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Betty Tompkins, Sex Painting #4, 2013, 23.5 x 16.5 inches [Painting depicting a close-up image of a figure's mouth licking the top side of a foot. A large thumb is pressed against the bottom of the foot, holding it up to the mouth. The painting is composed of soft, muted gray and purple hues. A white band stretches across the lower edge of the image. Black text running along the center of the image's bottom edge reads, "2020Solidarity - Betty Tompkins," while small, faint gray text running along the lower right edge of the image reads, "A project by Between Bridges."] -
[Black typewriter text, underlined, reads, "Vigilance: An Exhibition of Artit's Books Exploring Strategies for Social Concern," text with no font alteration reads, "after an exhibition curated by Mike Glier and Lucy R. Lippard."] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A long, thin metal pole attached to a round base sticks into the air at a jaunty angle in a gallery space. Several metal clamps are attached to the bottom third of the pole. A collection of photographs, drawings, and paintings are framed and hung on the gallery wall behind the metal pole.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Five photographic collages installed in white frames arranged in a horizontal row along a blank wall.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Detail view of four sculptures hung on the wall. The sculptures are ordered in neutral tones ranging from light to dark. Their shapes are approximately rectangular, each divided into quadrant segments.] -
McArthur Binion, Jonathan Borofsky, Mary Obering. Installation view, Artists Space, 1973. [A black and white installation photograph of a tall stack of papers in a gallery space.] -
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.] -
Students working with light and found objects, 2022 -
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Charles Simonds. Still from Mythologies, 1974. From Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A black and white film still of two figures on a sidewalk, one stands against a stone wall looking through a small opening in the stone.] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white photograph of a gallery installation. A figure poses in front of a wall with several hanging objects, their arms outstretched to either side.] -
Kelly Poe, Leave, Take, Kill, 2004. Courtesy the artist and Anna Helwing Gallery, Los Angeles. [Yellow text on a brown background reading "LEAVE NOTHING BUT FOOTPRINTS / TAKE NOTHING BUT PICTURES / KILL NOTHING BUT TIME."] -
Exhibition Card (front) -
David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983/84, 23.5 x 16.5 inches [A collaged image featuring a black and white photograph of a figure with short, dark hair wearing a partially unbuttoned shirt against a white background. The figure crosses their arms casually in front of their chest, their right hand holding a lit cigarette. Bright red and yellow strokes of paint resembling fire flames have been painted over the photograph, emerging from the figure's right side. Fragments of a world map have been collaged over the left side of the figure's face. Additionally, an illustration of the Earth and several small illustrations of clocks are collaged along the figure's right arm. A small illustration of a running figure, engulfed by flames, is positioned next to the figure's right elbow. Small black text running along the image's bottom edge reads, "2020Solidarity - David Wojnarowicz with Tom Warren / A project by Between Bridges."] -
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."] -
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Collage project on mapping and migration -
The Library Vaccine. Installation view, Artists Space, 2014. [A series of books sit at eye level on a wall that displays a black and white photographic collage graphic behind them.] -
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.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure wearing a suit plays guitar, their feet dangling over a pedal.] -
Flyer for the People's Cultural Plan Launch, July 18, 2017, Artists Space. [A green and white flyer with green and black text listing the event information.] -
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James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of four people in period dress standing in from of an ornately carved fireplace. The people stand in two pairs, apparently engaged in conversation.] -
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Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space. To the left of the image, on the foreground, a white wall with a window and a drawing of a parked car. The driver is speaking with a figure that leans on the car. Through the window, a painting of three figures is visible. In the background, four works hang on a black wall. In the center of the room, a black couch and a table in the shape of a body.] -
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Young Fluxus. Installation view, Artists Space, 1982. Frames 31-36: Installation views of Tad Savinar’s “Rock” in Room 207. [Contact sheet of photos from the exhibition.] -
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Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Four pornographic illustrations of men in jail cells are framed on the wall.] -
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Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [Close-up color image of a figure with a violin bow on their left hand. A thin, long piece of wood hangs from the ceiling, and the figure is using the bow to play it like a intrument string. The bow and the wood make a cross, which falls exactly in front of the face of a second figure. Also a performer, they are holding a white object in their hands. In the background, audience members. The space is illuminated by red light.] -
On Being an Exhibition. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [The interior of a Soho loft space with a wooden front desk to the right. Two neon quotation marks hang behind it. Within the room there are empty wooden shelves, wooden benches, and a rough-hewn wooden enclosure at the far end.] -
Gerome Kamrowski. Hopeful Monster, 1980. [Three panels with animal-like figure outlines appear on the floor opened out with a black background.] -
Aristotelis Nikolas Mochloulis, Aristotelis Nikolas Mochloulis, 2025. Marionette. Photo: Carter Seddon. [A marionette wearing a black suit, collared shirt, and white Nike Air Force 1s is positioned laying prone on a windowsill. Red curtains cover half of the window behind the marionette. In the corner, a small stage lights is directed at the marionette. Outside of the window is an alleyway with graffiti.] -
Alaa, Nature Dress, 2022, acrylic on paper -
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Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a corner of a gallery space. On the left wall hang various framed posters, and black-and-white photographs. A small window in the wall leads to the front of the gallery. On the right wall are more photographs and posters, and a vitrine. On the floor sits a television monitor displaying a black-and-white image of a pocketwatch.] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a well-lit gallery space at the bottom of a staircase, with a glass vitrine on the left wall containing ephemera.] -
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.] -
[Graphic image with five horizontal black bands going across the top, against an off-white background. In large font across the center is text that reads "Housecalls." Along the bottom additional small text reads "Drake Carr presented by Artists Space at the Armory Art Show."] -
Carol Sun. Prospect Park Series - Ornithos, 1987. [Dark drawing with white curved shapes in lines visible in the center with a perspectival depth.] -
Jill Kroesen, Previews of Lou and Walter. Performance documentation, November 12, 1977, Artists Space. [A black and white photograph of a performance. Three figures stand in a cleared portion of a room, each one balancing on their right foot. A crowd looks on.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Two painted portraits sit on the ground of a gallery space to the left of several other artworks. A kite hangs from the ceiling of the exhibition space in the center of the image. Various small documents are tacked across a wall to the right of the kite with red thumbtacks.] -
[On a muted pink background with a wavy green line running across the page, text in a darker pink and black reads: segue X artists space virtual readings / Zoom meeting ID: 378 232 567 / $5 suggested virtual door: / PayPal/seguefoundation / all proceeds go directly to readers.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A white cloth banner hangs vertically from the ceiling, with text which reads "KARA-KUM, area 350000, disposed in Middle Asia." Below the text are drawings resembling Turkish architecture. To the right of the banner, a slide projector sits on a short wooden bench, projecting a small image onto a white wall.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A clay sculpture of a person, outstretched on a sofa, with miscellaneous items around them, is displayed on a wooden floor.] -
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. 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.] -
El Nascimiento De La Tierra, Recirculation, Word-Up Community Book Store pop-up, May 2024 -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly-lit basement, a figure holding a video camera with a rig on their shoulder takes footage of the back wall, which has blue and purple light projected onto it.] -
Portrait of Carman Moore. [A color photograph of a figure from the chest up. Moore wears a green collared shirt and looks directly into the camera. He stands in front of a translucent glass background, in whose reflection buildings are faintly visible.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with various sculptures made of wood and fresnel lenses placed around the space. Contact microphones are attached to the fresnel lenses and audio wires wrap around the floor. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
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Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging and standing in a white-walled gallery space.] -
Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of a man standing at a podium, reading from a program. The individual is flanked on both sides by guests seated at dinner tables within an elegant and decorative venue.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of three seperate glass display cases, with various ephemera hanging on the walls behind them.] -
The Friends of Artists Space Dinner, May 8, 2010. Stephen Prina's performance. [A man in a suit, black shirt, and glasses strums a guitar while singing into a microphone in a white-walled gallery space.] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A cross-shaped panel installed on a white wall. The left arm of the panel is painted gray, while its vertical bisector is painted a dark black color. The right arm of the panel features a collage of three identical black and white images of a doctor wearing protective gloves while injecting a figure's arm with a syringe.] -
Drake Carr: Housecalls. Installation View (Window Treatment, 2023; Untitled, 2023), Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [A color image of a white wall with two works made out of cut-out panel. The work on the left is cut in the shape of curtains, which are yellow with pink ruffles. The work on the right is a male-presenting figure posing with one hand above its head, and the other one in its pocket. It's wearing a white jacket, black shorts, pink tights, and black shoes.] -
Bernadette Corporation: 2000 Wasted Years. Installation View, Artists Space, 2012. Photo: Daniel Pérez. [Three plexiglass and poster board timelines and a large black structure are visible within a gallery space. The timelines depict photos and texts arranged by year, from 1999-2001. The structure has an image of an office wrapped around one column and a TV is visible through the structure.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to eachother.] -
The Library Vaccine. Installation view, Artists Space, 2014. [Nineteen books and documents, organized into a grid, sit against a white background. Two materials in the top center, and one on the top right, are opened to middle pages.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three planks of glass lean on a white wall. Etched displays read from left to right; "The more you teach the less you learn," a smiley-face,"But I swear dis beat go."] -
Renée Green. Still from Partially Buried, 1996. Video, color, sound; 20 minutes. Courtesy the artist, Free Agent Media, and Video Data Bank. [A dilapidated wood shed is shown partially covered by large mounds of earth. Fingers reach out from the lower-right corner to caress the image.] -
Pictures. Reception documentaion, 1977, Artists Space. [A group of individuals in conversation while sitting on a radiator.] -
Carmen Armengual, Before my, your her, his, our, your, their faces Delante de mis, tus, sus, nuestros, vuestros, sus rostros (work in progress), 2022. Digital video, sound, text, 13:40 minutes. Photo: Steven Cottingham. [An image of a video work with three vertical wall-mounted monitors, each with differently shaped kettles on them.] -
Andrea Fraser, Reporting from São Paulo, I'm from the United States, 1998. Courtesy the artist and Galerie Nagel Draxler. [A woman interviews Francisco Weffort, the Brazilian Minister of culture, holding out a TV microphone.] -
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Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [Two musicians perform on stage. To the left, one of them sits on a chair with an electric guitar laying on his legs. To the right, a musician stands playing the saxophone. Rainbow lights are projected onto the stage.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure wearing a blue shirt kneels down onto the stage, working on audio equipment. Red light is cast onto them.] -
[White text on a blue and grey ombré background. The text reads: “March 15 / Elise Duryee-Browner / Allen Ruppersberg.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
[Stamped yellow text spelling out "W.A.G.E" at a slight angle. Underneath that, typed pink text reads, "Working Artists and the Greater Economy."] -
[Black text on a grey background. The text reads: “March 7 / Forrest Gander / with Eiko Otake / Jennifer Scappettone.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Vintage clocks designed by George Nelson, late 1940-50s. Collected by Felix Gonzalez-Torres. Loaned by Julie Ault, John Connelly, Amada Cruz Harman and Rick G. Harman, Jim Hodges, Roni Horn, Michelle Reyes, Andrea Rosen. [A series of vintage, abstract clocks hanging on a white wall above a long didactic text displayed on a horizontal plinth.] -
Saul Becker: Nature Preserves. Installation view, Artists Space, 2009. [Brown, dried plants hang upside down in front of a white wall.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a beige background, with red accents throughout. Pieces of yellow paper featuring typewritten text listing the performers and event details are cut out and scattered throughout the flier.] -
Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [Close up of two musicians sitting side by side and looking down. The musician on the right plays the guitar and the musician on the left plays the violin. The wall in the background is purple tinted.] -
Cover of BIOTA: A discourse between Art and Architecture from the 1970s to the present, co-published by Gregory R. Miller & Co. and Hunter College Art Galleries, 2025. [Book cover featuring a grainy close-up image of a flower. Black text across the center of the cover reads "biota."] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of a musician on stage, seated in a chair, holding an instrument that appears to be a guitar across their lap. To their right, a microphone is positioned close to an amp. Their feet control several pedals placed on the floor. Their long blonde-brown hair falls down over their chest and back as they gaze down in deep focus at the instrument in their lap. Behind the musician, a diamond-shaped, geometric pattern, outlined in bright pink is projected on the back wall. ] -
Mark Morrisroe, Untitled, 1986. Courtesy The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. [An ant is mounted on a white surface by a white pin through its center. Its shadow is visible underneath it.] -
[A warm colored room, surrounded by windows across two walls with view to a dimly lit horizon. String lights illuminate a scene of miscellaneous items scattered across a living space furnished with a table and chairs.] -
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John Mendelsohn. Installation view from John Mendelsohn and Donald Sultan. Artists Space, 1977. [A black and white photograph of a canvas filled with black and white abstract angular forms that are reminiscent of tables.] -
Artists Performance Series. Installation view, Artists Space, 1977. [A bends at the waist, resting their head on the side of a television monitor. The monitor's screen shows two figures, facing away from the camera.] -
Louise Lawler, Who Says, Who Shows, Who Counts, 1990, Three chablis glasses with glass shelf, 8 1/2 x 14 x 4 1/4 in (21,6 x 35,6 x 10,8 cm), Edition of 50, Signed & numbered. [Three wine glasses sit next to each other on a glass shelf with a black background. Each glass has text lasered into the front. From left to right the first says, "who says," the second, "who shows," and the third, "who counts."] -
[White text on a bright fuchsia background. The text reads: “Oct 18 / Laura Moriarty / Kevin Holden” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of building facades in Manhattan. Hanging on the central facade is a piece of white fabric the length of two stories. On the white fabric, there is a gestural painting of in a figure grapsing another figure from behind. Below them is a line of text in Korean.] -
Julie Mehretu, Mind-Wind Earth Drawings, #4, 2022. Photo: Filip Wolak. [Color image of an abstract painting done on white paper, with black flowing lines running across the composition in various directions, and swathes of colorful paint accenting the background. The lines are blurred, as if in motion.] -
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[A dark illustration featuring a small, white dog at the composition's lower left edge. A black, inky background vaguely resembling a forest surrounds the dog, who pauses mid stride to glance behind itself.] -
Irving Sandler, Goodbye to Tenth Street (New York: Pleasure Boat Studio, 2018). [Cover of the novel Goodbye to Tenth Street, featuring a blue-toned image of a streetpost with a road sign for East 10th Street and a one-way sign.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A red, glowing neon light installed on a gallery wall just above eye-level is visible through a doorway opening in a white-walled space. To the left of the opening is a block of faint text on the gallery wall.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit room where two people are seated in chairs on the right, looking at a projection. The projection displays a yellow-hued image of a city skyline.] -
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.] -
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.] -
Combined Faulty Acts. Installation view, Artists Space, 2008. Photo: Bill Ocrutt. [Five rows of bleachers built from wood, with dozens and dozens of assorted sculptures of gray, painted pigs arranged in decreasing size from the top bleacher to the bottom. Two flying pigs are hung on the wall directly behind the bleachers. Several feet away, across from the pigs, is a side view of a frame made of columns. On the wall between the pigs and the columns is a poster of hanging scales.] -
Charlotte Posenenske. Configured by Ei Arakawa. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Several geometric, silver metal sculptures sit on a wooden gallery floor in a light-filled exhibition space. The sculptures are modular, hollow, and consist of cube-like and triangular metal components. At the photo's center, a long roll of crinkled brown paper enfurls across the floor of the gallery, resting in between the sculptures.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure wearing a baseball cap sits in a chair and plays the guitar.] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular panels and tiles of varying dimensions installed on a white wall. The installed elements are positioned adjacent to one another, forming a larger irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text or line drawings.] -
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.] -
Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [Black and white installation photograph of a gallery corner. On the floor, a crescent shaped object rests on a pedastal. Above, several black panels are attached to the wall.] -
Adjua Gargi Nzinga Greaves: The x in florxal is silent when spoken. Installation view, Artists Space, 2021. Photo: Filip Wolak. Courtesy Artists Space, New York. [A photograph of a gallery space with eight prints hung on the rightmost wall and a lightbox mounted on the far wall.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of paintings hanging on the walls of a large gallery space with white walls. The work closest to the camera is a realistic painting of a baby, shown for the waist up.] -
Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [A close-up color image of a musician sitting on a chair playing an electric guitar in an unusual way. The guitar is laying on his legs and he is using a metal stick to play the chords. Blue and purple projections cast onto him.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A seated performer plays the electric guitar on stage while bathed in pink light. Colorful patterns are projected onto the wall behind the stage. ] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A white translucent chiffon curtain cascades over a set of five framed images mounted on a wall.] -
[A flyer for the event depicting a stylized green marshland. Light green and red text positioned at the top of the flyer reads, "A CELEBRATION OF OUR STRUGGLES / THREE MONTHS COME TO A CLOSE / DECOLONIZE / THIS PLACE / DEC. 17TH AT 6PM / 55 WALKER] -
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Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit performs on stage.] -
Sigmar Polke, Wochenendhaus, 1967. 80 copies + 40 artists proofs, signed and numbered screen print on cardboard, 59,5 x 84 cm. Courtesy of Edition Block, Berlin. [A print illustration of a suburban house. In the foreground, a pink flower cuts across the right frame from top to bottom.] -
Flyer for Segue Reading Series featuring Jerome Sala & Sarah Riggs. May 21, 2022, Artists Space. [Black text overlays a white background with teal bunches of flowers in the lower left and upper right corners. The top left corner reads: “Jerome Sala / & Sarah Riggs / May 21, 5pm.” The middle reads: “Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519.”] -
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Dean Blunt, The Redeemer. [A cartoon outline of two hands pressed together.] -
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.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure on the left sings into a microphone, while on thhe right, a figure sitting down and wearing a baseball cap plays the guitar.] -
Charlotte Posenenske 2010 Series D Vierkantrohre (Square Tubes), 1967. Configured by the staff of Artists Space, 2010. Photo: Daniel Perez. [An image of an exhibition space filled with metal square tubes on dolly carts.] -
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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.] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine set into a wall. Placed inside are various works including a book, stacks of printed imitation yen sheets, film cannisters, and a mask made of printed imitation yen sheets.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Two facing gallery walls featuring framed drawings on white and black paper. The work on the left wall features small pencil lines arranged in a square shape, with negative space forming the shape of a large spiral. The works on the right wall feature various ornamental lines that form large circles.] -
Jeff Gibson, Delusions of Grandeur, 1989. Media unknown, 20 x 24 inches. [A close-up, black and white image of a face, with parts of the image chipping off and revealing a black backing.] -
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Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [An angled view of scattered video projection stills at various heights and sizes on a wooden wall. The wooden wall is displayed in a room with white walls and faux-grass flooring.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Close-up color photograph of a vocalist and a musician playing a bass at the edge of the stage. The vocalist has long curly black hair and wears an army-green cargo jacket. They are kneeling down as they hold the microphone up to the mouth. To the right of the vocalist, the bassist looks out to the crowd as picks the strings. The drums and the drummer are visible behind them. The wall behind the stage is illuminated by a bright white light emitted from a projector. ] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A figure facing a microphone looks upon a computer with audio software open.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [A color photograph of an arepa placed on a purple tablecloth.] -
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Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures wearing scrubs hold a piece of red fabric between them.] -
Amiri Baraka, Cellar Vigil (Experimental Death Unit #2), 1966. Permission by Chris Calhoun Agency, © Estate of Amiri Baraka [Black-and-white image of two figures, each wearing white shirts. The figure on the right sits with their knees against their chest and looks attentively at the figure to their left, who engages with someone out of the right-side of the frame.] -
Our Terrible Country. Dir. Mohammad Ali Atassi & Ziad Homsi. 2014. [A movie poster depicting the title and pertinent information of the film, showing a man walking away from the camera down a dirt road in the desert, shot in sepia.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A makeshift screening room enclosed by unpainted wooden walls. There are two wooden benches arranged to face a projector screen. The screen displays an image of a luxury pool surrounded by palm trees, with the sun shining.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view (Carolyn Castaño, The Female Report, 2011; D’Talentz, The Secret Garden, 2020), Artists Space, 2025. Photo: Carter Seddon [Two televisons sit on the wall, bisected with hung grocery dividers. The television on the left displays a video of a news anchor with the bottom text "A descendant of Evita." The television on the right displays a video of four squares with people surrounded in foliage. These squares are superimposed on a backdrop of more foliage.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs move a table with wheels, on which a mannequin lies.] -
Bernadette Corporation with Benjamin Alexander Huseby, BC Reloaded, 2012. [A photograph of a woman looking into the camera with one hand raised to her cheek. She wears a striped white Adidas soccer jersey with the "bc" logo in one corner, and her eyeshadow stops abruptly in the middle of her right eyelid, creating an artificial crease down her face.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of beige, yellow, orange, green, and red paper. Small pieces of paper with red typewritten text listing the performers and event details are scattered around the flyer.] -
View of Everything is About to Happen : An ongoing archive of artists’ books selected by Gregorio Magnani Courtesy Corvi-Mora, London and Greengrassi, London Photo: Marcus Leith [Angled view of wooden table top covered with an organized assortment of cards, books, and paper materials, displaying images and texts, in various positions.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [A display case holding an assortment of artist memoriabilia from letters, art objects, paintings, books, and zines. To the left of the display case is metal, grocery divider hung on the wall, and to the left of this is a framed painting illustrating an array of characters. On the wall above is vinyl lettering that reads "LIFE — a group show."] -
Shirley Jaffe. White Begonia, 1986. Oil on canvas, 86x70 inches. [A geometric composition of red, purple, black, yellow, blue, and green flat shapes on a white background.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer sings into two microphones while green, purple, and white lights illuminate the stage and wall behind it. ] -
Ed Bereal, Miss America: Manufacturing Consent: Upside Down and Backwards, 2000-2014, mixed media and found objects, dimensions variable. Photo: Filip Wolak [An image of a large assemblage sculpture with various posed and costumed mannequins.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [An orange water dispenser sits on a low metal stool in a gallery space. Encircling the top portion of the dispenser is a round glass table, with a wedge-shaped cut-out removed from its right side. A photo of a woman sits on top of the glass surface.] -
Richard Weise and Harald Vizenor. Still from Harold of Orange, 1983. 16mm film (sound, color). 33 min 21 sec. [A black and white portrait photograph of seven individuals looking at the camera with text partially visible behind them.] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of four framed mixed media collages installed on a gallery wall with light shining on them from above.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of two sculptures in a gallery space. The sculpture closer to the camera is composed of a human skeleton, and anatomical models of human heads, a brain, and a spine. The sculpture in the background features several monitors, and is topped by a sculpture of an eagle in mid-flight.] -
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.] -
Lucas Pedernieras, from Huh portfolio, 2020, digital photograph [A painted orange sun outlined in yellow with light orange rays with a black background is visible in the upper corner of a ceiling with cyan moulding.] -
Playing cards from Barbara Bloom's Solution. From Barbara Bloom, David Salle, Artists Space, 1976. [A photograph of six index cards with typed up clues.] -
[A woman dressed in a suit sits among clouds in a blue sky, smiling, with six arms. Each hand is holding two phones, an alarm clock, globe, laptop, and folder.] -
Miyoko Ito at the opening of Miyoko Ito: A Review, The Renaissance Society at the University of Chicago, 1980. [Faded photograph of artist Miyoko Ito standing with her arms crossed in front of two of her paintings.] -
Milford Graves, Cosmos 2 - 5, 2020. Wood, copper netting, hand-painted drum, lights, metal, casters, acupuncture head, figurines, artifact, turntable, printed label, metal, glue, copper netting tubing, hand-painted drum, plasma globe, tree branch, model brain, lights, printed label, stones, transducer, amplifier, wires, wooden crate, metal bracket, anatomical model, copper pipe, outdoor house lamp, transducer, amplifier, printed label. Dimensions variable. Photo: Filip Wolak. [A color photograph of four sculptures mounted on wooden pedastals. The sculptures are connected by copper netting and are composed of objects including a model of a human head, a plasma globe, a drum, lights, and wires.] -
Flyer for Segue Reading Series featuring hannah baer and Cyrus Dunham. March 12, 2022, Artists Space. [Black text overlays a light blue background. The top left corner reads: hannah baer / Cyrus Dunham. The middle reads: Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “Saturday, March 12, 5pm / Zoom ID: 893 9594 7519 / Suggested donation $5."] -
Frances Stark, Consider the following again: Why should you not be able to assemble yourself and write?, 2010, Giclée and silkscreen on Somerset Enhanced Velvet, 330 gsm 18 1/2 x 14 1/2 in / 47 x 36,8 cm, Signed and numbered. [A collage-style image of a person sitting on a square object, perhaps a floor mat, viewed from the top-down. Black-and-white, aside from the person's exposed tan collar, hands and forearms, and feet. They are wearing a black-and-white checkered dress, and have black hair. The figure is looking at an upside-down text, reading "why should you not be able to assemble yourself and write?"] -
[A sleek, computer-rendered form against a black backdrop. The form has a disk-like shape with various extensions radiating out from its center. Parts of it appear to glow red or yellow.] -
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Ian White, Here Is Information. Mobilise (Montréal: LUX, 2016). Image courtesy of Tenderbooks. [A blue book cover with white text that reads "Here is Information. / Mobilise. / Ian White."] -
Mystery Man, Darold Biggs, Honorable mention -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the saxophone into a microphone on stage for an audience. Speckled white lights appear around the room. ] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A large taxidermied eagle hangs upside down from the ceiling holding line tape that repeats "A GOVERNMENT FOR THE RICH BY THE RICH". Posters and drawings on the wall are visible around the eagle.] -
Storm de Hirsch, still from Newsreel: Jonas in The Brig, 1964. Courtesy Anthology Film Archives. [A man clinging to a chain-link fence in front of several other men looking up at him. Underneath the image, partially cut-off text reads, "THE BRIG."] -
Wade Guyton, Untitled (WG3521, 2015), 2020, 23.5 x 16.5 inches [Image of a large white canvas displayed on a white wall. The canvas is rectangular and two faint lines bisect each of its four sides, separating the canvas into four equal quadrants. A black "X" shape is emblazoned across the canvas' center, with the lower left leg of the "X" removed from the shape's figure. The floor below the canvas is a deep black color. Small, gray text at the image's lower right corner reads, " 2020Solidarity - Wade Guyton."] -
Charlotte Posenenske, Series D Vierkantrohre (Square Tubes), 1967. Galvanized sheet steel, dimensions variable. Photo: Burkhard Brunn. [Black and white photograph of three, geometric metal structures sitting on a wide, outdoor concrete plaza. One of the metal structures is situated in the center of the photograph, while the additional two sit behind it, flanking it on either side. The structures are composed of hollow cube-like and triangular components.] -
Exhibition announcements (assorted). Artists Space, 1999. Graphic Design: Sara Soskolne. [Nine fanned announcement cards in assorted colors. Black text on each card announces the Lise Soskolne exhibition at Artists Space, noting the time and exhibition location.] -
Jack Smith, still from Song for Rent, 1969. 16mm, (sound, color), 8 minutes. [The profile of a person with orange hair wearing heavy makeup.] -
[A looseleaf sheet of paper with "Spring 2012 F.R. DAVID" printed on the top in red type. The page is filled with handwritten black text.] -
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Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A woman stands in front of a micrphone and computer. Her face and hands are illuminated by red light.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
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Richard Hollis. Installation view, Artists Space, 2013. [An angled view of the exhibition exit, on which the left of the doorway is text, on the right a projected image. Across the frame is a large bookstand displaying documents, books, and papers.] -
Artists Space founder Irving Sandler, Miyoko Ito Dinner, 2018. [Two people stand at the foot of an empty table, mid-conversation, looking off-camera to the left. The individual on the left holds a glass of wine.] -
Carolyn Lazard. Still from Untitled, 2020. [A gas fireplace turned on is framed with a strip of faux white marble on either side. The flames are yellow and white with glowing orange embers at their base. A yellow caption appears at the base of the fireplace with the following text in between musical notes: Where my dreams await someone to share.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Installation view of several works in a gallery space. 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. A wooden wardrobe stands against a wall in front of the structure. Several bottles filled with urine stand in a line behind the structure, in front of an abstract sculpture in the corner of the room. The sculpture contains a humanoid head, a TV monitor, and haphazard pieces of wooden and cardboard.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure reading into a microphone, sitting behind a music stand.] -
Chadwick Rantanen, Untitled, 2007. Video animation. Courtesy the artist. Photo: Bill Orcutt. [A rectangular television sits on the wooden floor near the wall. The high-contrast image on the TV shows another room with a long table upon which are computers, phones, and other office equipment. There are chairs at the desk and images hung on the 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.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A brown object housed in a mirrored glass case. An inscription on the case's surface reads, "BRAINWASH 408-983-2800." The case itself is enclosed in a larger glass vitrine supported by a white and orange table.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A dimly lit, empty room filled with several low chairs. A projection illuminates a dark wall opposite the chairs. The projection displays an image of a figure, their index finger blotted purple, inserting a document written in Arabic into a machine.] -
Flyer for The Rapture, Sunday, December 6, 2020, Artists Space. [A drawing of a group of skeletons, dancing and playing instruments. In the center of the image, a red banner features black text that reads "The Rapture".]
