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Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An open hallway in a window-filled exhibition space. A gallery wall on the left side of the room displays a sideways, brown and gold American flag as well as a black and red fleg. A monitor sits on the ground to the right of the exhibition space, near one of the windows. A visitor stands in the background, viewing artworks displayed in the hallway.] -
Heist Divination (fwiw remix). Performance documentation, October 25th, 2024, Artists Space. Photo: Destiny Mata. -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
Louise Bourgeois Jitterbug, 1998 Lithograph, 18 x 24 in / 46 x 61 cm, Signed & Numbered. [Two red and blue spidery forms interlace, floating in the center of the page atop a blank sheet of staff paper.] -
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7th grade Threads of History student at M.S. 324, 2020 [A student holds up artwork depicting her family tree.] -
Flyer for Segue Reading Series featuring Emily Lee Luan & imogen xtian smith. November 5, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Emily Lee Luan & imogen xtian smith / November 5, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519."] -
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.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Silver, italic text displayed across the top edge of a white gallery wall reads, "Tier 3 1980 Dallas 1963 Cabins 2007 Color TV 1954 TITMH 2013 Alexis de Tocqueville 1992." An image of the moon in a black sky and a small letter are displayed side-by-side on the gallery wall beneath the silver text.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A long rectangular wooden table with three TV monitors facing outwards on different sides. Six small wooden seats with wired headphones resting on them are arranged in front of the monitors. One visible screen displays an image of a man sitting at a table.] -
Cover of Christopher D'Arcangelo, Kunstverein Publishing and Artists Space. Photo: Cathy Weiner. [Scan of the cover and back cover of a book. On the front cover, black text on a white background reads "Christopher D'Arcangelo." The back cover features a black-and-white photograph of a figure doing a headstand, their back facing the viewer. The figure is shirtless, exposing black text written on their skin.] -
Wolfgang Tillmans, Speedmaster #2, 2011, Offset print on paper, 47 1/4 x 48 3/8 in / 120 x 122,9 cm, Hung with two metal brackets, Edition of 170, Signed and numbered, Printed on LuxoArt Velvet 200 gsm paper with Speedmaster XL by Dr. Cantz’sche Printshop, Ostfildern [A large, square, sheet of paper, which has been folded into a 4x4 grid, unfolded, and hung on a white wall, leaving the creases. It is covered in a four-color gradient, from dark red, green, blue, to black, left to right, roughly not overlapping with the creases.] -
Tisziji Muñoz [A black and white image of a figure with long, wispy hair and a mustache playing guitar.] -
Andre Cadere, 11 December, 1976, David Ebony Gallery, New York, 13.00 to 17.30, Photograph by Gianfranco Gorgoni Digital print Image size: 10 x 8 in / 25,4 x 20,3 cm Paper size: 11 x 8 in / 27,9 x 21,6 cm Signed and numbered certificate [Black and white photo of Andre Cadere holding a striped stick over one shoulder and crossing the street in New York City.] -
ART CLUB2000, Gli Avvoltoi (The Vultures), 1995, wall painting. Installation view of FuoriUso '95: caravanserraglio arte contemporane, Fuori Uso, Pescara, Italy, 1995. The wall painting was originally produced for the exhibition Milanarian at Gallerie Facsimile, Milan, Italy, 1995. [A painting on the wall of an industrial room depicts a network of television antennas, repeated horizontally. Cartoon birds sit atop the poles, each with a numbered speech bubble floating above their heads.] -
Film still from Now Voyager, 1942. [A black and white image of a woman looking into the camera. She has a wide-brimmed hat with a sheer veil over her face, and dark makeup.] -
Frank Ripploh, still from Taxi zum Klo, 1981. 95min. [A man sits partially undressed on a toilet, holding a red notebook while peering through a hole in the tile wall.] -
Carolyn Lazard: Two-way. Installation view (Vital, 2025), Artists Space, 2025. Photo: Greg Carideo. [A darkened gallery space with dark blue walls and dark blue carpeting. On the left sits a bench, which faces a large wall projection on the right. The projection depicts a black patient in a blue hospital gown sitting on an examination table.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space with an exposed back section of drywall. The wall features one grey panel with a framed image. A large piece of grey and yellow vinyl partialy hangs from the wall, falling in large folds on the right.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Several framed artworks hanging on a black gallery wall. A large yellow frame hangs on the left side of the wall while on the right, four smaller anthropomorphic drawings are displayed.] -
[A screenshot of the google images search results page for the query "the problem with contemporary art is not the contemporary."] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [Two colorful drawings are exhibited on a black wall. On the left, a series of open boxes is drawn in red. To the right, the drawing is crowded with the depiction of an open book, airplanes, and multicolored boxes. Both drawings are signed with F-.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Three vitrines are displayed in a light-filled gallery space with light wooden floors. The vitrines sit in between three white columns to the image's left side. On the right, a series of large, colorful prints featuring graphic, abstracted letters overlaid over various abstract shapes, patterns, and printed figures are displayed on a gallery wall.] -
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[Photograph of two figures, one in a suit, one in a suit and brown trenchcoat, striding across a city street. The facade of the buildings behind them is covered with a colorful mural and a long line of alternating, bright red and yellow posters. A large building sign above the posters reads "S. KLEIN."] -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of a large gallery space with white walls and columns in the center of the room and artworks lining the walls. In the center of the image, visible through the columns, are many small photographs hung in the shape of the letters "DMZ."] -
[Close up image of a series of black shelves mounted to a white wall. Various wooden blocks painted with scenes of crowds, witches, and other characters are placed on the shelves, alongside smaller blocks decorated with white letters that spell out words including "stooge," "atheist," and "traitor." At the center of the shelves sits a black figurine of a goat.] -
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Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures wearing medical scrubs hold a mannequin over a table.] -
[A grainy, black and white image of a vintage automobile driving on a winding, deserted road through a set of mountains. The car is in the foreground of the image, with part of its body cut off by the image's frame.] -
Hani Rashid, The Early 17th Century, 1985. Mixed media with ink, old paints, acids, chalks, 33 x 24 inches. [Drawing of upside down Christian iconography along with pyramid, desert landscape with white surrouding the images.] -
[A yellow stamp reading, "W.A.G.E." overlaid with pink text reading, "Working Artists and the Greater Economy."] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two screens hung on either side of the top of a support beam in a gallery. The room is otherwise empty. One screen depicts a woman walking down a fashion runway, wearing a black jacket and shorts with a sheer top.] -
Tiffany Sia, In Plain Sight (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close-up photograph of an orange LED light on the gallery floor. Black vinyl on the floor in front of the LED reads, "SIGHT]."] -
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New Music Circle, St. Louis. Photo: Theo R. Welling [Color photograph of a hand, fingers outstretched and manipulating a group of suspended wires that run across the frame.] -
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.] -
[A black and white image of a girl sitting sideways on stone steps against a wall reading a book. Several more books are piled in front of her.] -
Sariyah, Cupcakes, 2022, colored pencil on paper -
Pictures. Installation view, Artists Space, 1977. [A large room with white walls. Artworks hang on the right and left walls, covering most of the surface area. There is a door open towards the back of the room.] -
Julia Rommel, Back Channel, 2023. Photo: Filip Wolak. [Color image of a painting, done on linen. The left edge is painting a light blue, and the bottom edge is painting orange, with a large rectangle of dark blue paint covering the rest of the work. Accents of light blue paint run through the center and around the edges.] -
Brad Kronz, Egna Spartan, 2025. Plywood, wood filler, stain. Photo: Carter Seddon [Lit from above, a square wooden panel hangs in the center of the wall. ] -
Nick Mauss, This afternoon, 2012, 5-color, hand-stenciled gouache on paper, each unique 24 x 18 inches, Signed and numbered. [A gestural line drawing of two figures embracing set against a geomatric pattern of blue, teal, brown, red, and pink rectangular forms.] -
H_edge. Installation view, Artists Space, 2006. Photo: Whitney Cox. [A large gallery space full of hundreds of metal cutouts shaped like curved "x"'s hanging from lengths of metal chainlinks. The cutouts are arranged in the gallery so that they form a hedge-like landscape of varying heights. Visible through the cutouts is a black and gray composition installed on a gallery wall.] -
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.] -
Log Cabin. Installation view, Artists Space, 2005. [Several sculptures and 2D works installed in a gallery space with wooden flooring. Two walls emerge on the left and right sides of the image, creating a doorway through which another area of the gallery is visible. The wall on the left is painted black, while all other walls are painted white. Several photographs—including two picturing nude figures bound in rope—and works on paper hang on either wall. In the far gallery space, three sculptures sit on the floor and a single TV monitor is installed on the farthest wall.] -
Bonnie Rycheck. Elegantly Contained, 1986. [A black and white photograph of gray benches with black on top, the front one with legs the back one without. Tape appears on the top of the image.] -
Yara in the dojo, c. 1970s. Courtesy the Estate of Milford Graves [A black-and-white photograph depicting three men equally distanced from one another. They hold their hands up to the ceiling with their palms out and stand near a floral printed wall.] -
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Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. -
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Brett Reichman, Squeaker, 1991. Oil on canvas, 36 x 36 inches. Courtesy the artist. [A painting of a lamb figurine.] -
David Kroll. The Intrusion of Fear, the Fear of Knowing, 1985. [A fanciful drawn landscape of hunters following deer next to a figure in front of their desk next to a window and fireplace.] -
Leslie Hewitt, Make it Plain, 2006. C-print. [A large, framed photograph of two books, a wooden rectangle, and a photograph stacked vertically on each other. There is a second photograph offset to the right in the image.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A metal plaque engraved with text is displayed on a white gallery wall that extends into the left half of the image's frame. Past and to the right of the wall, a series of colorful panels are staggered around a white column in front of a red wall. Some of the panels are decorated with cartoonish illustrations of animals and forests. Large text on one of the visible panels reads, "We're all going to really miss doing your work for you."] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a reed organ with a sheet of clear plastic falling off the organ, and a block of ice fallen on its side on the floor of a black stage.] -
[White text overlays a gray, purple and light blue gradient background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Winter 2025 Season / February/March curated by Stella Cilman and / Jay Sanders of ARTISTS SPACE / Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
Tameca Cole, Locked in a Dark Calm, 2016. Courtesy of the artist and Ellen Driscoll [A swirling cloud of grey mist covers most of a figures face. Slivers of their eyes and mouth are revealed through holes in the blanket of grey.] -
Yasunao Tone performing Music for Reed Organ (1962), Repetition and Structures, Mills College, Oakland, California, 1972 [Black-and-white photograph of a figure sitting in a chair on stage, with their hands behind their head. They are sitting behind a reed organ covered in a plastic sheet with an ice cube placed on top of the keyboard. Behind the reed organ is a clock on a music stand.] -
[A few empty seats on an NYC subway - the 6 train, with the originating station titled "Maintaining Good Relations"] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of a wooden table containing various papers, books, and documents displaying text and images. Windows to the street surround the background.] -
Ann Goldstein has been a museum professional for over forty years. She currently serves as Deputy Director and Senior Curator at Large at the Art Institute of Chicago and on the board of directors and as President of the Michael Asher Foundation. Goldstein joined the Art Institute in 2016 as Deputy Director, and Chair and Dittmer Curator of Modern and Contemporary Art. Prior to joining the museum, she served as Director of the Stedelijk Museum in Amsterdam from 2010–2013, and as Senior Curator at The Museum of Contemporary Art in Los Angeles (MOCA) from 1983–2009. She is recognized for such large-scale historical survey exhibitions as A Minimal Future? Art as Object 1958-1968, 1965-1975: Reconsidering the Object of Art, and A Forest of Signs: Art in the Crisis of Representation, as well as numerous solo exhibitions and projects over the years with Jo Baer, stanley brouwn, Judy Fiskin, Felix Gonzalez-Torres, Roni Horn, Richard Hunt, Mike Kelley, Martin Kippenberger, Barbara Kruger, William Leavitt, Steve McQueen, Cady Noland, Pope.L, Josephine Pryde, Nancy Rubins, Lawrence Weiner, and Christopher Wool, among others. In addition to the Asher Foundation, Goldstein serves as a member of The Felix Gonzalez-Torres Foundation Fellows Forum, on the board of trustees of the Richard Hunt Legacy Foundation, the board of directors of Primary Information, and as a member of the Serralves Museum Advisory Committee. In recognition of her work, the Center for Curatorial Studies at Bard College presented her with the Audrey Irmas Award for Curatorial Excellence in 2012. [Photo: Christopher Williams, 2024] -
Hall of Records, Friends of Artists Space Dinner, 2025. Photo: Jenna Bascom. [Aerial view of three long dining tables with rows of candlebras running down the middle of each. Rows of seated guests on each side of the tables are chatting and having dinner. ] -
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.] -
Yasunao Tone performing Music for Reed Organ (1962), Repetition and Structures, Mills College, Oakland, California, 1972 [Black-and-white photograph of a figure, in profile, sitting behind a reed organ that is covered in plastic.] -
Jim Pavlicovic. Installation view, Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white installation photograph of a gallery space. A square blank canvas hangs from the wall on the left, and two windows are visible on the right.] -
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Spread from Harun Farocki Diagrams. Images from Ten Films, stills from Images of the World and the Inscription of War, 1988. [Fifteen images arranged in a grid, depicting close-ups of human faces and arial views of war.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit view of a wooden wall with scattered video-still images at varying placements. Behind the wood is a white wall.] -
[Graphic logo reads I ♥ John Giorno in red text.] -
U.S. Projects: Howard Fried. Installation view, Artists Space, 1983. [A sink structure on wheels sits atop a tilted wooden table top with legs of varying sizes. Light from the ceiling is seen emanating onto the structure in the white-walled gallery space.] -
Flyer by Joe Frivaldi. [Magazine cutouts and red and blue squigly lines overlay a yellow background. Text in the upper left corner an upside down text reads "ABASEMENT 63" and lists the performers. Text on the lower lefthand corners list the time and place of the event.] -
Abstraction in Process. Installation view, Artists Space, March 26, 1987 - May 2, 1987. [intermezzo?] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a TV screen playing blue-tinted video footage of the performance with a fresnel lens placed in front of the screen, distorting the image.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Four pornographic illustrations framed on a wall.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 29, 2022, Artists Space. Photo: Destiny Mata [Color photograph of visitors standing around a gallery space, conversing and studying the works on the wall.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two gold picture frames with black and white portraits of a woman (left) and a man (right) face each other on a shelf.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large, rectangular wall is suspended at the center of three vertical poles in a bright room. The wall is covered in abstract, smooth and multicolored shapes. Amongst the shapes there are several figures of different ages and dress performing different tasks. One raises his fist in the air. Two identical looking boys stare at the viewer. Another figure wears a hat with rabbit ears.] -
Audio Works. Installation view, Artists Space, 1978. [A room with a large set of drawers set against the wall. Above the drawers are the words "Audio Works Archive / Please Ask At The Front Desk To Have The Drawers Opened." On the right wall hang several papers and print-outs.] -
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.] -
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Donald Sultan. Installation view from John Mendelsohn and Donald Sultan. Artists Space, 1977. [A black and white photograph of a wall featuring twelve black and white photographs, arranged in a grid. The images on the wall are of various human figures.] -
[Black text on a green background. The text reads: “Jan 4 / Evelyn Reilly / Mohammed Zenia” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view, Artists Space, 2023. Photo: Filip Wolak. -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [An illuminated performer sings into a microphone. ] -
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Crystal Z Campbell, Revolver, 2022. 16mm film transferred to Digital Video, Stereo, Sound. 17:27 min. Courtesy the artist -
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Robert Gero, Untitled, 1989. Lead, straw, wax. [An inverted triangle of straw held together with wax supports an X made of lead.] -
Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [The audience faces the stage in the background, next to a projected graphic of an psychedelic-style eye and a red exit sign. The backs of two musicians are blurred in the foreground. The musicians are lit with soft blue and green lights. The room is dimly lit, and audience members are also tinted with multicolored lights.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three large windows are covered with a sheer fabric that includes faded printed text and images. Two gray silhouettes are displayed on the adjacent wall to the left. To the right, an electrical panel with exposed wires sits in the corner.] -
Duncan Campbell Big Fires Start Small, 2010, 3 color screenprint on poster, 25 1/2 x 16 1/2 inches (64,8 x 41,9 cm), Edition of 100, Signed and numbered. [The phrase "big fires start small" is written diagonally against a black background. "Big fires" appears in large bubble text surrounded by flames and "start small" appreas below in white blocky type.] -
Lee Gordon, Here's to America Series, 1990. Oil on canvas, 18 inch round. [A person wearing a black mask over their head reads a book titled Kennedys An American Dream.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A group of performers plays various instruments on stage while bathed in pink, red, and blue light. ] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Two figures stand back to back, juggling clubs above their heads.] -
Installation view. Artists Space, 1983. Foreground: Jeff Koons. New Wet/Dry Triple Decker, 1982. Plexiglass, fluorescent light, new vacuum cleaners. 124 1/2 x 28 x 28 inches. [In the foreground is a set of vacuum cleaners on display vertically above each other on a plexiglass shelf rack with fluourescent lights underneath each one. Behind it on a wall is a Duratrans on a lightbox with text that reads: "New 100% Meri Ultra-lights" and a picture of a pack of ciagrettes appears next to the text. These works appear in a white-walled gallery space with a window in the far left back and a fluorescent light visible above.] -
[A silver, metal plaque displayed against a bright red backdrop. Text engraved on the plaque reads, "Four hours of steady work face you. You rub blindly at one wrist with the other hand and reattach the brace, molding the various input/output feeds back into their ports, the audio, visual, haptic, mouth-smell and pure reason. It was typical, routine but aggravating, setting tons of exits dark, setting properties manually on editing, the west exit of the dining car that must be unpick able, the pencils that must be broken of their lead, the rotation speed on a deck of hypercard that must be trued with the accelerating average saccade rate. Then a bunch of identical or nearly-identical descriptions to reset on every atomically-detailed manual interaction object, re-spawning every item instanced in the idiorrhythmic skate’s mini-bar, for example, or buffering every one of the phalanstery’s refractor diodes. All it goes to show is that your’e working against the software too much, Now with three upward blinks interspersed with a short series of lip tics into the facial interface meshed into your latex balaclava respawn the set of tri-fold hologrammatic welcome brochures. You could be much more productive if you had the chance, but that’s how it goes. Athos is closed-source and always has been, the massive influx of new residents with new needs notwithstanding. Idle thoughts, ancient history, better to spend it artificially deflating the calorie currency on the skate’s all-you-care-to-eat buffet, to fuck just a bit with the schismatic flesh mercantilists in Madalay District. Set chafing capacity to maximum. What joy is there in living. You yourself had kong since ceased to register hunger. When you notice it, it’s not that you’re not hungry - you could choose to feel the effects, lightheaded every time you bend down to tap a pressure gauge, blurred vision when you stand back up, the constant headaches and fatigue. But the feeling of emptiness, that the stomach is a void to be filled with raw materials from the feed-cache or a sub auricular puff of enzyme slurry, that was gone. The propriety of that sense of internal space, of endogenous and unaccountable degrees of internal freedom for desire, bent back towards its opposite. Your tasks, the purest extension of a certain kind of unfulfillable desire, await you no less for that. If you simultaneously adjust a row of damper switches to their most neutral position, use the flat edge of your palm. The idea that in times of harsh exogenous conditions, in which so many resources are bound to sheer homeostasis, the tariff that must be extracted for the use of symbiotic system of immersion actually decreases. The last switch cannot be turned off, Paradoxically, as things get worse overall, the worsening situation costs increasingly less to maintain."] -
Tom of Finland, Untitled, ca. 1930. Watercolor, pen and ink on paper. Courtesy The Family of Touko Laaksonen, Finland. [A vitrine displaying a nuclear family of paper dolls with their various options of clothing.] -
[A flyer for Slideshow/Cloakroom at Artists Space featuring information about the event in black text. At the bottom there is a line drawing of a hanger with decibel readings within it.] -
[White text overlays a background of a close-up picture of grass and grey rocks. The text reads: “April 15 / hannah baer / Early Shinada." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing behind audio mixing equipment and a microphone in front of an orange background. A white light shines down on them from the left.] -
James Biederman. Installation view, Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A color installation of three black tiered sculptures, placed on a wooden floor in a gallery space.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A color image of the white wall of the gallery space. In the center, a projected image of two hands tying rope around the body of a fish. The black and white projected image is flanked by two sets of six black and white framed photographs. Each frame is black, with three on the top and three on the bottom.] -
Covers of Jef Geys: Catalogue Raisonnable, WIELS, 2025 and Ghislaine Leung: Holdings (2015-2025), the Renaissance Society, 2025. [Two books lay side by side. On the left, a gray cover with black text reads "JEF GEYS." On the right, a yellow cover with white text reads "SCORE / NON-SCORES / SUB-SCORES."] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [An image of a shoreline is projected on a trifold screen.] -
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Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of several photo strips with wide white matting attached to a wall.] -
Leila Torres, Self Portrait, 2015 [The bust of a teenage girl looking up and away from the viewer's perspective, with a green, grey and yellow background. On the green section, white text reads, "We have lingered in the chamber of seas. With seaweed both red and brown. Till Human Voices Wake us. And we drown"] -
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Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure leans over to arranges audio equipment on a desk using a flashlight held in their mouth. Red light fills the background.] -
Students at Irving Penn exhibition at Pace, 2025 Students -
Robert Mangold, Untitled, 1995, Etching with aquatint, 24 x 30 inches (61 x 76.2 cm), Editions of 50, Signed & numbered. [The image shows a quarter of a circle on a white background that is colored half-brown, half-blue with two black ovals of different sizes etched on top.] -
Cici Wu, Foreign Object #1 Fluffy Light (anonymous), 2018. Handmade opalescent glass, CDS photo-reflectors, white and orange LED indicator, switch, chargeable battery, electronic board, memory cardboard. 4.5 × 4.5 × 4.5 in. (11.43 × 11.43 × 11.43 cm). Courtesy the artist and 47 Canal Gallery. Photo by Joerg Lohse. [A bulbous light-hued pink sphere-like object rests upon a white plinth. When in use, a red light on the object blinks to signal that the object is functioning correctly.] -
Episode. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A dark screening room with a single brown couch. An image is projected on the wall, showing a hallway with a slightly ajar door, through which blue light is filtered.] -
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Wish I Were Here. Photo: Alexandra Stock. [A young boy with his arms outstretched leans against a wall. The wall is covered with a larger than life photograph of a crowd of people holding flags and signs, as in a protest or a rally.] -
[A flyer featuring a vintage orange and black computer with a small monitor and chunky keyboard set against a saturated yellow background. White, stylized text on a faded computer screen reads: "A READING BY ALAN FELSENTHAL AND BETSY FAGIN." Red text on the yellow background in the upper left corner reads: "Artists Space & the Segue Reading Series present" and in the lower right corner: "Saturday May 23rd / 5 pm NYC time / Zoom ID 378 232 567”] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Doris Guo, Doorstop 1, 2024; Doris Guo, Doorstop 2, 2024), Artists Space, 2024. Photo: Carter Seddon. [Color image of two small doorstop sculptures on the floor of the gallery space landing. The sculpture in the foreground consists of a short column of aluminum, banded with black rubber near the top. In the background sits another sculpture, a squat column of concentric stainless steel rings with a black rubber core.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two framed collaged images on a white wall. Both display a central image of two dogs.] -
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.] -
Lyndon Barrois Jr., The Conjuror (After Bosch) f/ Addoley Dzegede, 2022. Enamel tumblers, ceramic frog, wooden wand, foam, graphite, batik dyed handkerchief, electroformed ink cartridge, copper, night stand. Dimensions variable. Photo: Filip Wolak. [A color photograph of a wooden nightstand with a red hankerchief, ceramic frog, wand, and enamel tumblers. On the right side of the nightstand, a brass hoop rests on the floor, propped up against the nightstand.] -
Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [A black and white photograph of an artwork. Over a black background are the silhouetted outlines of several human figures standing and sitting.] -
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Iliana Polanco, Curve, photography, 2016 [A close-up, black-and-white photo of a small dirt area surrounded by a metal fence. A large tree stands in the middle of the image, surrounded by short plants and a small flower] -
Vito Acconci. Installation View. Artists Space, 1986. [A piece of landscaping appears on the gallery floor with flowers and plants coming up from it in a stair-like fashion. Paintings appear in the background in a white-walled gallery space.] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [Musician holding a microphone stand with both hands. Their eyes are closed and they are wearing glasses. A blue guitar is around their body. The background and the musicians face are decorated with green, blue, red, and yellow abstract patterns.] -
[Flyer featuring three computer-generated shapes: a sphere, a curved plane, and a flat plane. Each of the shapes is black, covered in a white grid pattern, and features a warped image of a red triangle. The shapes sit on a blue and yellow gradient background. Red sans-serif text positioned at the top and bottom of the image reads, “artists space & / the segue series / present a / reading by / Dia Felix / and / Jeremy / Hoevenaar / saturday, may 16 / 5pm nyc time / zoom id: / 378 232 567 / be there or be non-euclidean.”] -
Installation view of Social Disease and Two Possibilities, Artists Space, April 12, 1986 - May 10, 1986. [Two people sit on chairs in front of television monitors that are showing a black image. The television monitors are on pedestals in the gallery space.] -
Adjua Gargi Nzinga Greaves, For Aricka, Ayana, Ayodele, Bernice, Chantelle, Charmaine, Cynthia Ch., Cynthia Co., Daphne, Davina, Dawn, Dina, Emily, Erica, Evadne, Frances, Gail, Gwen, Hara, Heather, Imanei, Imani, Janet, Jenny, Kadija, Kahdeidra, kale, Kelly, Kenya (R), LesLes, Lois, Lynnette, Madeleine, Mahogany, Marsha, Maiya, Najela, Nontsi, Ola, Pilar, Queen, RaFia, Ro-Ro, Sandra, Sasha, Serenity, Shana, Simone L, Simone W, Tabitha, Taiyi, Trinity, Uchenna, Vivian, Wangechi, X, Yvette, Zuri, detail, 2021. Living plants: Hannibal (Epipremnum aureum) with rose quartz, Gertrude Deuxieme (Tillandsia xerographica), Leonie (Philodendron totem), Eversley Deuxieme (Tillandsia xerographica), Melford (Epipremnum aureum) with amethyst; dessicated floral matter (eucalyptus, grass, willow, palm), knight on horseback figurine, brass candlesticks, polystyrene, porcelain and 18 karat gold plates, crystals (various), bamboo earrings, jade, cremains, leather, cork, glass, dragon figurine, sandalwood incense and ceramic holder, palo santo (Bursera graveolens), and window, overall dimensions variable. Courtesy Artists SPace, New York. Photo: Filip Wolak [Partial view of a potted plant and a small figurine of a knight on horseback with a lance.] -
Fishing For Sound Team on the East River, 2022 -
Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of an individual standing and smiling jovially towards the camera. A podium can be seen to the left of the image, and a variety of seated party guests are also imaged within the elegant and decorative venue.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A large screen in a dark room, showing an image of a pair of bare legs from the knees down.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of an audience in a room. Some of them are seated, others in the background are standing up. A bright yellow light is pointing into the camera, creating a dramatic light flare. The wall in the background features an abstract image projection, resembling a piece of shattered glass. The atmosphere in the room is hazy, and white dots of light from a disco ball fill the room.] -
[An angled view from a ledge containing household items, into a bedroom. Above the doorway black text reads, "Macho Man, Tell it to My Heart."] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of three performers on stage. In the right foreground, a performer with medium length dark hair and glasses vocalizes into a microphone. Blurred in the left background are two more performers. The one standing closest to the vocal artist plays a tenor saxophone instrument while the musician behind him plays a guitar. The entire trio and interior is cast in a cobalt blue light emitted from a projector. ] -
Wade Guyton, © Thomas Pirot -
MTL+. Water Is Life, 2016. Image courtesy the artists [A flyer for the event depicting an anti-DAPL protest] -
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.] -
[Pablo Picasso looking at an image of Joseph Stalin.] -
Installation view at Kaiserstraße 31A, Düsseldorf May 11, 1963 Courtesy Archiv Kuttner, Erkrath Photo: Manfred Kuttner [A black and white image of the back of a chair in front of a man in front of a train car, in which a man exits the door.] -
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."] -
Allan Berliner, still from Intimate Stranger, 1991. [Black and white image of four men resting near a large, rigged tarp providing shade on a beach. Three of the men sit and recline on the sand, wearing white button-down shirts and trousers. The fourth man wears a hat and stands behind the men.] -
[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)] -
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. The pigs are reflected in a mirror opposite them, which is framed by columns. On a wall on the left side is an image of hanging scales. The right wall is painted yellow.] -
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Flyer for Book Launch of Susan Brockman: Soft Network 01. [White text on a purple background reads: "Soft Network & Soberscove Press / Book Launch / Susan Brockman: Soft Network 01 / January 7, 2025, 7-9PM / Artists Space, 11 Cortlandt Alley, NYC." A black and white photograph of a woman standing in a desolate space is featured on the bottom left corner of the flyer.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work. A row of structural columns cut through the installation. In the foreground, a kinetic scutlpure featuring a sock being dipped into a pot sit on the floor next to a column. Behind the first column, two windows with images painted on the glass hang from the ceiling. Behind the windows, ceramic sculptures and kinetic sculptures featuring branches surround another column. To the right of the ceramic sculptures and branch sculptures, large paper-mache sculptures rest on the floor and hang on the walls. In the right forground, a large drawing done on craft paper featuring a cow hangs on the wall. In the background, two large drawings done on cardboard are hung from a wooden partition wall.] -
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.] -
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.] -
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.] -
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[Black text overlays a color-scheme grid background. The text reads: “Dec 9 / Jessica Laser / Jillian McManemin" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Attention Line. Installation view (posters and ephemera from Other Cinema, c. 1970s-80s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a brightly lit wall, upon which various ephemera are mounted.] -
Artists Draw. Installation view, Artists Space, 1979. [Six framed drawings are hung in a row on a white wall.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall displaying nine framed photographs of people. In the foreground, there is a vitrine with papers encased in glass.] -
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.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of bright yellow paper. Pieces of paper with typewritten text listing the performers and event details are scattered around the flyer.] -
[Black text that reads, "9/11, TRILOGY, Laura Poitras."] -
Masao Adachi, Galaxy, 1967 [Sepia toned image of three figures standing in the middle of the street. The figure on the left wears a white dress that flows in the wind, while the middle figure wears a button down shirt and stands in a pool of white liquid spilled on the ground. The third figure on the right wears a striped cloth over their body.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure smiles and stands behind a music stand and microphone.] -
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.] -
Conrad Bakker, Untitled Project: Projection [ARTISTS SPACE], 2007. Painted wood and mixed media. Courtesy the artist. Photo: Bill Orcutt [On a wooden floor in a white room are a pile of objects which emulate video projectors plugged into a power strip nearby. There is a remote control on the pile. On the otherwise empty facing white wall, "EPSON" is written in green letters.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A wooden door opens on a view of a tiled, single-user bathroom. To the right of the room is a small, porcelain sink and warped mirror. Behind the sink is a tan toilet below a thin window.] -
Pictures. Installation view, Artists Space, 1977. [A dimly lit corner of a gallery. A large, gray structure with a slight trapezoidal shape hangs on the corner's left wall. A series of small figurines of men riding on horses emerge in a line along the top edge of the gray form. Hanging on the corner's right wall is a frieze-style figurine of a man in a white shirt and tie that emerges from the wall. He tilts his head back as his arms bend, one extending forward.] -
DIVA TV Collective, Target City Hall, 1989. 27 min. [Onlookers and news reporters with cameras crowd around helmeted police officers surrounding a graffitied truck.] -
Nandi Loaf, +, 2025 [On a white gallery wall, a vinyl cut out of a black cross or "plus-sign" sits perfectly in the center.] -
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.] -
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Cosima von Bonin
Le Chic, 2023
Enamel on wood
(Two color options: red & grey or red & white)
25 x 4 ½ x 4 ½ inches
Edition of 20 with 5 APs
Introductory price: $5,000 each -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with a sculpture made of two fresnel lenses cut in the shape of wings hung on the back of a pillar to the left of the image. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1982. [Contact sheet of installation and opening photos from the exhibition.] -
Harvey Weiss statement, 1993. [Black text on a white background reads, "WAILING WALL / This work is an act of retribution, / an assault on indifference and denial, / a proclamation of loss, / for the dead and the living, / a wailing wall."] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure stands behind a microphone, their hands placed together in front of them and looking off.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Two works on paper hanging on a white gallery wall. The work on the left features curling black lines that accrete densely in various clusters. The work on the right features two overlapping pieces of paper with a box in the top-left corner that reads "Index." The paper on top is white and features various lines of dense, swirling black calligraphic lines of ink that approximate text, followed by a small printed line of text that reads "(over)." The larger paper beneath is yellowish and features larger, curling lines of black ink.] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays a modified string instrument on stage. ] -
Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of small photographs with wide white matting, affixed in a grid formation on a wall in a gallery.]
