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Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez.. [In a large, open gallery space, several photographs hang on walls to the right. To the left, multiple small monitors mounted to a colorful gallery wall play video works. In front of the monitors, there are wooden stools with headphones resting upon them.] -
Rohesia Hamilton Metcalfe, After the Paint Has Dried, 1986. 15 minutes, 16mm, color. Film still. [A person in a long coat, hat, and sunglasses leans against a doorframe.] -
Installation view at Kaiserstraße 31A, Düsseldorf May 11, 1963 Courtesy Archiv Kuttner, Erkrath Photo: Manfred Kuttner [A black and white image of a man looking at documents through a window on a street sidewalk. Behind him, a women in a hat looks at him. People are present walking on the street surrounding them.] -
Jill Kroesen, Previews of Lou and Walter. Performance documentation, November 12, 1977, Artists Space. [A black and white photograph of a figure sitting on a table. They hold a microphone in their right hand, and extend their left hand down behind a dark object on the surface of the table.] -
Wade Guyton, © Thomas Pirot -
Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A television on a metal stand shows an image of a man in a cowboy hat. A white bar with black text on the bottom of the screen reads, "The actor said. He explains that thousands of bootleg copies."] -
Listening Room, recorded compositions, collage and ceramics 2025 -
Axine M: Sold Licker Glass, 2024, Artists Space. Courtesy of ISSUE Project Room. Photography by Cameron Kelly McLeod. [Portrait of a musician playing the cello with a bow.] -
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Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space with several dark columns. A small wooden chest with a red piece of fabric and three white objects on top along with a small wooden stool are visible in the foreground. Further in the background are a yellow couch and a large wicker pannier..] -
Super 8 Films Exposition. Installation view, Artists Space, New York, 1977. [A black and white photograph of a room with several rows of chairs. Along the back wall, two projectors stand on pedastals and a figure on the right adjusts a film reel.] -
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LaMonte Westmoreland. The Watermeleon Series, 1986. Mixed Media collages. [A black and white photograph of two mixed media collage works hanging side by side on a gallery wall.] -
Milford Graves: Fundamental Frequency. Installation view (handpainted LPs, 1966), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of three handpainted LPs in a wall mounted vitrine.] -
The Low Riders: Meridel Rubenstein. Postcard, Artists Space, 1981. [A black and white image of three individuals, one sitting inside a car and the others standing against it.] -
Hilary Lloyd, Thighs, 2011. [Two juxtaposted images of two sets of thighs. In both images, a bright light illuminates the space between the figures' thighs. Light spots appear across the images.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
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.] -
Theresa Hak Kyung Cha, Mot Caché, 1978. Rubber stamp and stamped ink on postcard, 4 x 5 x 4 in. and 3 ½ x 5 ½ in. Photo: Chris Grunder and Benjamin Blackwell. [A rubber stamp sits to the right of a postcard, against a white background. The design on the rubber stamp reads "mot / caché" in the center, and various other words run along the edges of the stamp. The postcard bears a mirrored version of the stamp's design.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure sitting behind a reed organ covered in a sheet of clear plastic. A clock sits on a music stannd with instructions behind the organ. The figure positions their hands on a large block of ice that sits on top of the keys of the organ.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[A green object with a processing chip embedded in its front sits on a white base. On top of the object sit a red potato with a wire attached, false teeth, and a telephone cord.] -
Ian Bader. Spalation Clock, 1977. Section 2. [Drawing of architectural section in center of paper with white surrouding it.] -
[Dark blue text overlays red-pink background. The text reads: “February 4 / Dodie Bellamy / Paige K. B." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of three square photographs with wide white matting attached to a wall.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A seated figure plays a guitar that lies in his lap.] -
Circus Amok, The Experimental Walking Tour, 2002. Performed in various parks across the five burroughs. [A color photograph of several figures marching in the middle of the street while holding up posters. One of the figures is wearing stilts, while others are pushing carts or instruments on wheels. From the sidewalk, various pedestrians look on.] -
The Founders Dinner, 2019. [A color photo of two smiling individuals seated at a banquet table, the person to the right has her hand on another guest's shoulder. The background depicts several other guests out of focus.] -
Artists Draw. Installation view, Artists Space, 1979. [Various drawings are hung up on white walls. The drawings consist of simple shapes and lines.] -
Laurie Anderson; PersonA. Performance documentation, April 25, 1974, Artists Space. [A color image of a person sitting on a pedestal, speaking into a standing microphone.] -
Jonathan Lyndon Chase, The Shape Up, 2023. Courtesy of the artist and Company Gallery, New York. [A painting in color of two Black Queer people in a red interior setting. One of them, wearing gray underpants, gazes out of the picture plane, while another profile of their head turned to the right is superimposed. The barber on their right is shaping the seated person’s hair with clippers. The rounded edge of a tabletop with a mirror, comb, and shears atop of it is pictured to the left of the image. A single window depicting snowfall at night can be seen behind the two Black Queer figures.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A receding row of columns lines our view into the far gallery space. In the foreground, several of Ruben Ulises Rodriguez Montoya's biomorphic sculptures are displayed on walls, resting on a pedestal, or hanging from the ceiling. In the distance, two of Matthew Langan-Peck's monumental painted toy box sculptures sit on the gallery floor; a set of headphones hangs on the side of each box. In the background, Isabelle Frances McGuire's three large pink banners emblazoned with silver stars hang from ceiling to floor.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [Five projections playing on a wall at different heights. Two are completely visible and three are partially visible. In the center of the image is a black and white projection of a gallery, with a painting placed in between the entrance of a hallway. To its right is a projection of a Jonas Mekas facing left, his face slightly golden in tone, wearing a fedora. A projection to its right partially shows four dark skinned people, nude and posing.] -
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[White text on a bright fuchsia background. The text reads: “Nov 22 / Rosamond S. King / Noa Micaela Fields.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Trip to Artists Space to see fwiw Constantina Zavitsanos exhibition, 2024 -
Nandi Loaf, Aristotelis Nikolas Mochloulis, rio nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [In the foreground a plushie of a cartoon mouse leans on a beaten up Nike Air Force One shoe, and sits on a white carpet. In the background, two panels of white wood, some director's chairs, and a stage light are arranged like a movie set. At the center of the set are two green frog plushies.] -
3 Artists Select 3 Artists. Installation view, Artists Space, 1984. [Two paintings and a small indistinguishable sculpture are visible on adjacent walls with wall text on a wall to the left of them in a white-walled gallery space. The painting on the right shows a darkened American flag next with a block of black extending from the lefthand corner and the small sculpture to its right on the bottom. The painting on the left reads "MANNA" on the top and bottom with a large black "M" in the center of the image.] -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A color image of a gallery space. In the foreground, a shovel sits upright on a pedestal. In the midground, a taxidermied griffon vulture is perched on top of concrete rubble. Next to the griffon vulture, another shovel sits upright on a pedestal. To the left side of the image, a shovel attached to a small child's chair is placed up against the back wall.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of three framed works against a white wall. The drawings are done on black paper and depict abstract compositions made up of white, and colorful shapes, lines and strokes.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs gaze into the distance.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [A smooth, white branch extends up from the floor vertically. Behind it is a wall, papered with a pattern of tropical birds in trees on a white background.] -
ART CLUB2000 Untitled (Stop on in when staying at The Mega Hotel), 1996 Oriented strand board, acrylic paint, plastic chain, and hardware 48 x 36 inches Image courtesy Artists Space, New York Photo: Filip Wolak [A white sign that reads "Stop on in when staying at The Mega Hotel!" sits outside of the gallery door.] -
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Fontaine Dunn, Untitled, 1976. From Gary Bower, Fontaine Dunn, Hermine Ford</>, Artists Space, 1976. [A black and white image of a painting. Two triangular shapes are painted on either side of the canvas. The hypotenuse of each triangle is tiered, appearing like stairs. The space between the triangles is painted in a darker shade.] -
Catalina Parra, Fosa común, 1984. Installation at Art Awareness Gallery, Lexington, New York, USA. Courtesy Archive, Catalina Parra, New York. [A woman uses a shovel to dig a shallow rectangular pit in a grassy field. Four burlap sacks filled with earth lay to the left side.] -
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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.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit stands, their hands on their waist, and looks to the left. A figure behind them films them. Blue video footage is projected onto the back wall.] -
Untitled, 2024. [Color photograph of a room used to store medical props and devices, including hospital beds, catheters, and three medical test dummies stacked on top of one another on a shelf. The walls are painted a blue-grey color.] -
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 portrait of Jonas Mekas in Rembrandt lighting looking directly into the camera, wearing his signature fedora and standing against a black background.] -
Elisabeth Sussman, © David Armstrong -
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.] -
Pamela Jenrette. Lavalava, 1974. From Scott Burton, Pamela Jenrette, Artists Space,1975. [A black and white photograph of a textured wall with white and grey splotches.] -
New Red Order, Informants Get Paid! Performance documentation, Artists Space, January 23, 2020. Photo © Paula Court. [Figures wearing partial face coverings stand in front of a projection that reads: "We cover for you / new red order"] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Three figures perform in front of an audience. Two figures in blue morph suits face off with a wooden table between them, while a third figure takes video footage of the scene.] -
Tiffany Sia: Slippery When Wet. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a black rectangular table and a chair in the foreground. There are eight photographs and print-outs hung on the back walls, and a row of floor-to-ceiling columns is visible in the background.] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white installation photograph of a gallery space. On the wall, a trapezoidal shape with riders on horseback slowly emerging from the top is visible. On the right, two figures converse.] -
Min Joong Art. Installation view, Artists Space, 1988. [Several people seated on a couch watch a monitor set on a pedestal in front of them. A large speaker is placed to the right of the screen, and on the wall alongside this are two rows of black and white photographs.] -
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Miyoko Ito: Heart of Hearts. Installation view, Artists Space, 2018. Photo: Daniel Peréz. [In the foreground, a painting hung on a white wall features warm hues. A television monitor is installed in an alcove, and a woman's face is visible on the screen. Two paintings can be seen in the background.] -
Robert Longo, c. 1976. From Exchange Show: Hallwalls, Buffalo, NY, Artists Space, 1976. [A grainy black and white image of a figure seated on an indescernible animal or object.] -
Cover of Exit Interview, Benjamin H. D. Buchloh & Hal Foster, no place press. [Book cover featuring a red background with white text that reads, from top to bottom, "Exit Interview / Benjamin H.D. Buchloh / Hal Foster / no place press"] -
Eric Mitchell, Mass Homocide. Performance documentation, November 19, 1977, Artists Space. [Three figures lie on the floor in a room painted with white walls. A figure dressed in all black watched on in the background. The image is repeated in a dyptich.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of red and yellow paper. Pieces of beige paper with typewritten text listing the performers and event details are scattered around the flyer.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dimmed room with three projections casting purple, gray, and aqua light against the walls. In the corner of the image is a small, circular seat.] -
Edin Velez, still from The Meaning of the Interval, 1987. Video (color, sound). [A distorted video still of a woman wearing pale makeup and lipstick. Her hair is carefully swept up and decorated with a hairpiece. A double of her image is positioned to her right. The background behind her displays several blurred kanji characters.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Several artworks and vitrines displayed in a gallery space. On the left, a slide projector projects an image of a figure wearing a leopard-print body suit onto a white wall. A glass vitrine displaying several paper documents stands in the middle of the room next to a freestanding wall. Twelve drawings arranged in a grid formation and one additional drawing installed to the right of the grid are dispalyed on the freestanding wall.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure stands on stage speaking into a microphone.] -
Lyndon Barrois Jr., Unseen Hand (Fall Guy); Sinner Man, 2022. Couch, jute, antique cane, plastic, copper, brass, conservation glove; police tape, laser prints, museum board, MagiColor manual. Dimensions variable. Photo: Filip Wolak. [A color photograph of a yellow couch in a gallery space. A cane with a white glove rests on the couch cushions and a rope extends from its base. In the background, police tape demarcates a rectangle on a wall, and three strips of police tape extend from the wall to the floor.] -
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.] -
H_edge. Installation view, Artists Space, 2006. Photo: Whitney Cox. [Close-up of a series of metal cutouts shaped like curved "x"'s hanging from lengths of metal chainlinks. The many rows of cutouts overlap, forming a hedge-like sculptural body.] -
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Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A cluster of four works on paper against a white gallery wall. The works feature swooping, abstract calligraphic strokes in black and light green ink.] -
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.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A crowd of people fill a dimly lit red room, some sitting and some standing. Abstract images are projected on the space’s walls.] -
Calvert Coggeshall. Untitled (green, red), 1987. Oil on canvas. [Abstract painting with green filling most of the space with red lines emerging from the center outward.] -
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.] -
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."] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [Portrait view of solo performer, next to a small suitcase opening to show light bulbs and several small wires. The wall behind performer shows the lights from and the shadow of a disco ball. The performer has thick red lipstick and an eyeball on top of their head amidst long blonde hair.] -
Poster from polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [Black, rounded text on a white background reads left, "galerie h, hannover, alleestrasse, gh;" right, "POLKE/RICHTER, Pop?, Kapitalistischer, Realismus?"] -
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Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A room full of audience members in a pink-tinted room. The people in the front are sitting, and the ones behind are standing close together. Many people are clapping. The room is filled with patterns of white dots reflecting from a disco ball.] -
[Black text overlays a color-scheme grid background. The text reads: “Dec 16 / Laura Henriksen / Celina Su." 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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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.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A glass case filled with colorful paraphernalia sits on an orange table. The case is bound lengthwise and widthwise with straps. On top of the case sit two magnifying glasses and several stacks of plastic cups.] -
Azian Nurudin. Still from The Headhunters of Borneo, 1989. 10 min. Photo: Micki McGee. [A black and white image of a shirtless woman holding a baby, while another woman looks on from a doorway to the right.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [An audience watches a performance.] -
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Kiki Smith, Untitled, 1991, Fired enamel on glass with shelf, Glass: 18 x 18 in / 45,7 x 45,7 cm Shelf: 4 1/2 x 20 15/16 x 5 in / 11,5 x 52,9 x 12,7 cm, Edition of 50. [The image shows a figure's face composed of black lines and etch-marks on top of a transluscent background. The image rests on a wooden shelf.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Three figures stand in front of a large banner bearing a portrait.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two black display cases in the middle of a gallery space, with clear horizontal glass cut-outs, one taller than the other. Each display case houses a collection of mugs and other ephemera.] -
[White text on a grey ombré background. The text reads: “March 29 / Mei-Mei Berssenbrugge / James Sherry.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Left: Andrew Siedenburg, Material Support, 2022. Masking tape, charcoal, and construction fasteners on gessoed luan. Right: Andrew Siedenburg, Doghouse with Tin Snips, 2022. Masking tape, charcoal and constructions fasteners on gessoed watercolor paper over masonite. Photo: Steven Cottingham. [Color photograph of two works with white, black, brown and grey hues hanging on the wall side-by-side.] -
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Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of three or four individuals captured in the middle of a conversation. Two individuals have their back turned to the camera, while another person is facing the lens with arms crossed, actively listening. An elegant and decorative dinner venue can be seen in the background.] -
Aristotelis Nikolas Mochloulis, Frog Man and Baby Frog, 2025, Michigan J. Frog plushies, miniature directors chairs, ARRI 150W light, Manfrotto Nano light stand. [In a dark room with a black wall and wood floor, there is a spotlight shining on two frog plushies. One sits horizontally in the lap of another who is seated in a director's chair. Two more director's chairs, not illuminated, sit facing the frogs. The spotlight, the chairs, and the frogs all appear miniature-sized.] -
Wine sponsor Vivanterre. Photo: Jenna Bascom [A bottle of wine sits on a set dining table covered in a red tablecloth, surrounded by wine glasses. The wine label features an irregular curved white semi-oval, overlaid with a smaller burgundy red shape, and the embossed text "Vivanterre"] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Stephen Sewell. [Three projected images illuminate three disparate walls of a darkened room. The image on the left wall is white, while the image on the far center wall shows a figure who appears to be singing against a blue and green background. The image on the right wall shows two figures wearing headphones with their backs turned from the viewer.] -
Morton Livingston Shamberg and Elsa von Freytag-Loringhoven. God, 1917. Philadelphia Museum of Art [A black pipe coming out of a concrete slab beneath it, twisting around, pointed up and cut off, against a whitish slab behind it, as if to frame the pipe.] -
Invitation from Hommage an Schmela (Homage to Schmela) December 9 – 15, 1966 Galerie Schmela, Düsseldorf Estate Konrad Lueg [A scanned image of paper, angled at its forlds, that reads, "Hommage en schemla." On the bottom page are sections of dates with handwritten information.] -
Still from Fiction Contract, 2025. [Close-up of a black person leaning over a black birthing mannequin laying on a hospital bed in a patient room.] -
Yasunao Tone: Region of Paramedia. Installation view (Device for Molecular Music, 1982), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of an audio device placed on a shelf. The device consists of a machine, speakers, and light sensors. A paper containing notes and instructions on the controls is placed on top of the machine.] -
Arnold Dreyblatt. Photo: Cécile Braneyre [Black-and-white photograph of a figure performing on stage. The figure is standing, manipulating the bow of a string instrument. Layed out on the table in front of him is a laptop and various audio devices.] -
Individual self-portraits, Untitled, 2021, collage and sequins on paper -
Nihon University Film Club, Closed Vagina, 1963 [Black-and-white image of two figures leaned over the tiled wall of a bathtub.] -
[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."] -
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.] -
Marie Karlberg Videos. Installation view, Artists Space, 2013. [A gallery with an L-shaped bench covered in fabric, plus several video projections and artworks adorning the walls.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [A color image of a dark room featuring illuminated yellow and orange shapes floating on the wall and reflected on the floor.] -
Ed Bereal, Miss America: Manufacturing Consent: Upside Down and Backwards (detail), 2000-2014, mixed media and found objects, dimensions variable. Photo: Filip Wolak [A close-up detail of a large assemblage sculpture.] -
Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [Close up of a solo musician sitting on stage playing a string instrument in their lap with a bow. They are looking to the side and they are covered in red light. The wall behind them is blue-tinted with patterned image projections.] -
Gary Burnley, Martin Cohen, Candace Hill-Montgomery, Louis Stein, and Haim Steinbach. Contact sheet of photos from exhibition opening, Artists Space, 1979. Photos by Gary Burnley. [Contact sheet of installation images taken during exhibition opening.] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [A figure in a blue dress stands behind a white table, and holds the end of a small folded up book. On the other side of the table, a row of people sitting on wooden chairs hold different sections of the book and read off of it.] -
Abasement #86. Performance documentation, April 6th, 2026, Artists Space. Photo: Joshua Wildman. [A performer operates a soundboard on stage. A shadow is cast on the wall behind, resembling another performer dancing with their hands thrown above their head. ] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of three paintings hanging in a row on a white gallery wall. The closest to the camera, on the right, shows a ship at sea, the center shows a fountain, and the painting on the left is an abstract composition of black diagonal lines.] -
Brittany, Plant observation, watercolor painting, 2025 -
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Shayla Aviles, Untitled, 2018 [A mostly black-and-white image depicting the façades of two buildings - one is light grey with a turquoise fire escape, and the other is dark grey with a black fire escape. On the lighter building, the street-level storefront says "Mazeish"] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [Two figures perform next to each other on stage. One stands, hands out, singing in front of a microphone. The other sits down, playing the guitar.] -
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.] -
Michael Robinson. Still from Victory Over the Sun, 2007. [An empty pool with weeds growing out of cracks. There are trees and bushes in the background, and a pink glow on the righthand edge, as if from a sunspot.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A transparent cone-shaped structure set in a bare room with wooden floors. There is a small hole in the wall just behind the structure.] -
[The Decolonize This Place Logo in red text.] -
[Black text overlays a light gray background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Winter 2025-26 Season / December/January 2025-26 curated by Roof Books: / Lonely Christopher & James Sherry / Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
Still from Losing Ground, picturing Bill Gunn and Seret Scott, 1982. [On the right, a woman wearing a purple dress lies down on a couch with her eyes closed. To the left, a man sits on the floor in front of her, wearing a yellow t-shirt and overalls.] -
Flyer for Segue Reading Series featuring Holly Melgard and Trey. Saturday, January 22, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Holly Melgard and Trey (also known as Vernon Keeve III)" The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday January 22, 5pm, Zoom ID: 893 9594 7519, Suggested donation $5". The image of a 5 dollar bill is placed within the text.] -
Alza Tu Voz, exhibition at Washington Heights Public Library, 2017 [A photo of a front desk in a library - several desks with computers, bookshelves, and a couch are also visible. Four paintings lie on top of the bookshelves, depicting stylized figures against block color backgrounds] -
Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A color installation photograph of a figure in front of a curved white wall in a gallery space.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [A color image of a pink-hued room inside which an irregularly shaped platform with a reflective surface sits on the ground. Objects such as plants, a fish tank, and tree stumps sit on and around the platform.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [An onlooking audience watches a performer play an electric guitar on stage. The audience is bathed in red light, and projections are present on the left wall. ] -
Ulrike Müller, Sequitur, 2021. Photo: Filip Wolak. [Color image of an abstract work, of black enamel on steel, with a light blue line running down the middle, a light grey petal on one side, and a bright blue petal on the other side.] -
Trisha Donnelly, Untitled, 2010, 3 1/2 x 5 in / 8,9 x 12,7 cm, C print, Signed and numbered certificate. [An inverted color-like green, black, and white, overexposed image of a person wearing a hat, holding thier hands to their face. Most of their facial features are overexposed and not visible. In the bottom right of the image, a grey image is overlaid, as if cut-out, depicting various unidentifiable objects.] -
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Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in the corner of a gallery space with white walls and wooden flooring. Two darker, square photographs with large white frames are installed on the corner's left wall, while a lighter photograph of a gate-like structure is installed in a slim black frame on the corner's right wall.] -
Abasement #78. Performance documentation, June 16th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of five performers on stage. They are playing bass, violin, guitars, and drums. A row of audience members are visible in the foreground, with their backs to the camera. A blue projection covers the performers and the back wall.] -
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[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.] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a glass vitrine containing various archival time-banking ephemera.] -
Devin Kenny, Stop following me/follow me, 2016. Photo: Daniel Pérez. [An angled view of the illuminated stage of a overhead projector. A red flashlight descends from the lamp onto a flat pile of objects including photographs, drawings, transparents material, and more.] -
Mystery Man, Darold Biggs, Honorable mention -
[A red background with white text which reads: "WE ARE NOT TOOLS FOR WHITE-WASHING OCCUPATION", followed by the Decolonize This Place Logo.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, September 16, 2022 - December 3, 2022. Photo: Filip Wolak [Three desks are lined up in front of each other, each desktop has a TV monitor and clay rocks. In the back is a dark room with yellow LED light sculptures.] -
[Pink cursive text at an ascending angle which reads "Undoolay," with horizontal green text underneath that reads "Lucas Duwenhogger."] -
Portraits of Peter Osborne and Brendan Harvey. [Portraits of two figures are arranged side-by-side. On the left, a figure wearing a white shirt sits at a table with different objects spread out on its surface, speaking into a microphone. On the right, a black and white photo of a figures bust sits inside a larger black square.] -
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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.] -
Peter Jemison, Crows in Winter (Paris), 1980s. [A yellow paper bag with handles, detailed illustrations across its sides. At the front is a drawing of two large crows. Intricate line designs in the background and along the handles. On the side of the bag is a barren tree, with small dots indicating snowfall, and a fence that stretches in the background.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A woman with dim red lights on her face in a dark environment stands and talks behind a microphone.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of three framed works hang on the white wall. The works, all made on black paper, consist of colorful shapes, white line drawings and illegible text that form abstract compsitions.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of two people in period dress engaged in conversation at the far end of an ornate allway lit by candlelight. In the foreground, a person in a maid's costume peeks around one end of a colonnade, observing.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A center-parted white chiffon curtain revealing a set of six framed images mounted on the wall. A white bar runs slightly right of center of the image.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Various paintings, drawings, and sculptures of torsos hang along a wall. In the corner, a bust with an upturned face sits on a pedestal.] -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A color image of a gallery space. On the left, two tree log sculptures rest on pedestals. To the right, two shovels standing upright on pedestals flank a taxidermied griffon vulture that sits amongst a pile of concrete rubble. In the center, the top of a shovel afixed to a small childs chair is placed up against the back wall.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Photographs hanging on a wall in a gallery space.] -
Forgetting the Art World, by Pamela M. Lee, published by MIT Press, 2012. [A white book cover with a narrow column of red and wider column of black on the left side. It is titled, "Forgetting the Art World" by Pamela M. Lee.] -
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Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [Black-and-white image of two figures performing on stage. On the right a figure looks down and manipulates audio equipment held in a briefcase. To the left and behind another figure is out of focus and plays the violin.] -
Still from The Last Days of Jack Sheppard (2009). [A hand reaches toward the black-gloved hand of a person dressed in a black mask and jester-style costume, complete with a black and white pattern and a ruff around the neck.] -
Liz Moy, Chinatown Gallery Map, 2016. [A flyer titled "Sites of Mass Displacement," depicting a map of Chinatown with pins on every gallery in the neighborhood. It asks, "Is this what a neighborhood 'untouched' by gentrification looks like?" Text at the bottom of the flyer notes "There are currently over 100 galleries occupying Chinatown, Two Bridges, and the Lower East Side. Can a neighborhood be both a holdout to gentrification and the new art enclave?"] -
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.] -
[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.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a pale yellow background, with red and orange accents throughout. Cut up pieces of light pink paper are scattered throughout the image, and feature typewritten text listing the performers and event details.] -
[Dark blue text overlays red-pink background. The text reads: “February 18 / Natalie Diaz / Tiffany Sia." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Beverly Buchanan, slab works, c. 1978–1980. Cast concrete sculptures with acrylic paint. Dimensions unknown. Courtesy the Frances Mulhall Achiles Library, Artist File, Whitney Museum of American Art. [Installation view of several cast concrete blocks arranged on top of one another and leaning against each other, in two groups, standing on a wood floor.] -
Blaster Al Ackerman, Untitled, n.d., painted album cover, 12 x 12 inches. Courtesy of Stewart Mostofsky. [A painted image of a white push-button telephone sitting atop a brown surface with a yellow wall behind it. At the top right is a 10 cent postage stamp depicting a face with missing teeth and a text that says "The GIGGLER."] -
Nathan Carter, Static Cipher Signal Beacon for Inbound Flights, 2007, Wood, steel, enamel and acrylic paint, 28 1/2 x 40 inches (72.4 x 101.6 cm), Series of 10 Signed, Courtesy the artist & Casey Kaplan. [A sculpture affixed to the wall made of a red steel rod with red steel rod arms that project out from the top to make shadows against the wall.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a large empty room bathed in a red light. Along one wall, a performer dressed in white stands against the wall, bending over and looking to their left. A bright white light shines from their hips and a sheath of crinkly, reflective one-way mirror film lays on the ground in front of them.] -
Viv Latta, Fresh Air, digital photograph, 2020 [Black and white photograph of a city street: a man stands, holding a lit cigarette in his mouth. He is flanked on one side by a staircase and on the other by a portable toilet. A large truck is parked behind him with its headlights on.] -
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Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Lyndon Barrois Jr., Guardians Gate (Farfanicchio), 2022; Masters of Fine Arts, 2011/2022. Wood, latex paint, antique brass elements, cast iron, oil paint, twigs, brass, burlap, packing felt; oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a door with multiple nested smaller doors within the doorframe. Each individual doorway is framed with a gold outline. To the left are several empty picture frames and two studio lights. In front of dark green curtains is a painting set in a gold frame.] -
Flyer for Palm-Lined with Potience. April 28, 2022, Artists Space. [A dark grey background with black silhouettes of leaves and foliage. In the top left corner, "Artists Space / Ugly Duckling Presse / present the launch:" is written in yellow-orange text. In the center "Palm-Lined with Potience / Fury Young / Jaylen Strong / Alex Tatarsky / Benjamin Krusling / Adjua Gargi Nzinga Greaves / JJJJJerome Ellis / x / Basie Allen" appears in yellow text. In the bottom right corner "Thursday, April 28 / 7:00pm 11 Cortlandt Alley" is written in yellow-orange text.]
