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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, posters, press releases and photocopied images are placed inside.] -
Drake Carr: Housecalls. Performance documentation, September 7, 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 laying down on a sofa. Only the legs are visible.] -
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 an orange-lit space. A crowd looks on.] -
[A red deflated balloon, folded at the neck, with white text that reads, "Living with Pop."] -
Shala Miller, Genesis, 2023. [A black-and-white film still of hazy and ghostly tonal modulations. Within the tonal atmosphere, fragments of a person's face and body can be made out in the right half of the image.] -
Immanent Madness. Installation View. Artists Space, 1985-86. [A drawing of a chain attached to a constructed wall with text on the lower left of the page reading, "IMMINENT MADNESS THE WALL WE ARE NO LONGER CHAINED TO".] -
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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.] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of three performers on stage. In the left foreground, a blurred figure in a black polo leans over, their arms stretched out, presumably towards an instrument placed on a table. In the midground, a tall performer dressed in all black with shaggy silver head and sunglasses is caught mid-motion with a pair of macarenas in their left hand. Behind the silver-haired performer, we catch a glimpse of a drummer in a black hat, their face turned down towards the cymbal they are about to strike. Behind all three performers, the back wall is illuminated in a white light. ] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in overalls leans forward to paint broad strokes of lighter paint on a black tarp hung on a wall. Painting supplies sit on a table directly behind them.] -
Shala Miller, Genesis. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color documentation image of Shala Miller's Genesis, 2023. Three monochrome projection panels float equidistantly in a dark room, with vinyls on black walls.] -
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Local Transit. Installation view, Artists Space, 2006. [A large pile of string connected at one end to a tin can sits on a wooden gallery floor. On the wall to the right are two framed world maps in black and white.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [In an open gallery space, three vitirnes stand surrounded by walls displaying large color photographs with thick black borders. The inner display of a vitrine reveals smaller color photographs.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [Two identical plinths made of MDF sit side by side in a gallery. Each plinth displays a red and black store-bought checkerboard, with a set of checkers layed out. The checkers on the left are made of steel and plated with a chrome and black-oxide finish. The checkers on the right are made of powder-coated aluminum.] -
Lee Walton, Hillary Wiedemann: Living Record, 2007. Performance. Courtesy the artist. Photo: Bill Orcutt. [A wooden reception desk with piles of various materials on it. A person sits at the desk smiling, and behind them, mounted on the wall, are two glowing neon quotation marks.] -
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.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A tan and green object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire. In the base of the object a processing chip is embedded.] -
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?"] -
Daniel Joglar, Untitled, 2005. Courtesy the artist. [An open black wallet supported upright on a white surface by four binder clips attached to its left side and bottom edge.] -
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Immanent Madness. Installation View. Artists Space, 1985-86. [A drawing of a multilayered circle. The inner circle reading "Imminent Madness", the second layer reading " academies, forest, huts, villages, cities," and the outer layer reading, "pleasure, luxury, neccesity, utility, comfort."] -
[A slightly weathered sepia photograph of a sculpture of a white cup and saucer. Printed on the cup is the text "HOT COFFEE." The sculpture is set in a desert landscape with low brush plants and brown hills in the background.] -
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Adjua Gargi Nzinga Greaves, INDEX, 2021, C-trans print mounted on lightbox, 41 1/2 x 41 1/2 x 5 inches [Four books are arranged in the center of a color photograph in a grid-like formation, their edges meeting. Handwritten notations surround the books.] -
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Margia Kramer. Installation view, Artists Space, 1980. [Black and white photograph of cursive white text on a black background on the floor of a room with an upside down chair in the foreground and a heater in the background.] -
Lyndon Barrois Jr., Primary Magi, 2021. Solvent transfers on gessoed copper, MagiColor 1600 printer and box, cardboard. 38 x 22 x 19 inches. Photo: Filip Wolak. [A color photograph of two cardboard boxes stacked on a printer and resting against a dark column in a gallery space. The top box is narrow and open at the top, and the second box is large with blue text and detailing.] -
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keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a corner space in a gallery, below a staircase, that is bathed in red light. At the bottom of the stairs are a group of performers wearing conical costumes made of reflective one-way mirror film.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Several sculptures, video works, and models are installed in a gallery space with wooden flooring. Situated closest to the viewer is a geometric, white model installed in an acrylic box, which in turn is displayed on a large wooden table.] -
[White LEDs hung on a white wall spelling "SPRITZ".] -
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.] -
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.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure wearing a suit plays guitar, their feet dangling over a pedal.] -
Traci Tullius, Some People Never Learn, 2001. [A figure with long brown hair wearing a gray sweater over a light pink and white button-down shirt closes their eyes as a thrown book flies towards their face.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [Ten white pieces of paper hang on a wall, each with a slightly varying circular brand. To the right of the wall is a white plinth that supports a wooden and glass case that houses several objects.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation view of a gallery space. Several handpainted LPs line the left wall. A television monitor is visible in the back corner with two chairs in front. A red tunic hangs above the monitor.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A detail shot of a larger photo collage work featuring 20 identical images in a grid that have been altered with black, yellow, or white paint to vary the scene presented of a man opening up the hood of a car.] -
[Close up of the torso and legs of a figure with long hair wearing nylon tights and a blue silk jacket on their bare chest. They are illuminated by red stage lights and appear to stand on a stage in front of a drum set and speakers.] -
Photograph of Arthur Russell. Photo courtesy of Audika. [A vintage photograph of a man wearing black headphones, sitting behind a table in a cluttered room full of music equipment. A keyboard leans against the table, which is covered in AV equipment and snaking wires.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [Two fountains of water in a dark room. The stream on the left is lit from behind by a red light, and the right stream by a yellow light.] -
Yasunao Tone: Region of Paramedia. Installation view (ephemera, c. 1980s), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine from above. Various ephemera including press releases, photographs, and notes are placed inside.] -
Fontaine Dunn, Everything's Always Just the Same, Only Different, 1976. From Gary Bower, Fontaine Dunn, Hermine Ford, Artists Space, 1976. [A black and white image of a painted spiral.] -
Milford Graves: Fundamental Frequency. Installation view (Hand painted LP, 1966; Photograph of Milford Graves and Don Pullen, c. 1970s), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of a hand painted LP in a glass frame and a small photograph in a plastic bag in a gallery space.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [An installation shot of two gallery walls, one white and one unpainted wood, meeting in a corner. The white wall displays nine images with accompanying text. The wood wall has an old television on a metal stand, showing a cartoon image.] -
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Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [Two people seated with their legs outstretched on a green carpet in front of a small television monitor, wearing headphones.] -
Tiffany Sia, Barriers Buy Time, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A row of books with silver covers on a shelf. A black table and chair can be seen in the reflection of the book cover.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A white gallery wall with several components. On the floor, there is a television with a cracked screen. Above that, a protruding shelf holds several booklets. There is a framed image with white text written on a black background, in the style of subway text, with the F and J train symbols below. Next to that, there is a standing white plinth with a glass covered top, housing a single tiny object. On the far righthand side, there are three framed photographs. One is a single image of a person wearing a blue shirt divided into two frames, and the other a hand holding out a holstered gun.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit stands on stage, behind a music stand and speaks into a microphone.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Doris Guo, Bathroom Kitchen Confusion, 2023; Doris Guo, Fruit Basket, 2024), Artists Space, 2024. Photo: Carter Seddon. [Color image of the corner of a darkened gallery space with two small pinhole projector sculpture installations. The pinhole projector on the left is housed in a polka-dot patterned gift-wrapped box. On the wall, an image of a white ceramic teacup with a radial swirl pattern is projected. On the right, the projector is wrapped in white foam padding and secured with red string. On the wall, it projects an image of a square containing an golden metal hoop and pin along with four small, glittering pink and green strawberry ornaments.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [Two performers play the drums on stage. The room is speckled with white dotted lights.] -
Yellow. Performance view, Artists Space, 2008. [A woman is seated wearing a long, yellow dress with a full skirt. She has the front of the skirt held in her teeth, with her hands on her knees. There are some soap suds on her hands, near her mouth, and on the front of the skirt.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Large black straps wrap around some cast-iron columns, an orange, slug skins covers one of the cast-iron columns and other large, orange slug forms interact with the white-walled gallery space in the background. A black table sits in the corner and a figurative painting of an upright shark is in the back left corner.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Shala Miller, Genesis, 2023), Artists Space, 2023. Photo: Filip Wolak. [A life-size vinyl against a black wall depicting a black-and-white image of a body in motion, multiple images are overlayed on top of each other to create a ghostly atmosphere.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A large red pole with matching brackets stretches from floor to ceiling, holding up an spread of Artists Space's 1987 *We The People* exhibition catalog. To the left of the pole, a brown paper bag with an illustration of an Indigenous man wearing a ten-gallon hat sits on top of a white desk. To the left of the pole, a bookshelf with floating shelves is partially visible, holding many colorful books.] -
[The facade of a cast-iron building with three double door entrances. Real estate listings are illuminated within the windows inside each door. In red tinted transoms above the doors are the letters N, R, O in eccentric white lettering.] -
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 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.] -
Lyndon Barrois Jr., Future Glimpsed, 2022. Oil on linen-mounted board, brass, solvent transfers, raw linen panel, linoleum frame, plywood. 20.75 x 16.75 inches. Photo: Filip Wolak. [A color photograph of a framed painting of two sets of hands. On top of the frame rests a color control strip.] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [Three TV screens, mounted on a black wall, glow with various images. Each TV plays a performance by Ralston Farina. In front of the screens sit two display cases.] -
Flipside. Installation view, Artists Space, 2004. [A framed photograph with a red border of a naked man on a blue shag carpet. The man is seated, leaning slightly back on his hands with his legs extended. He is bald with a full grey beard.] -
Elizabeth Peyton, TC (Timothée), 2022-2023. Photo: Filip Wolak. [Color image of a portrait of a man's face, done in purple, orange, and pink colored pencil and pastel on beige paper. Half of the man's face is detailed, while his other faetures are left undefined.] -
The Oath. Dir. Laura Poitras. 2010. Courtesy Zeitgeist Films. [Foregrounded military tents with a pink sky in the background.] -
Morag Keil, Posters, 2014. Inkjet prints (series of four). [A flyer featuring black and white photos of NYC housing developments and an orange column with text that reads, "HOUSING DISCRIMINATION IS AGAINST THE LAW! Fair housing is a human right protected by the New York City Human Rights Law. Under the New York City Human Rights Law, you cannot be denied housing because of your actual or perceived race, age, disability, gender (including gender identity and sexual harrassment), sexual orientation, marital status, partnership status, alienage or citizenship status, lawful occupation, lawful source of income, or because children may be residing with you."] -
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.] -
Drawings by Sydney Schrader. [A notebook spread featuring pencil drawings on paper.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large, shiny black structure consisting of three columns supporting a large, irregularly shaped flat plane installed in a gallery space. A black-and-white image wraps around the rightmost, cylindrical column of the structure. The image depicts a person dressing a mannequin in an office.] -
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Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a closeup of a figure, in profile, holding up a small radio to their ear.] -
Flyer for Segue Reading Series featuring Kimberly Alidio and Rae Armantrout. October 8, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Kimberly Alidio & Rae Armantrout / October 8, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortland Alley + Zoom / Zoom ID: 893 9594 7519."] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink steps over a mass of wires. She is illuminated from behind by a bright, white wall. In the foreground, dimly lit figures face varying directions.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Close up shot of four music stands arranged side by side. The torsos and hands of three figures are pictured beside the stands. They leaf through the pages of scripts held in black binders, supported by the music stands.] -
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Still from The Empty Plan (2010). [Two men dressed in uniform and carrying guns are looking toward the right of the image. They are within the red seats of a theatre; one is sitting and one is standing.] -
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Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Eleven tan sacks of various sizes hang on a while wall. Each is illustrated with individual imagery and/or text. A long one, hanging at the top left, reads "CHASE" in block letters. A painting is hung in the background on a wall.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [A blue carpet decorated with colorful polka-dots fills the floor of a gallery space. Colorful, plastic chairs are arranged against the right wall. A wooden table with chairs and two monitors are displayed at the space's back wall. A kite hangs from the ceiling in the center of the space.] -
Susan Eder, c. 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A black and white photograph of a figure with long hair. They raise their left hand up to brush away their hair from their face.] -
Jenny Holzer. Maxim Poster, 1982. [Gritty street wall background with a white poster on it with black text that reads, "ABUSE OF POWER SHOULD COME AS NO SURPRISE / ALIENATION CAN PRODUCE ECCENTRICS OR REVOLUTIONARIES / AN ELITE IS INEVITABLE / ANGER OR HATE CAN BE A USEFUL MOTIVATING FORCE / ANY SURPLUS IS IMMORAL / DISGUST IS THE APPROPRIATE RESPONSE TO MOST SITUATIONS / EVERYONE'S WORK IS EQUALLY IMPORTANT / EXCEPTIONAL PEOPLE DESERVE SPECIAL CONCESSIONS / FAITHFULNESS IS A SOCIAL NOT A BIOLOGICAL LAW / FREEDOM IS A LUXURY NOT A NECESSITY / GOVERNMENT IS A BURDEN ON THE PEOPLE / HUMANISM IS OBSOLETE / IDEALS ARE EVENTUALLY REPLACED BY CONVENTIONAL GOALS / INHERITANCE MUST BE ABOLISHED / KILLING IS UNAVOIDABLE BUT IS NOTHING TO BE PROUD OF / LABOR IS A LIFE-DESTROYING ACTIVITY / MONEY CREATES TASTE / MORALS ARE FOR LITTLE PEOPLE / MOST PEOPLE ARE NOT FIT TO RULE THEMSELVES / MOSTLY YOU SHOULD MIND YOUR OWN BUSINESS / MUCH WAS DECIDED BEFORE YOU WERE BORN / MURDER HAS ITS SEXUAL SIDE / PAIN CAN BE A VERY POSITIVE THING / PEOPLE ARE NUTS IF THEY THINK THEY CONTROL THEIR LIVES / PEOPLE WHO DON'T WORK WITH THEIR HANDS ARE PARASITES / PEOPLE WHO GO CRAZY ARE TOO SENSITIVE / PEOPLE WON'T BEHAVE IF THEY HAVE NOTHING TO LOSE / PLAYING IT SAFE CAN CAUSE A LOT OF DAMAGE / PRIVATE OWNERSHIP IS AN INVITATION TO DISASTER / ROMANTIC LOVE WAS INVENTED TO MANIPULATE WOMEN / SELFISHNESS IS THE MOST BASIC MOTIVATION / SEPARATISM IS THE WAY TO A NEW BEGINNING / SEX DIFFERENCES ARE HERE TO STAY / STARVATION IS NATURE'S WAY / STERLIZIZATION IS OFTEN JUSTIFIED / STUPID PEOPLE SHOULDN'T BREED / TECHNOLOGY WILL MAKE OR BRAKE US / THE FAMILY IS LIVING ON BORROWED TIME / THE LAND BELONGS TO NO ONE / TIMIDITY IS LAUGHABLE / TORTURE IS HORRIBLE AND EXCITING / TRADING A LIFE FOR A LIFE IS FAIR ENOUGH / UNIQUE THINGS MUST BE THE MOST VALUABLE / YOU DIG YOUR OWN GRAVE / YOU MUST REMEMBER YOU HAVE FREEDOM OF CHOICE."] -
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.] -
Drake Carr: Housecalls. Installation view, Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [Color image of front view of a booth inside an art fair. On the right wall hangs a colorful drawing. At the center of the booth, an installation shows the corner of a domestic space, with a window on each side and black and white curtains with pink flowers. Through the windows, the leg of a chair, a lamp, an easel, and some drawings can be seen.] -
Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
Friends of Artists Space Annual Dinner, 2018. [Three people posing and smiling for the camera in front of a small crowd.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a small room with clear walls and a clear door sitting against a wall in a white-walled gallery. Inside the room, a wooden chair and shelves are visible.] -
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Min Joong Art. Installation view, Artists Space, 1988. [A photograph of building facades in Manhattan. Hanging on the central facade is a piece of white fabric the length of two stories. On the white fabric, there is a gestural painting of in a figure grapsing another figure from behind. Below them is a line of text in Korean.] -
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 red light beams from a black toy train as it moves along the train track. Smoke emits from the chimney of the toy train.] -
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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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [In the foreground is a slug sculpture leaning against a cast-iron column in a white-walled gallery space. In the background slug sculptures forming circular ring shapes can be partially visible around columns and two square paintings are visible on walls adjacent to one another.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Seven vertical light blue panels, positioned side-by-side, displayed on a light mauve wall. Each panel contains a white circle positioned near its vertical center. Within each circle, the panel's canvas is stretched outward by a dowel.] -
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[Purple text against a black-and-white photograph reads "Magic Episodes / The Letters of Scott Burton / and Eduardo Costa, 1970-1980 / a conversation with David J. Getsy / and Patrick Greaney."] -
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Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph of white picket fence with dark painted background behind it.] -
Reese Williams. A Pair of Eyes (detail), 1983. Photomural with gouache. 7 x 40 x 60 inches (panels). [Large structures of power lines are visible with white human figures moving around in the bottom section of the image.] -
Andy Robert, koulèv, 2023. Cast iron radiator, snakeskin. Image courtesy Artists Space, New York. Photo: Carter Seddon. [A color image of a dark green radiator placed on the floor. Parts of the radiator are covered in snake skin, while other sections feature chipping, hunter green paint and large patches of rust.] -
Abasement #78. Performance documentation, June 16th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of five performers on stage. They are playing bass, violin, guitars, and drums. A row of audience members are visible in the foreground, with their backs to the camera. A blue projection covers the performers and the back wall.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a glass display case, above which several drawings hang from the wall.] -
Collier Schorr, D., 2012, Archival pigment ink print, 14 x 11 inches, Signed and numbered [A black and white photo of a nude person in profile with arms crossed.] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A band plays on stage in front of a seated crowd. From left to right, a figure is sitting and playing the piano, another figure stands and plays the saxophone, another figure in the back plays the drums, and the fourth figure stands and plays the guitar.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [Several figures sit on the ground, legs crossed.] -
Nandi Loaf, Aristotelis Nikolas Mochloulis, rio 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.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A diagonal view of six monitors in a row are lined up in the middle of a floating bookshelf, displaying stills from the film. On the left corner of the image, a desk holds long slips of black paper with white text on it, curled and intertwined, resembling film strips.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of two sculptures in a gallery space. The sculpture closer to the camera is composed of a human skeleton, and anatomical models of human heads, a brain, and a spine. The sculpture in the background features several monitors, and is topped by a sculpture of an eagle in mid-flight.] -
_____, 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. [Sheets of text hang on a white wall. Text is too small to be legible.] -
A member of the collective Winter Count working on the film We Are in Crisis, 2016, North Dakota. [An over-the-shoulder photo of a person holding a boom microphone pointed at a small oil pipeline fire several dozen feet away.] -
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[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)"] -
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.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Three figures stand in front of a large banner bearing a portrait.] -
Artists Space, 38 Greene Street, 1993 – 2016. [A black and white image of a building. A black flag hangs that reads, "ARTISTS SPACE."] -
Hito Steyerl, In Free Fall, 2010. HD video with sound, 30 mins. Courtesy of the artist and Andrew Kreps, New York. [A view down an isle, between theater seating and blue track lighting, to a projected video screen. On the back wall, a still image of a man, in a pilots uniform, gestures toward the viewers with two fingers. Hito Stereyl stands behind him with her arm outstretched.] -
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[Dark blue text overlays red-pink background. The text reads: “March 25 / Ralph Lemon / Tracie Morris." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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.] -
Show and Tell: A Chronicle of Group Material, edited by Julie Ault, published by Four Corners Books, 2010. [Book cover design featuring an image of a large room with red walls. A banner of colorful flags hangs from the ceiling. A large collection of objects is scattered on the floor, including coca-cola bottles, posters, chip bags, paint cans, detergent bottles, and other assorted items.] -
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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.] -
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.] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure to the left plays the saxophone while another figure sitting in the middle of the frame watches with a guitar in his lap, another figure in the back right plays the bass.] -
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."] -
Local Transit. Installation view, Artists Space, 2006. [A long sheet of paper with a drawing of highway signs and a gas station on it hanging on a white wall. Hung above that are three paintings of logos.] -
Baskets. Installation view, Artists Space, 2006. [A series of amorphous, basket-like objects sit on a series of plinths of varying heights in a gallery space. Two additional scultural forms composed of sticks and grasses, as well as metallic materials, hang from the ceiling behind the plinths.] -
Yasunao Tone: Region of Paramedia. Installation view (Device for Paramedia, 1990), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of the side of an oscillator box, with various notes written next to all of the controls.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands in front of a seated audience. The figure on the right appears to read from a text propped on the stand, while the figure on the left looks towards the audience, speaking and gesturing towards them with one hand.] -
[A figure with dark, short hair wearing a brown shirt and white pants looks into the viewfinder of a large videocamera. They appear to stand on a precipice above the ocean, and their camera is aimed at the water below them.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [Two performers play an electric bass and an electric guitar. They are bathed in pink light while colorful projections light the wall behind them. ] -
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 close up of low windows on a brick facade covered in layered black and yellow film.] -
Gary Burnley, Martin Cohen, Candace Hill-Montgomery, Louis Stein, and Haim Steinbach. Contact sheet of photos from exhibition opening, Artists Space, 1979. Photos by Gary Burnley. [Contact sheet of installation images taken during exhibition opening.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of yellow, orange, purple, blue, and red paper. Small pieces of paper with typewritten text listing the performers and event details are scattered around the flyer.] -
Still from In It Together, Amelia Bande and Rachel Higgins, 2020 [In front of a pixelated red background, a yellow caption appears on top of a black bar that reads: “But whatever debt we’re in, whatever risks, we’re in together."] -
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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."] -
Establishing Shot Exhibition Catalogue, Artists Space, 2004. [A grid of slightly distorted portraits; the left side all in black and white and the right side in light blue and white. Arranged along the border between the two colors text reads vertically "ARTISTS SPACE." Additional text reads, "ESTABLISHING SHOT / 03.09 - 05.01.2004 / MAIN SPACE."] -
Carol Sun, Herstory, 1991. Acrylic on canvas, 100 x 76 inches. [A postcard showing an image of sheets of paper, books, chains, a teapot, and other assorted objects on a checkerboard.] -
Don Baum, Safe, 1984. [A black and white photograph of a sculpted, rough-hewn house-like object with a black background.] -
slow and soft and righteous, improvising at the end of the world (and how we make a new one) / By Sonia Louise Davis" is written in black text over a black and white photograph of a figure leaning against a wall.."
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slow and soft and righteous, improvising at the end of the world (and how we make a new one) / By Sonia Louise Davis" is written in black text over a black and white photograph of a figure leaning against a wall.."
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Image of slow and soft and righteous, improvising at the end of the world (and how we make a new one) by Sonia Louise Davis, 2022. [A color photograph of a human hand holding a blue booklet in front of a background of green leaves as well as red and purple flowers. On the booklet "slow and soft and righteous, improvising at the end of the world (and how we make a new one) / By Sonia Louise Davis" is written in black text over a black and white photograph of a figure leaning against a wall..] -
Attention Line. Installation view (various ephemera, post cards, and drawings by Blaster Al Ackerman, c. 1970s-2000s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [A closeup of a glass display case which houses various ephemera.] -
Phillippe Demontaut, Annette Messager, Tom Wolf 1981. Annette Messager, Postcard, 1981. [A black and white photo of an eye cropped with a heavy black border.] -
Unnaturally Yours: Selected by Willie Cole. Installation view, Artists Space, 1996. [Two sculptures installed in a gallery space with wooden flooring. A large sculpture consisting of a suspended, orange tarp pulled in different directions by various wires sits in the cetner of the room. Small, tan mounds and a white side table are arranged around the orange tarp. On the gallery wall behind the large sculpture hangs a smaller sculpture that resembles a set of pink lungs.] -
The Library Vaccine. Installation view, Artists Space, 2014. [On a white table, to the left, sits a flutter book with a dot illustration increasing in density through the pages. To the right, a TV monitor displays a black and white image of a finger pressing the space bar on a type writer.] -
Our Terrible Country. Dir. Mohammad Ali Atassi & Ziad Homsi. 2014. [A movie poster depicting the title and pertinent information of the film, showing a man walking away from the camera down a dirt road in the desert, shot in sepia.] -
Julie Wachtel. Installation View. Artists Space. 1985-86. [Split-screen image of a monkey dressed in sports gear with a soccer ball on a field hung on a white gallery wall. Both images in photograph appear identical.] -
Jaylynn Reyna, Bonnie, 2022, digital photograph -
Yoshitomo Nara, No War Girl, 2023. Photo: Filip Wolak. [Color image of a drawing of a cartoon girl, standing on a black hill, against a gold background. The girl holds up her middle finger, and above it in the top-right corner is text that reads "FUCK YOU WAR."] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a large painting of vines and water hanging on a white gallery wall. Beyond it, more painting and sculptures are visible in an adjacent gallery.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017). [A book cover with the title "Strike Art: Contemporary Art and the Post-Occupy Condition" and author Yates McKee in black and grey on white ground. In the upper right corner, a red-toned image shows a group of standing men.] -
Collaged postcard by Sigmar Polke and the Hoehme class to Gerhard Hoehme Not dated (ca. 1965/66) Gerhard and Margarete Hoehme-Stiftung, Museum Kunstapalast Düsseldorf [A postcard containing an illustration of a house with collaged materials on top. At the bottom is the back of the post card, with a handwritten note.] -
Alex Slade, Ministry of Agriculture, Manaus Brasil, 1999. C-print, 60 x 38 inches. Courtesy the artist. [Photographic print of an urban skyline on a sunny day. A small skyscraper juts out from a cluster of lower buildings at the image's center. Text emblazoned across the facade of a low, white building in front of the skyscraper reads, "TROPICAL" and "MERCADÃO DE BEBÊ." Cars drive along a four lane road to the left of the skyscraper.] -
Anelisse, Secrets and Lies, 2020, acrylic paint on paper -
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.] -
Lolina performing Inquiry & Investigation, 2018. [A person stands, holds a microphone to their mouth and adjusts a knob on a CDJ.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [Two figures perform on a stage with a keyboard. Washes of blue, green, orange and pink light are projected onto them.] -
[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.”] -
rafa esparza: Camino. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with large panels of adobe with paintings of various figures on them. Adobe bricks are laid out on the floor to create a small walkway.] -
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Alza Tu Voz, exhibition at Washington Heights Public Library, 2017 [A photo of a front desk in a library - several desks with computers, bookshelves, and a couch are also visible. Four paintings lie on top of the bookshelves, depicting stylized figures against block color backgrounds] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
[Close up of two rows of pre-packaged salads in plastic containers on the shelves of a grocery store refrigerator.] -
Richard Kennedy Both, 2017. [Two performers stand in the middle of a room, facing each other, with their arms raised, leaning slightly to one side. The audience sits on the perimeter of the room, forming a circle around them.] -
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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.] -
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Benje LaRico. Goa VI, 1987. Enamel, Plastic, Wood, Wallpaper on plywood. 52 inches x 8.5 inches x 1 inch. -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of beige, yellow, pink, turqoise and red paper. Small pieces of paper with red typewritten text listing the performers and event details are scattered around the flyer.] -
Tiffany Sia, The Bastard Tongue (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A long sheet of white paper is suspended across multiple floors. Handrails for the second floor are visible in the background.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [An individual TV monitor with three wooden chairs placed in front of it, each holding headphones. Edward Snowden appears speaking to the camera onscreen.] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of a room with a set of two tables and chairs, books resting on the tables, in the center. On the back wall hangs a banner in red painted text, reads "...Pessimism of the intellect, Optimism of the will... Gramsci." On the right adjacent wall, text covers the whole height, the title reading, "Vigilance:"] -
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.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of three figures, wearing all white, performing in a dark gallery space. The leftmost figure lays on the floor with their legs spread and hands pushing their chest up. On the right, a figure with a flashlight around their hips stands with their shoulders and head flung back. The third figure contorts their body on the floor in the rightmost corner.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Several small planks of wood of different sizes, shapes, and colors lean against a white gallery wall. Different words have been painted across the length of each plank, including "rhythm," "grace," "love," and "warmth." Above the planks hang two framed, green paintings.] -
Tom Rubnitz. Installation view, Artists Space, 1981. [Painted objects attached to the wall in a white-walled gallery space.]
slow and soft and righteous, improvising at the end of the world (and how we make a new one) / By Sonia Louise Davis" is written in black text over a black and white photograph of a figure leaning against a wall.."
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slow and soft and righteous, improvising at the end of the world (and how we make a new one) / By Sonia Louise Davis" is written in black text over a black and white photograph of a figure leaning against a wall.."
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