-
Drake Carr and George Wells. Photo: Jenna Bascom [Two men, Drake Carr and George Wells, sit around a circular dining table, both gazing out while listening to a speaker who is out of frame. Carr rests his elbow on the back of his chair.] -
[Dark blue text overlays red-pink background. The text reads: “March 4 / John Godfrey / Nicole Wallace." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Sigmar Polke Socken , 1963 Courtesy the Estate of Sigmar Polke © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn [An image of three red socks, accordion folded in the center of the leg.] -
Crystal Z Campbell, Revolver, 2022. 16mm film transferred to Digital Video, Stereo, Sound. 17:27 min. Courtesy the artist [Negative film image of two hands holding down either side of a blue board. Objects are placed to create vaguely recognizable patterns and figures.] -
INFESTED. Installation view, Arists Space, 2013. Photo: Lyndsy Welgos. [Several empty food containers and milk boxes on a hardwood floor, with milk spilled out all over the floor.] -
Program for ‘At The Whitechapel Art Gallery, September – November 1981’ . Designed by Richard Hollis, 1981. Courtesy Richard Hollis [A nude statue of a woman in a headdress. To the left, sideways text reads, "At the Whitechapel Art Gallery."] -
-
Flipside. Installation view, Artists Space, 2004. [A small black table leans at an angle, one corner resting on a white wall and one leg resting on an inflated balloon with a face printed on it. Coming out of the ballon is a flowered dress, attached to a fan by an inflation tube. Beyond that, visible behind a half wall, are two red shades with holes covering two windows.] -
Art Day, Photo Club exhibition, PS 140, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [A partial view of a large, orange circular slug sculpture is in front of a painting hanging in a white-walled gallery space.] -
-
-
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Projections of elongated gold figures.] -
-
-
-
[An orange flyer features black sans serif text that reads: "Artists for ARTISTS SPACE / a benefit exhibition / April 27–May 13, 2023." Underneath is the list of participating artists: "Richard Aldrich, Ei Arakawa, Oto Gillen, Renee Gladman, Robert Gober, Richard Hawkins, G. Peter Jemison, Sanya Kantarovsky, Danny McDonald, Julie Mehretu, Jill Mulleady, Ulrike Müller, Yoshitomo Nara, Elizabeth Peyton, Pope.L, Andy Robert, Julia Rommel, Cosima von Bonin."] -
Emily Richardson, Redshift, 2001. DVD Projection, 4 min. [An outdoor landscape at night. Raindrops fall from the sky, and several dots of bright light are visible on the horizon over a great expanse of water, reflecting yellow light onto the water's surface.] -
-
Theresa Hak Kyung Cha, Dictée (New York: Tanam Press, 1982), 74 - 75. [A two-page spread from the novel Dictée shows four diagrams of a human larynx and neck on the left-hand page and a page of writing from the novel on the right.] -
-
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of three figures dressed in white, embracing each other as they run across an empty basement.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Four abstract sculptures constructed from neutral-toned materials are displayed atop white virtrines. Three more sculptures are hung in a row against a white wall.] -
Vivienne Dick. Still from She Had Her Gun All Ready, 1978. [Close-up of the face of a figure with short, light hair. The figure looks downwards. They are illuminated by a dim red light.] -
Installation view from From Here to Eternity: Fact and Fiction in Recent Architectural Projects, Artists Space, May 24, 1986 - June 28, 1986. [A shell of an architectural edifice stands over a small moveable two-wheeled car in a gallery space.] -
Drake Carr: Housecalls. Installation view, Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [Color image of a side view of a booth inside an art fair. On the outside of the left wall, three works made of cut-out panels can be seen. One is in the shape of curtains, and two are human figures. Inside the booth, a window with balck and white curtains with pink flowers can be seen. On the right wall hangs a colorful drawing with two figures sitting on a couch.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three female mannequins arranged in front of five hanging timelines marked 2002-2006. The first mannequin sits in a chair and is wearing a golden shirt and black skirt with a towel tossed over its shoulder. The second wears several scarf chokers, a shirt cut in two pieces resembling an "x", and gray jeans accessorized with two button pins and large thigh cutouts. The third wears an Adidas jersey decorated with a "bc" logo and black baggy pants.] -
Nandi Loaf, Aristotelis Nikolas Mochloulis, ricardo nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [A series of paintings are hung along four gallery walls. Many of the paintings loosely depict human figures or abstracted body parts in brown and red toned paint against white backgrounds.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [An installation shot of a room warmly lit by yellow and pink light. There is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a second disco ball, strands of string lights, and more.] -
Vaginal Davis, The White to be Angry, 1999, color video converted to digital. Photo: Filip Wolak [An image of a gallery space with walls painted red and a projection with speakers in front of the right-facing wall.] -
Vanalyne Green, Still from A Spy in the House That Ruth Built, 1989. 29 minutes. [A close up image of hands holding a film camera in black and white on a white background. Below the hands, a small, black silhouette of a figure walking.] -
![The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='2100' height='1661'%3E%3C/svg%3E)
Amy Sillman, MoMA Opening, 2007, Archival ink jet on Somerset Paper, 14 x 16 3/4 inches (36.6 x 42.5 cm), Edition of 17, 10 AP, 1 BAT, Courtesy the artist and Sikkema Jenkins & Co., Printed by Jean-Yves Noblet Contemporary Prints. [The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left] "I curated the next show! You'll love it! I just like what you do, right up your alley!" [top center] "This is my work but the wall label is really wierd..." [bottom left] "Oh! You two split up?! I had no idea! Two years ago? Goodness! I remember when you went on your first date! Your were so happy! Are you seeing someone new?" [bottom right] "I love your work." On the bottom right is written "MOMA opening 9-06."] -
Mel Kendrick, Dinnever Hill. Installation view, Artists Space, 1974. [A black and white installation photograph of a gallery space. Placed on the floor, canvasses of dark rectangles on white backgrounds lean against a white wall.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays a courtroom depiction of two individuals, one with blonde hair and fair skin wearing a suit, the other tan with dark facial hair wearing a keffiyeh. Behind the seated men is an image of a man sitting on the floor, in what appears to be solitary confinement.] -
Opening reception for J.B. Cobb, Martha Edelheit, Ree Morton, Artists Space, 1973 [A black and white photograph of a gallery with paintinfs on the wll and several figures milling and chatting.] -
Rent check envelope prop, c.1970s. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels [A discolored envolope, stained and frayed, with cursive handwriting that reads "The Lobster Lucky Landlord Paradise".] -
Beech Forest. Performance view, Artists Space, 2007. [Three standing lights point to illuminate a white wall. Standing beside them facing the wall is a figure wearing a coat and a hat with her hands lightly clasped behind her back. Barely visible on the wall beside her are stenciled outlines of trees.] -
Portrait of Eiko Ishibashi [A color photograph of a figure in a pointed hat with a wide brim and wearing a black and white robe. The figure is pictured amid tree branches and vines. They hold a twisted vine in their left hand.] -
Still from Eli Noyes and Claudia Weill's IDCA 1970, 1970. [A film still of a crowd of people sitting in rows of seats. Some wear sunglasses. Most do not speak to one another but gaze forward or glance around themselves.] -
[A figure, silhouetted by the sun, pushes a bike with a wooden contraption anchored across its handlebars, upon which various obscured objects hang. The figure is situated on a dirt road next to a body of water, which stretches out behind them in the distance. Urban buildings are visible in the far distance.] -
Sherry Markovitz. Danny Boy (detail), 1985. [A close up detail of the sculpted deer head with patterned designs on its face and antlers.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A metal cutout of a hand, holding up its middle finger with others curled back, is installed on a white wall. The hand holds a stack of neon cards. Black text on the front of the top card reads, "High five, girls earned the point, they have a good feel."] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure wearing a conical sheath of reflective one-way mirror film that covers most of their body. They lay on the floor and spread one arm out from under the mirror film. A bright light shines from under the film.] -
Friends of Artists Space Dinner 2024. Wine sponsor Vivanterre. Photo: Jenna Bascom [A bottle of wine sits on a set dining table covered in a red tablecloth, surrounded by wine glasses. The wine label features an irregular curved white semi-oval, overlaid with a smaller burgundy red shape, and the embossed text "Vivanterre"] -
Constantina Zavitsanos: fwiw. Installation view (∞, 2024), Artists Space, 2024. Photo: Carter Seddon. [Against an urban landscape, a metal pinhole camera tin is mounted to a roof post.] -
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.] -
-
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in white, laying face down across two ledges of a raised desk.] -
Gerry Morehead. Installation view from Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white image of a black circle with a fish painted on it.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[An Elegoo microcontroller is affixed to the side of a brownish sculpture sitting on a white base. Two blue wires are plugged into a lemon and an onion on a platform, each connected to the microcontroller.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A brown paper bag, placed on a shelf at an angle, an illustration, in colored pencil, of a man wearing a ten-gallon hat, in which his strands of black hair stick out from the bottom. A graphic that reads, "Pioneer," across his hat. In the background and the side of the bag are small detailed multicolored line patterns. A single cannabis leaf, facing sideways amongst the line pattern.] -
Hito Steyerl, Guards, 2012. HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, gesturing towards the viewer with both hands together, is on the back wall.] -
Flyer for Segue Reading Series featuring Sasha Banks and Derek McCormack. Saturday, October 31, 2020, Artists Space. Artist: Keith Higginbotham [Photographs of an opulant room are collaged together, creating a view of a single space with multiple perspectives. White text centered on the image reads "Sasha Banks / Derek McCormack," and black text below reads "Segue."] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [On the right, a figure speaking into a microphone appears to be in conversation with two humanoid blue birds.] -
-
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage. The musician on the left is in profile, standing up, while playing the guitar. On the right side of the frame a musician is sitting down, out of focus, playing the drums.] -
New Red Order Give it Back, detail, 2020 Acrylic LED displays with cut vinyl, water cooler, poster, couch, desk, chairs, magazine rack, The New Red Times Magazine, and three televisions. Image courtesy Artists Space, New York [An image of a magazine rack with numerous copies of a magazine with a city-scape is positioned upside down, the point of the skyscraper reaching towards the bottom of the image. Googley eyes, eyebrows, and a mouth are drawn near the top of the building. Red serif font across the top of the image reads "The New Red Times Magazine." White serif font in the bottom left corner reads "TIRED OF LIVING ON STOLEN LAND?" Below, red serif font reads "GIVE IT BACK."] -
Amalle Dublon & Constantina Zavitsanos, Interferometer (Quantum Eraser), 2018 (detail view). Photo: Daniel Pérez. [An inferometer in the foreground, bolted onto a black peg-board table, projects a green dot, through multiple lenses, onto a white wall.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs and surgical masks move a table with wheels, on top of which a mannequin lies.] -
Jack Smith Untitled (Plaster Foundation of Atlantis), 35mm slide, c. 1970. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels. [Remnants of discarded objects fill the frame. A flattened rubber chicken sits in the middle next to various bottles and boxes. On the right reads a white square in black and red font, "Exotic, Tropical Fruit."] -
[A black and white scan of an invoice from Corcraft Products issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details a net purchase of $1309.00] -
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.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of red, green, and yellow paper. Pieces of beige paper with typewritten text listing the performers and event details are scattered around the flyer.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [Ten photographs are displayed on a white gallery wall. The photographs are arranged into two identical rows. The photographs along the top are darker and cool toned. The photographs along the bottom are much brighter and warm toned. To the left of the photographs is a white panel that shows the floor plan of a gallery.] -
Mark Hamilton: Echoplex. Installation view, Artists Space, 2006. [A white ceiling with penciled text reading "ROAD TO RUN."] -
Young Fluxus. Installation view, Artists Space, 1982. [Numerous plastic bags of objects appear together on a white gallery wall.] -
Exhibition Pamphlet (cover) -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A green object with a cracked, black surface sits on a white base. A metal antenna extends out on a diagonal.] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Matthew Langan-Peck, Player 3, 2024; Matthew Langan-Peck, Box 7, 2024), Artists Space, 2024. Photo: Carter Seddon. [Closeup view of two wooden box sculptures sitting side by side in a gallery. The box on the left is painted light yellow and has a pair of headphones hanging from its side; its lid is slightly ajar. The closed box on the right is covered completely in imitation gold leaf.] -
Yasunao Tone: Region of Paramedia. Installation view (ephemera c. 1970s), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine from above. Various ephemera, including magazines, correspondence, and photocopied photographs in black-and-white are placed inside.] -
Hanno Ahrens. Selections from the Artists File, installation view, Artists Space, 1986. [A photograph of one large painting divided evenly diagonally across in black and white above a smller painting that does the same.] -
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."] -
-
Cass Bird, I Look Like My Daddy, 2004. C-print, 30 x 40 inches. Courtesy the artist. [Photographic portrait of a youthful figure leaning against a white brick wall. They wear a partially unbuttoned, blue and black plaid shirt and a trucker hat. Large black text emblazoned across the front of the hat reads, "I LOOK JUST LIKE MY DADDY." A miniature gun token has been attached to the hat, to the left of the text. The figure stares ahead, the right side of their face illuminated by daylight.] -
Till They Listen: Bill Gunn Directs America. Installation view featuring various ephemera from Stop, c. 1970, c. 1973, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A floating glass display case holding a black and white image, and multiple booklets of text.] -
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.] -
T.J. Wilcox, I Fell in Love With Vanessa Redgrave, 2010, Perfect bound flip book 4-page cover plus 100 pages, 50 in color, with a text by the artist 3 x 6 1/2 x 3/4 inches, Signed and numbered [An image of a woman with frizzy hair, smiling and looking past the viewer. The image is slightly distorted, as if from a VHS tape.] -
Konrad Lueg Babies , 1967 80 copies + 40 artists proofs, signed and numbered screen print on cardboard, 59 x 83 cm Courtesy of Edition Block, Berlin [Six rows of six small, faded images of a child in various poses, positioned at left center of frame.] -
We the People. Installation view, Artists Space. 1987 [A black and white photo of an exhibition space, four sculptures on pedestals line the room diagonally with a mural painting behind them.] -
Shala Miller, Genesis, 2023. [A black-and-white film still depicting a nude figure, her body is turned two-thirds of the way. Several smoky duplicates of the figure's body and face are superimposed over the original image. A cloudy and blooming, nondescript atmosphere serves as the background.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of multiple works including an orange wall that reads "Wandering with no specific intent or has something specific in mind but doesn't tell what it is." met with a tower of gap shoe boxes. Near the gallery wall are life like cutouts of individuals dressed in animal costumes.] -
Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view (memory of barbers touch, 2022; Poems 1 -6, 2023), Artists Space, 2023. Photo: Filip Wolak. [A color image of a close-up of a floating vitrine on a red wall, with four small paintings hung in a series above the vitrine. Inside the vitrine are six pages, with poems written on them and drawings of flowers decorating the pages. Thefour paintings above the poems depict Black Queer figures in darkened environments with gold, and colorful accents.] -
-
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A continuous strip extends around the perimeter of the room, hung up on the walls. The strip alternates between photographic stills and black boxes overlaid with white text.] -
-
Urban Pornography. Installation view, Artists Space, 2001. [Seven small, color photographic prints installed in light wooden frames on a white gallery wall. The photographs are displayed side-by-side in a horizontal line, some displayed in a landscape and some in a portrait orientation. All display images of various buildings in sunny environments.] -
Masao Adachi, Galaxy, 1967 [Sepia toned image of a figure leaning over and biting the neck and shoulder of another figure that leans back, their face contorted in pain.] -
Alvin Baltrop, The Piers (exterior view of day's end), 1975-8. Courtesy The Alvin Baltrop Trust and Third Streaming, New York. [People sitting on small wooden planks at the end of a pier. A large hole is visible in the side of the pier.] -
-
Tim Doud, 2001. [A painting of a bald man with glasses looking off to the side. He wears a red Lacoste polo shirt.] -
David Martine, No Reservation: New York Contemporary Native American Art Movement (AMERINDA, 2017). [A group of people waiting in line in front of a building. One man raises his hand, reaching out of frame.] -
Other Minds, San Francisco. Photo: John Fago [Black-and-white photograph of a figure, walking in the middle of the frame between two sets of suspended wires that run from across the room. The figures hands manipulate the wires on each side of them.] -
It's Just Art, Adrian Piper, April 29, 1981 [Adrian Piper, dressed in black with sunglasses and holding her arms aloft in mid-motion, stands in front of a projected image showing a photo of herself in sunglasses, and a thought bubble that reads, "14. WE DEFEND EACH OTHER / (YOU CERTAINLY DIDN'T COME TO AN ART PERFORMANCE TO HEAR A LECTURE ON CURRENT EVENTS)"] -
William S. Burroughs. Target #5 (July 29, 1997), 1997 Courtesy John Giorno. . Photo: Adam Reich -
Yuki Kimura, Wardrobe Extensions Version 5, 2019, three wood wardrobes with metal hardware, wood panel, paint. Photo: Daniel Pérez [A wooden wardrobe stands against a white wall. In the background, four projectors sit on the floor amid one black column. Two white test patterns are projected on white walls.] -
-
Sheida Soleimani, Dukhan Field, Qatar, 2018. Courtesy the artist and Denny Dimin Gallery [A color photograph of a performance piece showing a nude person lying face-down and completely covered in green paint. They are laying on a large set of green, patterned, and painted paper with a soccer ball and glass of white liquid near their body.] -
Jack Smith, Jack Smith at University of Colorado, 1980. Video, (sound, black and white), 100 minutes. [A black and white image of two blurry figures talking to each other in a dark room.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A wide shot of a gallery space with wood floors and large windows. In the foreground is a screen mounted on two metal poles on a wheeled base. In the midground, there are two screens mounted on floor to ceiling metal poles arranged at a 90-degree angle to each other. In the background, there is another screen just visible from behind a white column.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [Color image of three large pink fabric banners by Isabelle Frances McGuire, each emblazoned with three silver stars, hanging from ceiling to floor. In the gallery space behind the banners, an off-white foam sculpture of a naked human form rests supine on a small white platform.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A large, black and white illustration of a hand displayed on a freestanding gallery wall. The hand extends upwards, palm facing the viewer, with tentacle like creatures escaping a slit on its wrist. The illustration extends across the full height of the wall.] -
Milford Graves: Fundamental Frequency. Installation view (Pathways of Infinite Possibilities: Yara, 2017; Yara Training Bag, c. 1990), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of a gallery with two sculptures visible. The sculpture closer to the camera features an anatomical sculpture of a human body and hand, several wires, and a small water wheel. In the background, a punching bag and other boxing equipment are suspended from a rectangular wooden frame.] -
Installation view from Six Sculptors, Artists Space, January 25, 1986 - February 22, 1986. [In the foreground lies a silver sculpture with varying levels and in the background is a table with a checkered design on top. An image stands on that table and a stool can be seen behind it.] -
Donna Nelson. Installation View. Artists Space, 1985. [A face appears on the right part of the image with one figure central without defining facial features and another in the background with their back towards the viewer. Windows appear in the background.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Shala Miller, Genesis, 2023), Artists Space, 2023. Photo: Filip Wolak. [Three hanging projector screens surround the middle of a darkened gallery space. The two screens on the right and left side depict a black-and-white video still of a figures face, illuminated on one side by a bright flash of light. The third screen in the middle shows a black-and-white film still of hazy and ghostly tonal modulations.] -
[White text overlays a background of a blue sky, tree tops, and tadpoles. The text reads: “May 20 / Fred Moten / Onyx Collective (Austin Williamson & Isaiah Barr) " Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Perspective: The State of Existing in Space Before the Eye. Installation view, Artists Space, 1989. [On a black background, a charcoal drawing of a foot overlaps a scrap of an architectural diagram.] -
[Black text overlays a solid orange background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Fall/Winter 2024 Season / October/November curated by A Gathering of the Tribes / Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
-
Flyer for Segue Reading Series featuring Andrea Abi-Karam, Eduardo Kac and Montana Ray. October 15, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Andrea Abi-Karam / Eduardo Kac & Montana Ray / October 15, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519."] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in overalls reaches up to pin a dark tarp along the length of a wall. Behind them, another figure adjusts a camera on a tripod.] -
Jordan Kantor, Untitled (Pasolini), 2004. Oil on canvas, 52 x 96 inches. Courtesy the artist. [A black and white oil painting depicting a person lying facedown on asphalt.] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [An illuminated performer sings into a microphone. ] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A view of two vitrines, one in front of the other, displaying documents in front of a book case on the wall. Documents containing text are hung on the wall.] -
-
Classroom wall at PS140 Nathan Straus, with work from students in the Portfolio Development program. [Several drawings and small paintings pinnned to the outside of a cabinet depicting city scenes, portraits, and still life images.] -
Seth Price,Postcard Style Place, 2018, 23.5 x 16.5 inches [An image featuring an oblong golden form whose top portion has a shiny, defined metallic surface. Its bottom half, however, has a liquid-like, transparent, and cracked texture. It sits on white background decorated with a swirling yellow line. Blue text that reads, "NEWYORKCITY" emerges from the image's bottom edge and is arranged such that the text reads vertically. Lines composed of small blue dots radiate out from the text's right side, running over the golden form. Small black text at the image's lower left corner reads, "2020Solidarity - Seth Price."] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly-lit 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.] -
-
A seated musician wearing a white t-shirt with the name Xenakis printed above an image manipulates electronics on top of a small table. The wall behind features swirling white, purple, and orange light. -
[A vintage, black and white photograph of the interior of a shop window, which looks out upon a city street. Two men stand to the left side of the window, casually leaning against a pole and talking. Various metal vases, cutlery, and ornaments are displayed on the shelves within the window.] -
Constantina Zavitsanos: fwiw. Installation view (Wishing Well (Korpi), 2024), Artists Space, 2024. Photo: Carter Seddon. [A close up photograph shows patterns of ripples in water, lit in iridescent blues.] -
Johanna Went performing at The Whiskey, Los Angeles. Photo: Ed Colver [Black and white image of a performance. The artist is shown standing in front of a microphone, but their face is completely covered in a mask with criss-crossing white stripes. Their upper body is wrapped in a large sheet of thick paper with repeating images pasted onto its surface, and a square cone hat sits at an angle on their head.] -
[Black text on an orange background. The text reads: “Nov 23 / Anne Waldman / No Land / Joey De Jesus.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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. ] -
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.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of two wooden cafe chairs with green cushions in a gallery space. A television screen with a cord extending down to an outlet in the floor rests upon each chair.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Installation view of white gallery wall featuring several small framed works on paper. Black wall featuring black text that reads "DREAM LINES / MARIAN ZAZEELA."] -
[A person with a long braid is sitting on one of many brightly colored bundles of objects. The bundles are sitting on the dirt ground.] -
[A pair of leather boots and a power strip rest underneath a blue, wooden chair on a concrete floor.] -
rafa esparza, NH1, 2023, 1 pair of US mens size 11 black and white Nike Cortez, chicken wire, and black Nike socks, freeway rubble. Image courtesy Artists Space, New York. Photo: Filip Wolak. [Color image of a pile of freeway rubble arranged on the floor, with a sculpture of a bird made of a deconstructed Nike sneaker perched on top of the pile, with its wings spread.] -
Still from The Empty Plan (2010). [A person is standing at the end of a stage, dressed in a long coat, with a stern expression on her face. A man sits at a desk in the corner, his head in his hands. There is a white trifold screen behind them, with an extra chair, and a banner written in German.] -
Collier Schorr, Traitor, 2001-2004. Courtesy Modern Art, London. [A black-and-white photograph of a man sitting down against a gray background wearing a Nazi uniform, holding a basket of apples.] -
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.] -
Adjua Gargi Nzinga Greaves, 1741 Honey Locust, 2020. Inkjet print, 44 x 58 inches. Edition of 2. Courtesy Artists Space, New York. Photo: Filip Wolak [An inkjet print mounted on a pink wall. The print includes a woman standing behind a desk and in front of several rainbow-colored bookshelves. Above the bookshelves hang several flags.] -
[A screenshot of the google images search results page for the query "the problem with contemporary art is not the contemporary."] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Black and white photographs hang in a horizontal line across a dark wall descending into an exhibition space. On the right, a video monitor sits on the ground. In the background is a free-standing wall featuring a series of framed photographs. A mannequin dressed in orange and green fabric is displayed in front of the photographs.] -
Barbara Gladstone and Emily Wei Rales. Photo: Jenna Bascom [Two women stand close together and smile at the camera. Barbara Gladstone, who stands on the left, is wearing a black long-sleeved cowl-neck gown. Emily Wei Rales, who is on the right, wears a dark eggplant dress with fringe accents and trim.] -
Flyer for Segue Reading Series featuring Zach Haber and Jubi Arriola-Headley. Saturday, October 10, 2020, Artists Space. Artist: Keith Higginbotham [A photograph features two boxers entangled in front of a faded photo of a house. Blue text on top of the image reads "Zack Haber / Jubi Arriola-Headley / Segue."] -
Community Listening event, Painting Sound, Listening to the LES, P.S. 140, 2019 [A classroom with several students, each at their own desk, painting with primary-color watercolors] -
Friends of Artists Space Annual Dinner, 2018. [Three people posing and smiling for the camera in front of a small crowd.] -
-
Still from CNN’s coverage of the NEA controversy surrounding the exhibition Witnesses: Against Our Vanishing, recorded by Marion Stokes. Aired on 11/09/1989. [Still image with VHS distortion depicting the exterior of a building, and a sign with the Artists Space logo: white text on a black background with a large "A" on top of a thin white square, with "ARTISTS SPACE" written below. The sign marks a red door on a dark building façade.] -
Jerry Beck. Installation view of Cryptic Cross. Artists Space, 1985. [A sculpted pedestal with a black object on it is visible below a sculpted multilayered cross hanging on a gallery wall. Sharp lighting shrouds most of the image in darkness with a light falling on the figure on the pedestal.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure on a black stage, seated behind a white desk. They are looking attentively at a laptop screen in front of them which is open to a computer program.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A long, cubic rectangle made from suspension wires with a silver, reflective base on a weathered wooden floor.] -
Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space. [A figure in a white suit—the artist Jutta Koether—stands with her back to the viewer in front of a sculpture composed of a large glass pane with a painted canvas installed in the panel's center. Her left hand gestures in the air and grasps a metal wand with a butterfly ornament as well as papers with handwritten text.] -
Hito Steyerl, excerpt from, Liquidity, Inc., 2014 HD video with sound, 30 mins Courtesy of the artist and Andrew Kreps, New York [A moving image of a computer generated ocean horizon line that pixelates into a recorded video of a real ocean horizon.] -
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.] -
Claire Fontaine, Please God Make Tomorrow Better, 2010, Silkscreen on archival box, 24 1/2 x 20 1/2 x 1 1/2 inches, Signed and numbered certificate [A rectangular image, opaque and black. In black, all-caps, sans-serif font, outlined in white, text reads "PLEASE GOD MAKE TOMORROW BETTER." The text appears slightly above the center of the image and center justified.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak [A color image of a gallery space. A freestanding white wall runs perpendicular into an existing white wall. On the right side, projected onto the existing wall, is a black and white image of a spoon resting next to a bowl of water. To the left of the projected image is a single black frame containing a black and white photograph, hung above a small floating vitrine. Installed in a single row on the freestanding wall, is a series of seven black and white photographs housed in black frames. Behind the freestanding walls, a sliver of window that faces the street outside is visible. Contained within the four transom windows are black and white enlargements of a white man smoking and blowing smoke rings. ] -
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.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A display case holds materials in the middle of a neutral colored room. A black and white video is projected on a wall on the left side of the room. The projection faces a wall displaying several framed photographs and drawings.] -
Installation view from Six Sculptors, Artists Space, January 25, 1986 - February 22, 1986. [A number of flat-paneled works appear hanging on the gallery wall while various sculptural forms are on pedestals or on the floor in front of them.] -
Dyonis, Underworld, 2020, collage, pastel and pen and ink -
-
-
[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “Segue Reading Series & ARTISTS SPACE / Winter/Spring 2024 Season / April/May Curated by Futurepoem” Text in the bottom left corner reads: “Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
Danh Vo, Chevrolet Suburban, 2010, Digital C-print, 16 x 24 in / 40,6 x 61 cm Photo, credit: Thomas Cato Signed and numbered sales receipt. [A close-up photo of the front grille of a car, depicting the bottom half of the Chevrolet logo and a section of the front metal grille. Several bugs are visible, dead and stuck to the grille.] -
SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [Two figures perform in front of large projected images.] -
Salad Days. Installation view, Artists Space, 2004. [A black converse shoe with a white sock. Extending out of the shoe is a white plastic false shin with a metal bone coming out of the top.] -
[A posterr with the silhouette of a man in the middle, dressed like a cowboy. Before him appear blue scan-lines, as if on a television set, which are boxed off into several rectangles.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage, holding their iPhone up to a microphone.] -
Bruce Colvin . Invisible Structures (Dates of Writing), 1976. From Sigrid Burton, Bruce Colvin, Ellen Phelan, Artists Space, 1976 -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs hold a mannequin, while looking towards a projection.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close up image of a glass display case holding images, text, and newspaper clippings.] -
-
[White text overlays a bright fuchsia background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Fall 2025 Season / October/November curated by / Nightboat Books"] -
_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. Artwork by Cindy Sherman. [Three black and white photographs hang on white walls in the corner of a room. The photos depict a woman in various positions: laying down, reaching up to a bookshelf, and sitting on a ledge gazing out a window.] -
Yasunao Tone, Score for Trio for a Flute Player, 1985. [Six lines of calligraphy written in black ink on white paper are lined by musical staves.] -
-
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two light blue panels of canvas displayed on a light mauve wall. The canvases are positioned side-by-side such that they form a square shape. Two semicircles are depicted on each of the canvases, which together form a white circle in the center of the two canvases. At the center of the circle, the edges of each of the canvases stretch outward to form two protruding flaps that curve towards and on top of the opposite canvases.] -
Ellen Fullman. Performance documentation, April 26th, 2024, Artists Space. [Color photograph of a hand, fingers outstretched and manipulating a group of suspended wires that run across the frame.] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [Two people in lab coats and protective goggles are shown in black and white, studying a beaker on the table in front of them.] -
Ethan Crenson, Fission, 1996. Mixed media installation. [A corner of a room filled with ping pong balls set atop mousetraps. They are lit from the side by a fluorescent tube light.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Three figures perform in a basement. On the left a figure in a blue morph suit wears a pair of wings made of fresnel lenses. On the right another figure in a blue morph suit stands behind a rolling table made of wood and fresnel lenses. Another figure to the far right takes video footage.] -
ART CLUB2000 Untitled (Punishing Enforcers of an Oppressive Regime), 1998 Eight printed cardboard standees, satin sashes, and LED lights Image courtesy Artists Space, New York Photo: Filip Wolak [A view of two rows of red-eyed, cardboard cutout, police officers with sashes that read "Punishing Enforcers of an Oppressive Regime." A blue police light sits in the corner of the red lit room.]
![The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left]](https://artistsspace.org/media/pages/store/editions/2224900873-1623172903/sillman-moma-opening-168x.jpg)
![The image shows a crowd of figures drawn with black ink. Four text bubbles project from the crowd that read: [top left]](https://artistsspace.org/media/pages/store/editions/2224900873-1623172903/sillman-moma-opening.jpg)
