter Volker Bradke , December 13, 1966 From the exhibition Hommage an Schmela (Homage to Schmela), December 9 – 15, 1966. Galerie Schmela, Düsseldorf Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of four people, one sitting, three standing in a patterned room displaying a large photograph on the left wall. On the right wall, two men stand underneath large block text, that reads, "Volker Bradk."] -
Robert Gero, Untitled, 1989. Sandstone, salt, aluminum, 60 x 9 x 9 inches. [A rectangular column of rough, brown material is capped by a smooth cube of white stone.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [An angled view of a freestanding white wall displaying vinyl wall text in an exhibition space. The first sentence of the text reads, "A plea for funds seems to come again." An adjacent wall is covered with a large, abstract image of a figure's portrait. It is rendered such that the figure's face appears to be emerging from a cloud in a night sky.] -
Willie Cole A.R.T. (in the new world order), 1994, Oilstick on framed blackboard, 18 x 24 inches (45.7 x 61 cm), Signed & numbered. [A black chalk board displays various words written in white chalk. The word "ART" in all caps boldly appears as a header and twelve additional words are written below. Four words are crossed out with red chalk.] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [A black and white image of three people wearing winter coats and scarves, observing something to the left of the camera.] -
Wolf Vostell idécollage No. 3, Bulletin aktueller Ideen , Cologne, December 1962 Collection Andersch [White text against black background, landscape orientation poisitioned in portrait with words reading from bottom to top. The large title reads "dé collage."] -
Tracy Benissan, Untitled, 2014 [A drawing of several glasses of varying shapes holding colorful liquids suspended on a flat background] -
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University of Colorado, still from On Art and Artists Series. Andres Serrano: What Follows…, 1991. 31 min. [Andres Serrano wearing a dark blue shirt and looking at an off-camera interviewer mid-speech.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large display case whose top and bottom portions are made of a shiny, black material. Held between these black components is a glass vitrine that displays several objects, including a flat surface covered with inky text that reads, "BC." Behind and to the right of the display case, a shiny, black cubic structure—nearly of ceiling height— is installed in the gallery.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A miniature clay sculpture sitting on a gray table. The sculpture depicts a woman folding over, cross-legged, on carpet. Miscelaneous items are dispersed across the carpets.] -
The Friends of Artists Space Dinner, May 8, 2010. Executive Director & Curator, Stefan Kalmár, and friends of Artists Space. [Three figures pose for a photograph in a gallery space crowded with milling people who talk amongst each other. They hold drink glasses in their hands and are illuminated by the camera's flash.] -
Still from Polly II - A Plan for a Revolution in Docklands (2006). [A woman with a hood looks diagonally upward, away from the camera. Behind her, a large building is on fire and the sky is dark.] -
Hito Stereyl, excerpt from Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy of the artist and Andrew Kreps, New York. [A gif depicting a person dressed in black with arms outstretched and clasped, moving slowly through a room.] -
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.] -
Richard Hollis, Whitechapel Gallery advertisement, 1980. [A blue flyer with the word "OPEN." printed in yellow.] -
Activated Walls. Installation view, Artists Space, 1993. [A wooden chair facing the corner of a room. Painted on one wall is an empty red frame. On the perpendicular wall, there are several half-finished paintings of children.] -
[Flyer featuring three computer-generated shapes: a sphere, a curved plane, and a flat plane. Each of the shapes is black, covered in a white grid pattern, and features a warped image of a red triangle. The shapes sit on a blue and yellow gradient background. Red sans-serif text positioned at the top and bottom of the image reads, “artists space & / the segue series / present a / reading by / Dia Felix / and / Jeremy / Hoevenaar / saturday, may 16 / 5pm nyc time / zoom id: / 378 232 567 / be there or be non-euclidean.”] -
Pictures. Installation view, Artists Space, 1977. [A dimly lit corner of a gallery. A large, gray structure with a slight trapezoidal shape hangs on the corner's left wall. A series of small figurines of men riding on horses emerge in a line along the top edge of the gray form. Hanging on the corner's right wall is a frieze-style figurine of a man in a white shirt and tie that emerges from the wall. He tilts his head back as his arms bend, one extending forward.] -
[A black logo consisting of a lowercase letter "b" connected to a smaller, lowercase letter "c" on a white background.] -
Edited by Sophie Collins, Currency & Emotion: Translations (Test Centre, 2016). [A brown and white book cover depicting several forearms and hands wrapped around each other against a dark background.] -
Jamil Shammout and Michel Najjar paint the banner for The International Art Exhibition for Palestine. Beirut, 1978. Courtesy Claude Lazar [Two men drawing on a large cloth sign in Arabic and English, stating "INTERNATIONAL ART EXHIBITION FOR PALESTINE".] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Two gray silhouettes displayed next to each other on a white wall. In front of them, a gray table displays colorful documents.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Two shelves and several artworks sit in a gallery space with wooden floors. To the right, there are two empty wooden bookshelves placed at right angles to one another. Above a bookshelf positioned against the gallery wall, there is text that reads "ARTISTS SPACE." To the left of the shelves is a figurine with rectangular torso, arms, and legs and a more naturalistic face made of a brown, clay-like material. Four small monitors are installed on the gallery wall behind the figurine, while a larger monitor rests on the gallery floor to the image's far left.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure looks into the viewfinder of a camera. In the background, an abstract image is projected onto a wall.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A large red carpet extends across the length of an exhibition space next to a windowed wall. A long line of framed photographs lean against the windowed wall. Two figures examine the photographs and additional artworks displayed in the space's background.] -
Kevin Drumm. [A man looking at a laptop, with a modular synth and mixer next to the laptop.] -
Ken Aptekar, Oversensitive, 1987-1990. Oil on wood, sandblasted glass, bolts, 30 x 30 inches. [A slightly chipped painting of a face with downcast eyes and a medieval-style crown. The word "Oversensitive" is overlaid across the top part of the face.] -
James Benning, still from Nightfall, 2011. Digital HD, 97 min. [Trees in a dense forest captured at nightfall.] -
A Living Testament of the Blood Fairies. Installation view, Artists Space, 1996. [Black and white image of several sculptures and two-dimensional artworks installed in a gallery space bisected by three white columns. Behind the columns, a large dark tarp covers two gallery walls that form a small corner. To the right of the columns, a large glass container filled with honey rests on a plinth. To the left of the columns, a wide doorway opens up into another gallery room, where several chandelier-like sculptures hang from the ceiling, while three spindly structures are propped on the floor.] -
Artists Space's locations, 1973-2019. [A stylized map of SoHo and TriBeCa, stretching in latitude from West Houston Street to White Street, and in longitude from Hudson Street/West Broadway to Broadway. Each past location is marked by a red dot, indicating its address and years active, alongside a photo of the space's exterior.] -
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.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A string of light bulbs decends from the celing of an exhibition space, with the end of its wiring resting on the ground below. A framed image of a figure's face is installed high on the wall directly behind the light string. A small cardboard box with gold details sits on the ground to the right of the light string.] -
Vivienne Dick. Still from Guerilla Talks, 1978. [A figure with short hair energetically strums an electric guitar, their mouth wide open. Another figure with dark hair, partially cut off in the image, leans down to strum another guitar or base instrument.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A bedroom scene set up in the middle of an open room. There is a beige rug, with a chrome lamp and matching bed frame. The bed has blue sheets with a dark blue comforter cover and a red blanket. There is a wooden chair facing in, and a brown table with assorted bottles on top. On the far side of the bed is a coffee machine, microwave, and television. In the background, various framed images are hung on white gallery walls.] -
The Gentrification of the Mind: Witness To A Lost Imagination. Sarah Schulman. Univ. of California Press, 2012. Paperback, 192 pages. $20. at the Artists Space Bookstore [An an angled view of resident entrances from a street view with white text at the bottom that reads, "Sarah Schulman." Red text underneath reads, "The Gentrification of the Mind, Witness to a Lost Imagination."] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A figure wearing all black lies on their back on a concrete floor. Their hips and knees are lifted off the floor, with their hand holding a dangling microphone by the cord. There is a crowd of people arranged in a semi-circle behind the performer, and disordered empty chairs in the foreground.] -
Based on a True Story. Installation view, Artists Space, 2004. [A wide shot of a gallery space with three columns. At the base of one column is a colorful, flat piece. On the large wall behind that column, three paintings hang in a horizontal line. To left of that, several framed drawings are arranged in a horizontal line. Against the perpendicular wall, there is a plinth with a television and several headphones.] -
“Decolonize This Place” sticker outside of The White House [A person's hand holding up a Decolonize This Place sticker in front of the White House, with a security guard visible in the background.] -
[A black and white image of a woman painting on a three-dimensional canvas. She holds a paintbrush in her right hand and a jar of paint in her left hand while leaning over the canvas.] -
Folio Series: Intangible Economies, 2012. [A white book cover depicting silver coins with the text "♥good for all night♥".] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Six artworks are mounted to a white gallery wall. On the far left and right are three black and white compositions, followed by a photograph of the back of a walking figure. At the center are two colorful, abstract compositions on paper.] -
Arabic Cover of the catalogue for The International Art Exhibition for Palestine. Beirut, 1978. published by the PLO Unified Information Office [A white, square, cover with arabic text and a rainbow color grid.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three paper bags photographed at an angle sit on pedestals. Closest to the camera, the bag has been painted with white and blue foliage, and collaged with a drawing of Africa. The two, farther bags portray drawn portraits of men.] -
Miyoko Ito: Heart of Hearts. Installation view, Artists Space, 2018. Photo: Daniel Peréz. [A painting with blue, yellow, and neutral tones is hung on a white wall. Another painting is visible in the background with bright yellow and orange hues.] -
Still from Bernadette, 2008. Courtesy of Duncan Campbell and HOTEL, London. [A black and white image of a woman sitting alone in a row of seats, as if on a bus or train. Her face is obscured by the seat in front of her from the nose down, but her full reflection is visible in the window next to her.] -
[Pablo Picasso looking at an image of Joseph Stalin.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. [Sixty images with dark backgrounds and a white, pixelated spot emanating from their centers arranged in a grid formation on an indigo blue gallery wall.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An angled view of large blue painting hanging on a white wall in an exhibition space. To the right of the painting in the center of the room, a projector positioned on a small stand projects an image onto a screen that is also supported by a similar, small stand. The projected image depicts a side view of a man and woman sitting across a table.] -
[Close-up image of the faces of a man and a woman, both of their figures cut off by the frame. The woman stands slightly in front of the man, who stands directly behind her shoulder. She wears lipstick, jewelry, and has short hair, while the man is older and wears a suit with a stiff collar. Neither figure looks at each other, gazing elsewhere.] -
Harun Farocki: Diagrams, film screening, 2014. [A crowd of people crowds around a temporary wall. In the foreground is a bookstore, while behind the wall and doorway, there is a screening room, with a video projected on the far wall. Overhead lights cast an orange glow] -
Tom Murrin, Johanna Went, 1985. Acrylic on foam core, 14.75 x 20 inches. Courtesy the artist. Photo: Patty Wallace. [A painting of a person with red hair, cross-shaped earings, and black paint under their eyes.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$3,000
[An abstract, multicolored squareish sculpture standing on a white base. A potato sits on top of the sculpture with a wire plugged into the top. A 9v battery is affixed to the side of the sculpture, connected to two comptuer chips affixed to the front.] -
Donald Moffett, Hidden Drive, 2018, C-print with diecut, 16 x 12 inches, Signed edition of 100, 5APs Courtesy of the artist [White flowers are superimposed on a photograph of a leafy shrub enshrouding a yellow street sign that reads "HIDDEN DRIVE." The face of the sign is damaged with many holes and other signs of impact that suggest gunfire.] -
Ken Okiishi. Still from Telly & Casper, 2000. Digital video (sound, color), 27 min. Courtesy the artist. [One man takes off an orange sweater while another man watches.] -
The Body Politic. Installation view, Artists Space, 1991. [A black and white photograph of four sculptures resting on slightly elevated rectangular plinths, and a fifth sculpture mounted on the wall. The sculptures are constructed of metal molded into headless and limbless humanoid body shapes.] -
Log Cabin. Installation view, Artists Space, 2005. [Several photographs and TV monitors installed along the length of a white wall in a gallery space. Black vinyl text on the wall's far right side reads, "LOG CABIN" and lists a series of artists. Six photographs are installed to the left of the wall vinyl and depict portraits of clothed and nude figures. A yellow composition on a wooden panel is installed directly above the line of photographs. Three TV monitors are installed on the wall to the left of the photograhs.] -
[An image of a woman riding a bull through a green bank note. One hand holds on to the reins of the bull, the other scatters bills. She wears a yellow dress that is opening at the top.] -
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[Close up of the torso and legs of a figure with long hair wearing nylon tights and a blue silk jacket on their bare chest. They are illuminated by red stage lights and appear to stand on a stage in front of a drum set and speakers.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to eachother.] -
Yellow. Performance view, Artists Space, 2008. [A woman is seated wearing a long, yellow dress with a full skirt that has extra fabric at the bottom. She is washing the front of her dress with soap suds, some of which are dripping down the front of the skirt.] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of table's length, on which are various organized documents, books, and papers displaying images and text. In the background are bookshelves and tables.] -
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.] -
[A hand extends its fingers admist a shower of droplets of liquid. A bright light shines on the hand and droplets.] -
Flipside. Installation view, Artists Space, 2004. [A small black table leans at an angle, one corner resting on a white wall and one leg resting on an inflated balloon with a face printed on it. Coming out of the ballon is a flowered dress, attached to a fan by an inflation tube. Beyond that, visible behind a half wall, are two red shades with holes covering two windows.] -
[Photograph of two figures, one in a suit, one in a suit and brown trenchcoat, striding across a city street. The facade of the buildings behind them is covered with a colorful mural and a long line of alternating, bright red and yellow posters. A large building sign above the posters reads "S. KLEIN."] -
Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Three sculptural forms sit and hang in a large gallery space. A large gray form with anemone-like tendrils is spread across the floor. Behind it on the gallery wall there is a large, shiny orange sculpture covered in bud-like forms. To the left of the space hangs a yellow sculpture with metal spikes protruding from its surface.] -
Enough Tiranny. Installation view, Serpentine Gallery, 1972. [A black and white photograph showing a room filled with various standing lights and assorted objects sitting on the floor. Two people are standing, their outlines casting shadows on a white wall with the word "TIRANNY" handwritten in large, block letters.] -
YAP (Young Artists Perform), P.S. 140, 2018 [Several students sit, looking down towards printed sheets of paper, in front of colorful silk banners with writing stating "Your dreams can become a reality," "like a cheetah in a snail's race," "bridge can just go like boom bom boom BOOM," "I see a light it's so BRIGHT -Destiny" and others.\] -
[Collaged image of two naked figures crouching on the shore of a beach as the sun sets. One reaches out to grasp the other’s arm as they stare into each other’s eyes. Below them is a collaged image of a metal, machine-like contraption with looping wires sitting on the ground next to a craggy rock.] -
Mariselis Rivera, Abstract Painting, 2015 [An abstract painting depicting several geometric figures against a turquoise background, arranged on either side of the canvas. Each figure has a green or brown outline and various colored patterns inside. Several outlined circles and squares grid across the background of the image] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A handled paper bag, placed at an angle, with detailed illustrations along the sides. The front image depicts a goat sitting on grass with its back turned to the viewer, facing a dancing Statue of Liberty against a blue background. In the right corner is a small drawing of the twin towers against a yellow background, and in the right corner is a small drawing of three small cylinders with smoke emanating from one. The side panel has paintlerly blue stokes in the middle, and a small green triangular tent at the bottom.] -
Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in a gallery space with white walls and wooden flooring. Two lighter photographs of white, industrial buildings are installed one above the other on a freestanding wall on the image's left side. Visible behind and to the right of the freestanding wall is a third, color photograph of a city skyscraper rising out of an urban landscape.] -
Colin MacCabe, Godard: Images, Sounds, Politics (Macmillan, 1980). [A bifold book cover. A picture of a woman singing into a microphone bleeds across the front and back cover and the title of the book is written in a blocky yellow font.] -
[Graphic logo reads I ♥ John Giorno in red text.] -
Nayiel Walker, Self Portrait, 2018 [An abstract painting, mostly blue, purple, and black, with splashes of yellow and pink. Several of the brush strokes take on a vaguely anthropomorphic association.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two people wearing headphones sit in three wooden chairs arranged in front of a TV monitor, where a person wearing a black and yellow polo speaks to the camera.] -
Fran Lebowitz reading during Dear Jane, 2017. [A woman stands against a large, empty wall, reading several sheets of paper sitting on a music stand, and speaking into a microphone. A large crowd forms a semi-circle around her, with bookshelves and the building entrance in the background.] -
Rirkrit Tiravanija, untitled, 2011 (print mo’ money), 2011, Copper etching plate, Signed certificate. [A printing plate for a $100,000 bill, featuring a portrait of Woodrow Wilson.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A view of a dimly lit room with a video monitor sitting on the ground of the right wall. The monitor screen is black with white text reading, "[The Manhattans continue to sing 'Shining Star']." Towards the corner, an inferometer projects green dots onto adjacent walls.] -
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Eds. Hugues Decointet, François Piron, Marilou Thiébault, Guy de Cointet: The Complete Plays (Paraguay Press, 2017). [A red and grey minimal book cover.] -
[Close-up of two hands holding a series of black and white photographs, as if presenting them to the viewer. The top photograph depicts the roof of a small home that has caved in, battered by a recent storm. Debris and fallen branches are strewn around the home.] -
Mike Bouchet, My Cola LITE, 2007. Cola bottles in plastic cases, dimensions variable. [A corner installation view of red crates containing glass bottles of cola on a wood floor.] -
[A white text logo reads, "Union Gaucha Productions."] -
[Catalogue cover design featuring an architectural sketch of an abstract contraption. A silhouette of a figure is transposed on top of the rendering. Black sans-serif text at the top and bottom edges of the cover reads, "Joel Saunders & Scott Sherk / SIGHTING THE GALLERY / Artists Space / December 12, 1992 - January 30, 1993."] -
Wages of Whiteness in the Art Economy. Poster. Decolonize This Place, 2016. [A black and white flyer with various slogans, from "Black Lives Matter" to "Abolish White Supremacy," printed on the front.] -
Conrad Bakker, Untitled Project: Projection [ARTISTS SPACE], 2007. Painted wood and mixed media. Courtesy the artist. Photo: Bill Orcutt [On a wooden floor in a white room are a pile of objects which emulate video projectors plugged into a power strip nearby. There is a remote control on the pile. On the otherwise empty facing white wall, "EPSON" is written in green letters.] -
Show and Tell: A Chronicle of Group Material, edited by Julie Ault, published by Four Corners Books, 2010. [Book cover design featuring an image of a large room with red walls. A banner of colorful flags hangs from the ceiling. A large collection of objects is scattered on the floor, including coca-cola bottles, posters, chip bags, paint cans, detergent bottles, and other assorted items.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two screens are mounted vertically on metal poles that stretch floor to ceiling. The screens show black images with white light spots.] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
Still from The Empty Plan (2010). [A hand is writing in German on a chalkboard with white chalk.] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of a wooden table containing various papers, books, and documents displaying text and images. Windows to the street surround the background.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [A man stands in the center of a room holding numerous baby dolls, surrounded by several performers striking yoga poses and a small crowd. A makeshift geometric metal structure stands next to him, with a baby doll sitting in a crease of the structure.] -
Miguel Angel Rios, Morir ('til Death), 2003. [A collection of black spinning tops on concrete. Several are upright, spinning, and several have fallen onto their sides. A white grid is just visible on the ground beneath them.] -
Superstudio, still from Supersurface: An Alternative Model For Life On The Earth, 1972. 26min. [Six people are seated and lounging in a digitally rendered landscape.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A display case holds materials in the middle of a neutral colored room. A black and white video is projected on a wall on the left side of the room. The projection faces a wall displaying several framed photographs and drawings.] -
Sean Snyder, still from Casio, Seiko, Sheraton, Toyota, Mars, 2004-5. Courtesy Lisson Gallery, London. [A person in army camouflage and a military gun grabs a handful of packaged cookies from a stand selling assorted candies, snacks, sodas, and other food.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands. The figure on the right speaks and gazes forward. One of their hands rests on the music stand, the other reaches out in front of themselves, their fingers extended.] -
Still from Eli Noyes and Claudia Weill's IDCA 1970, 1970. [A film still of a crowd of people sitting in rows of seats. Some wear sunglasses. Most do not speak to one another but gaze forward or glance around themselves.] -
Flyer for Pierre Leguillon, Slideshow/Cloackroom -
Invitation for Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus (Living with Pop. A Demonstration for Capitalist Realism) October 1963 Estate Konrad Lueg [Two square images of paper. Top reads, "Leben mit Pop." Bottom contains a green image of a deflated baloon that reads, "Pop."] -
Jack Smith, still from Hamlet in the Rented World (A Fragment), 1970-73. 16mm transferred to video, (sound, color), 27 minutes. [A figure wearing all black clothing, a black hood, heavy eyeshadow, and a fake mustache looks at the floor.] -
Anicka Yi, Flirting Is An Algorithm, 2015, Silkscreen on archival box, 24½ x 20½ x 1½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A spotted pattern against a white ground, with each spot having a unique stain, splatter, or drops of ink.] -
Robert Giard, Homage to Joe Beam, 1992. 20 x 38 inches. [Two photographs arranged side by side. The left photograph displays a person sitting partially in shadow with a patterned background and a small object on her lap. The right photograph shows a framed photograph of a young man in a suit with the same object placed in front of the portrait.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An installation consisting of a series of readymade objects displayed on a wooden gallery floor. To the right, an open book rests on a wooden folding chair. One metal clamp light is attached to the chair, while a second light is attached to a reclining, green lounge chair on the left of the gallery space. Two additional clamp lights rest on the floor between the chairs. An ashy material is scattered on the ground between the chairs.] -
[A vintage, black and white photograph of the interior of a shop window, which looks out upon a city street. Two men stand to the left side of the window, casually leaning against a pole and talking. Various metal vases, cutlery, and ornaments are displayed on the shelves within the window.] -
[A portrait-oriented view of a home interior. On the left, a doorway leads to a kitchen. On the right, the room opens to a living space with stacks of books on the floor and decor on the wall.] -
Morir ('til Death). Installation view, Artists Space, 2003. [A small, empty room with images projected on three walls. All are gray/blue shots of spinning tops on a white grid on concrete. The center image shows this from above, while the left and right images show the tops from the side.] -
New Economy. Installation view, Artists Space, 2007. [On the far wall is a triptych of photographic posters that show piles of logs with a bottom text, "Nothing is real, Everything is Possiblem." In the corner of the room are stacks of red crates with cola bottles and on the opposit wall is a sculpture resembling a part of bicycle that is attached to the wall.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Several black and white photographs and documents organized into a grid on a white surface.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Kaiserstraße 31A (1963),” Artists Space, 2014. [A wall-sized, black and white photograph of chair and man in front of a train car is adjacent to an angled wall displaying photographs and documents behind glass. In the right hand foreground is a 35mm projector.] -
Millie Wilson, The Painter Who is Not One, 1990, detail. Acrylic on canvas, text, type, photos, wall paint, 13 by 25 feet, variable. [A small square of illegible text, an abstract image of two black squares on grey, and a painting of a person in period dress and a top hat all hang on a blue wall.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Three yellow-toned paintings hang at eye level, adjacent to four black viewing boxes installed on a gallery wall to the right of the canvases. A kite hangs from the ceiling in the middle of the exhibition space, its tail touching the floor.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [Six watercolor paintings affixed to a white wall with pins. The paintings are various sizes, five depicting the sky and landscapes at various times of day. In the center, a man is depicted facing backwards, pulling down his pants to expose a tattoo of a triangle.] -
Peggy Ahwesh, Paranormal Intelligence (Part 2 of The Pittsburgh Trilogy), (1983). [A crowd of people seated in a dark room, facing a screen. On screen, there is an image of a person wearing a striped shirt, holding a towel around their neck.] -
Hito Steyerl, I Dreamed a Dream: Politics in the Age of Mass Art Production, 2013. Two channel HD video with sound, 29 mins 28 secs. Courtesy of the artist. [A monitor suspended in the middle of the room on a pole displays an image of Hito Steyerl speaking at a podium. Stacks of pillows, forming a seating area, surround the view of the monitor.] -
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.] -
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.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Three vitrines are displayed in a light-filled gallery space with light wooden floors. The vitrines sit in between three white columns to the image's left side. On the right, a series of large, colorful prints featuring graphic, abstracted letters overlaid over various abstract shapes, patterns, and printed figures are displayed on a gallery wall.] -
[Black text listing the collection's featured. From top to bottom, it reads, "The Defaced Library Books of Kenneth Halliwell and Joe Orton," "edition hansjörg mayer," "Vigilance: An Exhibition Of Artist’s Books Exploring Strategies for Social Concern After an exhibition curated by Mike Grier and Lucy R. Lippard," "The Colin De Land Library," "Everything is About to Happen: An ongoing archive of artists’ books selected by Gregorio Magnani," and "The Library of Helen DeWitt."] -
Photograph of Arthur Russell. Photo courtesy of Audika. [A vintage photograph of a man wearing black headphones, sitting behind a table in a cluttered room full of music equipment. A keyboard leans against the table, which is covered in AV equipment and snaking wires.] -
The Oath. Dir. Laura Poitras. 2010. Courtesy Zeitgeist Films. [Foregrounded military tents with a pink sky in the background.] -
Emily Jacir, woman to woman, 2003/2009, C-Print, Sheet size: 12 x 16 inches (30.5 x 41 cm), Framed size: 14 3/4 x 18 1/2 inches (37.5 x 47 cm), Printed by Laumont. [A photo in a black frame shows a person in military uniform, leaning against a concrete wall looking at a person who faces away from the camera with a patterned headscarf, red sweater, and light-yellow blanket.] -
Based on a True Story. Installation view, Artists Space, 2004. [Three paintings arranged in a horizontal line on a white wall. Each painting depicts a man walking on city streets or in a park.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large, empty room with three white walls. The right wall displays glossy papers folded into geometric shapes. The left wall has symmetric, geometric patterns drawn on it.] -
[An animation of a black and white clock whose hands move backwards. The clock is positioned on a silhouette of a head in profile. Sans-serif text below the graphic reads, "The Fainnie Azul Horologe."] -
[Bold, black text of varying sizes arranged in a rectangular block on a white background reads, "TREAT A COMPLETE STRANGER / AS A LOVER, HUG THEM / AS GOOD FRIENDS, AS THEY ARE / OR AS 10 YEARS AGO YOU MIGHT HAVE HAD / FABULOUS SEX / WITH ABSOLUTE ABANDON / WITH THE SAME STRANGER. / NOW LIFE IS RAVAGED / AND WE OFFER LOVE FROM THE SAME ROOT OF BOUNDLESS / COMPASSION."] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A decorated paper bag on a shelf. Blue ferns have been illustrated onto white, red, and pink backgrounds.] -
John Brattin, 1997. [A black and white Polaroid of a swirl on a striped background. At the bottom of the image, black handwritten text reads, "John Brattin - Enamel/Foam Giant Lollippop 7'H 3'Diam."] -
Darren Wardle, Jailbreak, 2002. [A symmetrical image of windowless houses rendered in inverted colors with tones of purple, yellow, and pink.] -
Local Transit. Installation view, Artists Space, 2006. [A large pile of string connected at one end to a tin can sits on a wooden gallery floor. On the wall to the right are two framed world maps in black and white.] -
Image provided by Oki Sogumi [Two furry, brown and mahogany moths stand back-to-back, behinds touching, on a green leaf. More leaves can be seen in the background.] -
Artists Space logo, 1980s. [A black, sans-serif A on a white background, with a black outlined square positioned at once in front and behind the letter, intersecting it at all three corners.] -
Baskets. Installation view, Artists Space, 2006. [A series of amorphous, basket-like objects sit on a series of plinths of varying heights in a gallery space. The baskets are composed of a variety of materials, including wood, grass, gourd, and paper.] -
View of Vigilance: An Exhibition of Artists Books Exploring Strategies for Social Concern , Curated by Lucy R. Lippard and Mike Glier Franklin Furnace, 1979 Courtesy Mike Glier [A woman sits, left of center, at a table filled with books. On the wall behind her, a banner with red text that reads, "...Pessimism of the intellect, Optimism of the will... Gramsic," is displayed.] -
Christopher Binifacio, Oil Spill, 2018 [A painting depicting a blue tree and landscape with a turquoise lake against a peach-colored sky. Several areas of the water are black] -
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.] -
[A woman holding a large blue bag. To her right, vertical black text reads, "HAUST."] -
Alan Michelson, Permanent Title, 1993. [Eleven beige sacks of various sizes, depicting text and illustrations, are arranged on a wall.] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A sculpture consisting of a large, leaning metal pole installed in a gallery space in front of a wall of framed photographs, drawings, and other two-dimensional works. The pole is braced at the floor and leans to the left. Several metal clamps are attached to the bottom portion of the pole, near where it meets the floor. A stack of white papers is displayed on the ground in front of the sculpture.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [A pile of multicolored string lights sits on a wooden floor, surrounded by assorted objects including a disco ball, a candlestick, and two pitchers. There is a pink glow over the objects, with another strand of white lights weaving through the objects.] -
Leila Torres, Self Portrait, 2015 [The bust of a teenage girl looking up and away from the viewer's perspective, with a green, grey and yellow background. On the green section, white text reads, "We have lingered in the chamber of seas. With seaweed both red and brown. Till Human Voices Wake us. And we drown"] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected with blue and green wires. In the base of the object a processing chip is embedded.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Several framed artworks hanging on a black gallery wall. A large yellow frame hangs on the left side of the wall while on the right, four smaller anthropomorphic drawings are displayed.] -
Jack Smith. Still from *Flaming Creatures, 1962-63. [A woman screaming while two men hold her down and touch her breasts.] -
Laura Cottingham & The Anita Pallenberg Story. Installation view, Artists Space, 2017. Photo: Daniel Pérez. [Three vertical prints, framed and lined on a white wall. From left to right: A person wearing white sunglasses and a fluffy vest sits on the floor and peruses vinyls, two people are perched on a bed, wearing David-Bowie style makeup, one person wearing a bathrobe lights the others cigarette, who wears flamboyant pink underwear and socks, and two people are photographed from below as they are performing, one wears a patterned top and stands with their arms stretched and the other is playing an instrument with a mic in front of them.] -
Speaker Music (DeForrest Brown, Jr.), portrait by Ting Ding, 2019, Shirt & Harness by HECHA / 做. [A man in t-shirt and fabric harness crouching, face slightly obscured behind metal pipes, wearing a baseball cap saying "MAKE TECHNO BLACK AGAIN"] -
Carol Sun, Herstory, 1991. Acrylic on canvas, 100 x 76 inches. [A postcard showing an image of sheets of paper, books, chains, a teapot, and other assorted objects on a checkerboard.] -
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 looks towards the figure on the left, who looks down at their two hands. Their hands are turned, palms up, towards the sky, as if miming holding something.] -
Episode. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A dark screening room with a single brown couch. An image is projected on the wall, showing a hallway with a slightly ajar door, through which blue light is filtered.] -
Nan Goldin, Suzanne and Phillippe on the train, Long Island, 1992, Framed C-print, 16 x 20 in / 41 x 51 cm, Edition 1 of 100, Signed & Numbered. [Two people sit with a dark blue seat back behind them. One, on the right of the image, looks to the camera with the other lays asleep on their lap across the bottom of the image.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three metal cutouts of hands hold neon green cards displayed on a white wall. The hand on the rightmost side of the wall is holding up its middle finger.] -
Liberalism at Large: The World According to the Economist, by Alexander Zevin, published by Verso Books, 2019. [A digital image of a red book title, overlaid several times on top of itself. A world map centered on the Atlantic ocean is visible in orange beneath the title.] -
Guyton\Walker, Fruit Stickers for Artists Space, 2010, Set of 15 Inkset printed stickers, 6 in / 15,2 cm each, Signed and numbered certificate. [A 3x5 grid of false-color stickers. The top four rows depict fruits cut in half resembling a grapefruit or orange. The last row depicts a coconut cut in half. A handful of stickers have a think line of black and white checkerboard pattern added to the perimeter of the fruit.] -
Ben van Berkel: Mobile Forces banner detail, Artists Space, 1997. [Several black and white images collaged on a black background. Some of the images are photographs of various buildings, bridges, and other structures—some in the process of construction. At the bottom of the composition is an alien-like image of a man with dark eyes and a large nose.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A sculpture of a man holding a book is leaning against a column in an empty, open room. He is wearing a purple shirt, patterned blue shorts, and is crossing his legs, wearing white sneakers.] -
Lourdes Grobet, Untitled Olmayaztec Series, 1992. C-print, 11 x 14 inches. Courtesy the artist. [Photgraphic print of a low, blue and red building situated next to an empty multi-lane road on a sunny day. The building has a low blue facade with many windows, which face the street, and is decorated with two angular blue stripes. The building has a low, curved red roof. Text running along the side of the roof reads, "RESTAURANTE." A tall, pyramid-like structure is visible in the distance behind the restaurant.] -
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.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017); edited by Nina Felshin, But Is It Art?: The Spirit of Art as Activism (Toronto: Bay Press, 1995). [A collage of images including book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," displayed alongside images of protestors holding up banners reading "Decolonize This Place" and a large banner draped across a clocktower that reads, "Free Education to All."] -
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 black and white video still of a painting hanging on a decorative wall. The image in the painting has been burned and is illegibly white.] -
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996. [A person looks at several sheets of paper with text and black and white photographs mounted on a wall. Hanging just above the papers is a sculpture of a human head with blonde wig.] -
Anicka Yi, Flirting Is An Algorithm, 2015, Silkscreen on archival box, 24½ x 20½ x 1½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A spotted pattern against a white ground, with each spot having a unique stain, splatter, or drops of ink.] -
Jean-Luc Godard and Anne-Marie Miéville. Still from Lei et ailleurs (Here and Elsewhere), 1970/1976. 16mm film transferred to DVD, (sound, color and black and white), 60 min. Courtesy Contemporary Films, London. [A person stands in line to hold up a black and white photograph in front of a Super 8 camera, as two people are lined up behind him.] -
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."] -
I Thought I Had Time. Installation view, Artists Space, 1992. [Close up image of a rectangular panel installed on a white wall. The canvas is covered in color block washes of black, gray, and white paint. Left-aligned, serif text positioned at the upper half of the canvas reads, "she said it's gone too far. I thought I had time. / I thought I had more time. / Room 409 / Memorial Sloan-Kettering / 1990 A.D."] -
[A pattern consisting of blue prints of delicate flowers repeats across a white surface. The image resembles wallpaper.] -
[A black and white flyer displaying a large, square box. Positioned at the top edge of the interior of the box is large, sans-serif text that reads, "SCOPE." Smaller black text above the box reads, "Number 5 / Voume 4 New York City / Artists Space / summer video festival / June 4 - July 17, 1998."] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Close up shot of four music stands arranged side by side. The torsos and hands of three figures are pictured beside the stands. They leaf through the pages of scripts held in black binders, supported by the music stands.] -
[Eight pieces of paper with text in various languages arranged in a grid.] -
Reenactment of Chris Burden's Shoot (Synthetic Performance in Second Life), 2007. Courtesy of Postmasters Gallery, New York. [A digital rendering of two people in a room with white walls. One avatar has long blonde hair and is pointing a gun at the other avatar, who stands up against the wall.]
