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Catherine Ross, still from Fingering and Footing, 2005. [A split screen of two people, each visible between their nose and their chest. Both are extremely excited, with their hands raised up.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [An angled view of two adjacent walls, in between sit vitrines with minature houses constructed from documents. From left to right on the wall: colorful paper bags, a monitor with a video still, a purple section of wall with various photographic objects.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure whose face is illuminated by red light plays flute into a microphone.] -
Facades, Landscapes, Interiors. Installation view, Artists Space, 1982. [Contact sheet of installation views of the exhibition.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artist Space, 2013. Photo: Daniel Pérez. [An exhibition wall filled with colorful posters, prints and magazine covers, a tv monitor sits on the floor.] -
Flyer for Segue Reading Series featuring John Yau & Patrick Rosal. April 30, 2022, Artists Space. [Black text overlays a white background with two bunches of pink flowers in the upper right and lower left corners. The top left corner reads: “John Yau / & Patrick Rosal / April 30, 5pm.” The middle reads: “Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519.”] -
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 displayed in a multilevel gallery space. An old tv monitor, a coffee machine, and an artificial seagull are placed near a yellow boombox sitting on a black rug. Beside the boombox is a large image of a group of individuals in a defaced bedroom.] -
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Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage, bathed in red light, while colorful geometric patterns are projected on the wall behind.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [A framed painting is hung on a white wall adjacent to an elevator with a decorative sconce installed above the painted white doors. The painting depicts a chained elephant being trained by a woman in a black dress. The woman holds a baton against the elephant's raised foreleg.] -
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 a blue gallery wall displaying dynamic images hung by large push pins and a demolished wall.] -
Shala Miller performs Genesis: Medley at Artists Space, co-presented with Frieze New York 2023. Performance documentation, May 19th. Photo by Vanessa Diaz/CKA. Courtesy of Frieze. [Color photograph, taken from a low angle, looking up at three hanging screens positioned around the center of a gallery room. Below the screens, performers are seated in wooden chairs, singing into microphones. A performer in the background stands and waves his hands to conduct the group. All around the performers, audience members fill the room.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of three framed works hang on the white wall. The works, all made on black paper, consist of colorful shapes, white line drawings and illegible text that form abstract compsitions.] -
Michael Bewster, An Acoustic Sculpture, A Clicker Drawing. Installation view, Artists Space, 1977. [A black and white photograph looking through a doorframe onto several barely illuminated rectangular shapes. A microphone hangs from the top right corner of the doorframe, pointed down towards the floor.] -
Five Spanish Artists. Installation View, Artists Space, 1985. [A few indistinguishable paintings appear on adjacent walls in a white-walled gallery space.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure stands behind a microphone and table with audio equipment. They hold one hand over their mouth and the other around their neck.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging and standing in a white-walled gallery space.] -
dissolving city, digital photographs, 2024 -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [A large sculptural abstract black object standing upright on the gallery floor behind a white wall.] -
Andy Robert, Favorite Perch, 2023. Taxidermy crow, hair, bottle caps, iron nails, iron axe. Image courtesy Artists Space, New York. Photo: Carter Seddon. [A color image of a gallery space. In the corner of a gallery space, a taxidermied crow is perched atop an iron axe that is decorated with bottle caps. The crow and the iron axe are placed upon a tall pedestal about four feet tall, so that the crow is at, or above the viewers eye level. Entangled in the birds feathers and wings are strands of black hair.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork: Candace Hill-Montgomery. [A few people standing in a gallery space with a picket fence and drapery on the walls behind them.] -
El Bosque Luminoso Baja El Mar, Threads of History Presentations at M.S. 324, May 23, 2022 -
New Red Order Beginning of the End of the Trail, detail, 2021 Wet-plate collodion glass negatives with LED lightboxes, pipes, and extension cords. Image courtesy Artists Space, New York Photo: Filip Wolak [An image of a dark room with multiple videos playing in the background and photograph negatives hang off the wall.] -
Abasement #79. Performance documentation, August 11th, 2025, Artists Space. Photo: Joshua Wildman. [Two performers stand in the middle of a crowd, in a darkened basement. A red light casts a glow over the performers from their audio set-up in the middle of the room. ] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [Two performers play side-by-side on stage. The performer on the left plays a cello, and the performer on the right plays a 17-stringed instrument. ] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view (Kristan Kennedy, B.E.W.E.L.L.P.O.P.E.L., 2025; Pope.L, Maybe, 2009-2010), Artists Space, 2025. Photo: Carter Seddon [To the left sits a chair adorned in cloth and green onion. On the gallery wall is a square MDF wall with graddied sardine cans along in. On the floor in front of this MDF wall is an assortment of objects: bag, box, electrical cord, and more sardine cans.] -
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Limpe Fuchs, 2012. Festival Experimentelle Musik, Munich. [Black-and-white photo of a person pulling two ends of a rolled-up rope] -
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 glass display case, above which hang various posters and epehemera. Behind the posters is a staircase.] -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black, grey, and white abstract painting on a white wall.] -
[Collaged atop a blue, beige, and orange field is a series of abstract graphic and typewritten elements, including a womans face placed sideways with green tape over it. In the middle, on a piece of blue paper, is the list of performers and text reading "aBASEmEnt 62 at ArTists SpACe" along with the location and time of the event.] -
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.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage. The performer on the left is standing as they sing into a microphone and play the violin. The performer on the left is sitting down playing the drums with their mouth open in an expressive way. The drummer and the back wall are bathed in blue light, with blocks of white abstract patterns.] -
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.] -
Alan Michelson. Permanent Title, 1993. Wax, muslin, charcoal. Overall: 144 x 144 x 9 in. (366 x 366 x 23 cm). Courtesy the artist. [Eleven brown bags of varying sizes are displayed on a wall, pinned so that their mouths hang open slightly. Charcoal rubbings on the bags trace out corporate logos and other words and phrases.] -
Young Fluxus. Installation view, Artists Space, 1982. [A chalk drawing appears above two chairs on the left and in the corner is a television monitor on a pedestal with framed drawings behind it. A doorway leads into the next space.] -
Tracy Benissan, Untitled, 2014 [A drawing of several glasses of varying shapes holding colorful liquids suspended on a flat background] -
Louise Lawler, Why Pictures Now (traced); Red, Yellow, Blue, Green, Sometimes Silver or Gold, 1981/2013, Archival pigment print with hand painted gouache in multiple colors, 3 x 6 in / 7,6 x 15,2 cm (image size), 10 x 8 in / 25,4 x 20 cm (paper size), Signed and Numbered [A line drawing of an ashtray containing a book of matches with "WHY PICTURES NOW" written on the front.] -
Sistema Sandinista de Television. Still from Golpes de la Corazon (Blows of the Heart), 1983. Video (sound, black and white). Spanish with English subtitles. [One figure stands in a small square construction waist high and a nearby child stands inside another square construction with their head peeking out at the other figure. A figure stands behind them by a washbasin with clothes hanging from a clothesline in front of them. Bushes and trees appear behind them along with another edifice in the background. Video scan lines and black edges of CRT monitor are visible.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space. A small framed photograph hangs from the far wall, perpendicular to a dark metal column next to grey metal scaffolding.] -
Poster from polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [Black, rounded text on a white background reads left, "galerie h, hannover, alleestrasse, gh;" right, "POLKE/RICHTER, Pop?, Kapitalistischer, Realismus?"] -
Leaflet cover for Extended Definitions, Artists Space, 1989. [A black and white close-up photograph of an eye. Text at the top reads, "Extended Definitions: Video Experiments in Perception." Text at the bottom reads, "September 28-November 4, Artists Space."] -
Student Presentations at Artists Space, 2021 -
Local Transit. Installation view, Artists Space, 2006. [Three red, orange, and green fabric rolls are arranged vertically on a white wall. Further along the wall, two marbled, gray and red sheets have been hung low on the wall such that their lower halves drape on the gallery floor.] -
Young Fluxus. Installation view, Artists Space, 1982. [Small house-like wooden sculptures appear on a table with a large white image on the ground between them. A video monitor and framed images are visible in the background.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [A large gallery wall covered with wallpaper printed with tropical birds in colorful trees on a white background. There are assorted black-framed, colorful images hung on the wall, positioned in both portrait and landscape orientations.] -
Gerhard Richter, Schloß Neuschwanstein, 1963 (Neuschwanstein Castle). Courtesy Atelier Gerhard Richter [A blue and green, abstracted watercolor illustration of a white castle settled in a landscape.] -
Bruce Colvin . Invisible Structures (Dates of Writing), 1976. From Sigrid Burton, Bruce Colvin, Ellen Phelan, Artists Space, 1976 -
Richard Hollis. Installation view, Artists Space, 2013. [An angled view of 4 book stands perpendicular to a wall, all displaying various books, documents, and papers.] -
Shala Miller performs Genesis: Medley. Performance documentation, May 11, 2023, Artists Space. Photo: Roy Baizan. [Black & white photograph of one side and the entrance into a gallery room. The walls are painted black, and at the corner of the entrance stands a performer singing into a microphone stand. Around him and along the wall audience members sit on the floor or stand.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Miniature houses constructed of documents are displayed in the middle of the room on vitrines. A purple and yellow collage hangs on the back, left wall. The right wall displays colorful paper bags and a video monitor projecting an image of a robotic animal.] -
Cover of BIOTA: A discourse between Art and Architecture from the 1970s to the present, co-published by Gregory R. Miller & Co. and Hunter College Art Galleries, 2025. [Book cover featuring a grainy close-up image of a flower. Black text across the center of the cover reads "biota."] -
11 Cortlandt Alley Tote Bag. Produced by Artists Space. Edition of 150. 2019. $24 [A black tote bag against a white background. Small white, all-caps sans-serif text in the middle states "ARTISTS SPACE"] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of two figures performing in a dark gallery space, lit only by an installation of LED lights covered in dried SCOBY material. One figure wearing black leans down in front of one of the LED lights. Partly hidden behind a column, another figure stands wearing a red suit.] -
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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 an image of the Hamdan vs. Rumsfield Supreme Court Case.] -
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.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down next to a wooden table and looks off to the right. Audience members sit along the floor in the background.] -
[Black text on an orange background. The text reads: “Nov 2 / Latasha N. Nevada Diggs / Modesto Flako Jimenez.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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.] -
Mike Bouchet, My Cola LITE, 2007. Cola bottles in plastic cases, dimensions variable. [A corner installation view of red crates containing glass bottles of cola on a wood floor.] -
Portrait of Dorothy E. Roberts. [A black woman stands, smiling, with her arms crossed in front of her. Behind her is a small fountain inside a courtyard.] -
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] -
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virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of an alleyway. Two sets of grey and yellow posters hang on the brick surface, next to a large black doorway.] -
Poster for No Total Weekend, May 29-31, 2015, Artists Space. [A teal circle on a white background with several names written around the perimeter, circling the midpoint of the circle. White text on the right side of the circle reads, "May 29-31. 2015 / No Total Weekend." The rest of the text spells out the schedule of the event.] -
Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [A musician standing on stage playing a small wooden instrument. They are looking down and wearing a headlamp. In front of them are multiple electronic instruments and cords. The wall in the background is scattered with white dots reflected from a disco ball.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [Two dynamic images of a group of individuals pinned by large push pins on a green gallery wall.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Two rooms in a large gallery space are visible, with artworks hung on the walls and sculptures in the center of the further room.] -
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.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A white translucent chiffon curtain cascades over a set of five framed images mounted on a wall.] -
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Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure stands behind a table on a stage. Across the room, red light and small fragmented pieces of white light can be seen.] -
Tiffany Sia, Too Wet (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A view of the door to Artists Space from outside. The glass in the door is foggy; inside, a few dark shapes are visible.] -
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Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[A bright yellow object with a cracked surface is embedded with a computer chipboard on its front, and a multicolored fidget spinner on the top.] -
Audio cassette tape for Echo Chamber, Sharon Hayes & Brooke O'Harra. [A black audio cassette tape with accents of grey and red on the cover. Handwritten text on the tape reads "ECHO CHAMBER." Behind the tape is a wooden background.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer and a small white tent on a stage. The performer is on the left, wearing all white, with a bouquet of flowers in their hand and a stick of insense in their mouth. On the right side of the stage, the tent is lit up with multicolored projections. The top of the tent is decorated with colorful stars. The walls in the background, as well as the audience in the foreground, are lit by patterned projections and blue lights.] -
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LIFE—a group show, curated by Arnold J. Kemp. Installation view (Nick Raffel, No title, 2025; Catherine Sullivan in collaboration with George Lewis and Sean Griffin, Afterword via Fantasia, 2015), Artists Space, 2025. Photo: Carter Seddon [A projected video displays a black and white still of two black men looking at each other. We see the back of one of these men's heads and the furrowed face of the other. A speaker sits in front of the projection. And although subtle, the corners of the gallery walls are curved as opposed to perpendicular.] -
Flyer by Joe Frivaldi. [Magazine cutouts of scattered blocky letters (reading ABASEMENT) and a series of people's heads overlay a light yellow background. A chunk of upside down text lists the performers, as well as the time and place of the event.] -
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.] -
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Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A color installation photograph of a figure in front of a curved white wall in a gallery space.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color installation view of a gallery space. On the left wall are six black and white photographs and a television monitor positioned on the floor. In the background, another wall-mounted television monitor is visible along with a large wall hanging and two sculptures. The space is bisected by three dark columns.] -
Beverly Semmes, Tree Net, 1989. [A black and white photograph of a sculpture, which sits on the ground near the corner of a room, its wiry frame covered by a transparent mesh material.] -
Aisha Rodriguez, Click, 2013. [A person with pink nail polish hold up a Canon AE-1 film camera.] -
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YAP (Young Artist Perform), PS 140, 2017 [A photograph of a group of students standing onstage, holding printed paper, and many smiling] -
Marina Grzinic and Aina Smid, still from Axis of Life, 1987. 6 minutes. [A person smiles widely in close up, facing the viewer. They are lying on their side so their head is horizontal.] -
Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [Black and white installation shot of a gallery corner. Attached to the wall are nine square black pieces on the left, and two dark circles on the right.] -
Drake Carr: Housecalls. Performance documentation, September 8, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. [A color image of a white wall with windows and black and white curtains with pink flowers. Through the windows, a figure is seen sitting cross-legged on a chair. They are wearing a yellow dress.] -
Bookstore at 55 Walker Street. [A photo of the bookstore at 55 Walker Street - the front half is a bookstore, while the back half is an empty exhibition/performance space. Both have white walls and a light wood floor. They are divided by a temporary wall with a large doorway, which leaves a large gap between the top of the temporary wall and the ceiling. The back half is empty, with windows letting in light on the furthest wall. The front half has bookshelves adorning the walls, with a lower shelf to keep some books on display. A red pipe runs floor-to-ceiling between two columns of shelves.] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
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.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with a rectangular shaped sculpture made of a wooden frame with fresnel lenses placed along the top and sides. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
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.] -
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Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure in a blue shirt kneels down on stage, they look down and hold a microphone to their face. Red light is cast onto the stage.] -
Students visiting Sleepwalk at Parasol Projects, LES, 2022 -
Five Spanish Artists. Installation View, Artists Space, 1985. [A large painting appears in a white-gallery space with various drawings of city architecture around a large amorphous black section in the middle. White columns and other paintings are visible in the surrounding area.] -
David Rodriguez, Free Rain, 2021, digital photography -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Gray silhouettes are displayed on adjacent walls. Miscellaneous items are displayed on gray tables. A microphone and its extended wire lays on the floor in front of a speaker.] -
ART CLUB2000 Untitled (Drum kit), 1994 Miniature drum kit and spotlight Image courtesy Artists Space, New York Photo: Filip Wolak [A close up of a dramatically lit small drum kit that reads "art club 2000".] -
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David Salle. Untitled (Camus), 1976. Mixed media on paper. From Barbara Bloom, David Salle, Artists Space, 1976 [A black and white photograph of a gallery space. A piece with a large black paint swatch hangs on the wall on the right.] -
Martha Wallner and Miriam Loaisiga. Still from Con Guerra O Sin Guerra (With or Without War), 1987. Video (sound, black and white). 20 minutes. Spanish with English subtitles. [A small girl stands central in the image with a microphone near her mouth and a shirtless boy stands behind her to the left. A chain-link fence can be seen behind them next to a concrete building. Subtitles burned into the bottom of the image read, "Why can't men come in?" Scan lines in the image and the outer box of a CRT monitor are visible.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work. A large, paper-mache sculpture of a cow-like creature stands next to a crocheted blanket laid on the floor. On top of the blanket there is a red thermos with two red mugs and a miniature white couch. On the back wall behind the paper-mache sculpture and blanket is a round mirror. The mirror contains a reflection of a large box TV with a static screen. On the left-side background, behind the paper-mache sculpture, two blow-dryers hang from a freestanding metal fixture.] -
U.S. Projects: Peter Shelton. Installation view, Artists Space, 1982. [A large square edifice with an opening in its center bottom held up off the floor with numerous steel rods on its sides in a gallery setting. A shadow of a human figure appears/disappears in front of the work.] -
Anne Walsh + Chris Kubick, Room Tone, 2007. Sound Installation. Courtesy the artists. Photo: Bill Orcutt. [A carpeted gallery with two benches. One wall is painted dark gray and on it are two audio speakers mounted on either side. Between them are eighteen sheets of paper attached to the wall and lit with a spotlight.] -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A color image of a gallery space. From left to right: a shovel standing upright on a pedestal, a shovel with an iron claw at the base, a tree log on a pedestal and another tree log on pedestal, with a griffon vulture perched on the branch.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement window that has been tinted with blue paint, streaming in blue light.] -
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Klara Lidén, Untitled (mailbox), 2012, Archival inkjet print, 24 x 18 inches, Signed and numbered certificate. [A black and white photo captures a New York City postal service box.] -
P.S. 140 student workshopping poems, 2019 [Two people stand at the front of a full classroom in front of a projector screen that says, "Poetry workshop / Ms. Rebecca / Today's task: create headline poems." One reads from a notebook, the other listens on.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [The image positioned below a speaker shows a performer singing while playing the keyboard. ] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A miniature clay sculpture of a man sitting, cross-legged, in an armchair is displayed on a carpeted floor. A curled wire extends from underneath the edge of the carpet where it meets the wooden floor below it.] -
Johanna Went, still from Passion Container,The Whiskey, Los Angeles October 26, 1988 Video, Color, Sound, 35 minutes. -
Blaster Al Ackerman, Untitled, n.d., painted album cover, 12 x 12 inches. Courtesy of Stewart Mostofsky. [A painted image of a white push-button telephone sitting atop a brown surface with a yellow wall behind it. At the top right is a 10 cent postage stamp depicting a face with missing teeth and a text that says "The GIGGLER."] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A close view of a performer playing the violin. Their hand using the bow is in focus and the rest of the image is slightly blurred. They are playing into a microphone on a stand. To their left a performer plays the upright bass. Both musicians are covered with red light and images of projected green circles.] -
Nandi Loaf, WÜNDERBAR, 2025. Artifical tree (monument), custom 4-4-0 model locomotive + semi-autonomous rail system, re-routed grid hardware, ornaments, site-specific electrical circulation. Photo: Carter Seddon [A black Christmas tree stands in the room, adorned with white twinkling lights. A black toy train circulates around the shiny black base of the tree.] -
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[A grid of pink hearts on a green background.] -
Artists Draw. Installation view, Artists Space, 1979. [A large open space with drawings hung up on the walls. One drawing shows a woman surrounded by musical notes. Another shows a woman's profile with a pipe in her mouth.] -
Still from video of Yasunao Tone performing Paramedia, Experimental Intermedia Foundation, 1990 [Color image of a figure looking to the left and leaning over a table filled with audio equipment. The figure holds sheets of paper with instructions, and manipulates an audio machine.] -
[White text overlays a painting of a cityscape at night, which is predominantly black. The text reads: “Feb 10 / Bernadette Van-Huy / Richard Maxwell" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
LaMonte Westmoreland. The Watermeleon Series, 1986. Mixed Media collages. [A black and white photograph of two mixed media collage works hanging side by side on a gallery wall.] -
Drake Carr: Housecalls. Performance documentation, September 9, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. -
rafa esparza: Camino. Installation view (110 North Bound, 2023), Artists Space, 2023. Photo: Filip Wolak. [Color image of a wall of a gallery space. Hanging in the center of the wall is an adobe panel painting of the entrance to a freeway tunnel.] -
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.] -
Gerome Kamrowski. Paintings on the Surface of a Dome, 1960. [A black and white photograph of a large constructed rock dome in a galelry space.] -
Carol Sun. Prospect Park Series - Ornithos, 1987. [Dark drawing with white curved shapes in lines visible in the center with a perspectival depth.] -
[A sleek, computer-rendered form against a black backdrop. The form has a disk-like shape with various extensions radiating out from its center. Parts of it appear to glow red or yellow.] -
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.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [A wall of pornographic illustrations displayed in frames at eye level.] -
Hilary Kliros. Installation View. Artists Space, 1986. [A sculpture of a woman stands on a pedestal looking into a glass window pyrimidal construction with a large bug on top and a TV monitor underneath.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Three figures adorning firefighter costumes pass white buckets back and forth while being menaced from above by a figure wearing a wig.] -
Ellen Fullman. Performance documentation, May 3rd, 2024, Artists Space. Photo: Casey Kelbaugh. Courtesy of Frieze and CKA. [A photograph taken from a low angle, looking up at a performer whose hand is poised on top of a long set of instrumental wires that run across the image.] -
![[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='1309' height='876'%3E%3C/svg%3E)
Amelia Bande. Stills from El estallido / The Outbreak, 2020. Recording of a live performance held over Zoom on August 7, 2020. Stage design and camera collaboration with Rachel Higgins. Courtesy the artist. [[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]] -
Valerie Tevere, UNITED STATES, 1996. [A city street with a concrete median and wall made from gray metal supported by wooden planks. The median has the words "Property of LACTC" printed on it. Hanging just above that are four postered portraits displayed in a horizontal line. Each poster features three letters below its portrait image that together spell out "UNI/TED/STA/TES". The portraits are framed by traffic signs that say, "WRONG WAY" and "USE SIDEWALK."] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of four framed works displayed against a white wall. The drawings depict abstract compositions made up of colorful shapes and lines, and pencil strokes.] -
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Tasneem, 2020, charcoal self-portrait -
Eds. Hugues Decointet, François Piron, Marilou Thiébault, Guy de Cointet: The Complete Plays (Paraguay Press, 2017). [A red and grey minimal book cover.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [Along the gallery wall is an assemblage of objects hanging off the wall and to the floor connected by metal thread. Further down the wall is a painting, a plinth of colorful sculptures, a framed artwork, and a television playing a video in the corner. In the back is a glimpse of an alcove with three artworks appearing as colorful stripes, grey and yellow on the wall, and black on the floor. ] -
Edin Velez, still from The Meaning of the Interval, 1987. Video (color, sound). [A distorted video still of a woman wearing pale makeup and lipstick. Her hair is carefully swept up and decorated with a hairpiece. A double of her image is positioned to her right. The background behind her displays several blurred kanji characters.] -
Beneath the Surface, BRIDGE photography presentation at City-As-School, November 5, 2021 -
Sigmar Polke Das Palmen Bild , 1964 (Boxers) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Daniela Steinfeld [An illustration of two green palm trees on a diagnal, sloped down to the bottom left corner, pale yellow triangle. The background contains a pattern of dark brown, gray, red, and yellow stripes.] -
[Two people on a city street in front of a graffitied brick wall. One faces the camera, holding a megaphone and a piece of paper at his sides. The other is walking, facing the side, and speaking into her megaphone and reading off a sheet of paper.] -
[Photograph of a large building on an urban street composed of rectangular sections of dark black and white stone that jut variously in towards and away from the building's facade. The bottom portion of the building is supported by two white columns and has a glass facade.] -
Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [A black and white photograph of an artwork. A gainst a black background, 35 circles are drawn. Inside of each sphere is a miniature scene, either featuring people, planes, or household interiors.] -
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.] -
Devin Kenny, “What would Upski think?”, 2018. Photo: Daniel Pérez. [A device with several electrical wire connections is displayed on a metal wire shelf.] -
[A pink pamphlet with black text announcing "Artists Space Presents: PUTT-MODERNISM", an "artist created 18-hole fully playable minature golf course." There is an illustrated map showing the location of the event, and additional printed information on the location and hours.] -
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"] -
Danny McDonald, Midnight Snack Encounter, 2014. Photo: Filip Wolak. [Color image of a sculpture sitting on a white pedestal. A beige couch is placed on its side, with a cowboy twinkie figurine sitting in the corner of the couch. Behind the side of the couch stands a grim reaper figure peering over. Beneath the couch is a small rug, with various items (play cards, popcorn, etc.) strewn across it.] -
Wiljer, Randol and Aytor, Pico Duarte, acrylic paint on paper, 2024 -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [Two figures stand on stage next to each other, holding hands and smiling at the audience.] -
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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.] -
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[Long metal poles extend downward with several meathooks attached to their bottom ends. Behind the poles is a brick wall painted blue. Capital white letters painted across the wall read, "MEAT."] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Four upright bags with images on them sit on two different leveled shelves on a white gallery wall.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [Portrait of a figure dancing on stage with purple projections cast onto them.] -
Lyndon Barrois Jr., Divine Agent, 2022. Wicker pannier, plastic, copper, brass, conservation glove, moonshine jug, solvent transfers, plywood, brass, wooden owl figurine, dyed silk. Dimensions variable. Photo: Filip Wolak. [A color photograph of a gallery space. Two small paintings hang on the wall between concrete columns set into the wall. In the foreground, a large wicker pannier is visible. Two strips of police tape can be seen in the right corner of the frame.] -
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Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of an audience watching a performance. In the middle of the crowd, a figure in a blue and white dress holds their hand to their chest with their eyes closed, listening to the performance.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A glossy object with dark tones showing glimpses of bright blue and purple throughout is pictured on a white base. The object has a lemon and an onion balanced on either end, with electrical cords running from the produce to a chipboard at the object's center.] -
Joe Orton and Kenneth Halliwell Collins Guide to Roses , 1959 – 1962 Book cover collage Courtesy Islington Local History Centre [A green book cover, with it's title at the top reading, "Collings guid to ROSES;" a yellow rose against a white background, and a collaged photo of a dogs face below it. The right bottom corner of the page reads, "by Bertram Park."] -
Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [a black and white photograph of a gallery filled with people conversing. The walls are lined with several framed and unframed artworks.] -
Las Nietas de Nonó, Sala Portal Omi, 2022, dried vegetable leather, 3D animation, video landscapes, ambient sound, LED lighting, linoleum floor; Dimensions variable. Photo: Filip Wolak [A large gallery room's walls are painted black, with a black vinyl floor, and white ceiling. Along the walls are yellow and orange LED lighting sculptures that have dried vegetable leather stitched on top of the lights. In the corners of the room three TVs playing animations of rushing water are placed on top of each other.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit room with green turf-like carpet and exposed wooden walls. On the left, 9 images of different sizes are mounting, and luminous. On the right, projectors and movie cameras are placed on a horizontal shelf. On the far end of the floor towards the wall is a small square tv monitor with headphones placed in front of it. Behind the monitor are three medium-sized white windows.] -
Laurel Woodcock, (Untitled), Neon Quote, 2005. Neon sculptures. Courtesy the artist. [The exterior of a Soho building at night from the opposite street corner. Inside the third floor are two glowing blue neon quotation marks visible from outside.] -
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.]
![[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]](https://artistsspace.org/media/pages/programs/repeat-viewings-2020-2021/2789376304-1628182793/el-estallido-2-168x.png)
![[Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”]](https://artistsspace.org/media/pages/programs/repeat-viewings-2020-2021/2789376304-1628182793/el-estallido-2.png)
