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Cynthia Hawkins. Untitled, 1987. [Abstract white paintings with black smudges dispersed throughout.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A bookshelf constructed from cardboard boxes sits slightly raised off the ground on a low platform. The top two rows face away from the camera, while the bottom two face out, filled with books. Opposite that is a white wall with blue text reading "Artists Space."] -
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. ] -
Chinatown Art Brigade and The Illuminator Here to Stay, September 24, 2016 Courtesy Chinatown Art Brigade. Photo: KahEan Chang [A view of Chinatown at night, with a projection onto a side of the building that reads, in handwritten text, "Gentrification Is Modern Colonialism! #ChinatownNot4Sale". The top of a BigBus tour bus is partially visible at the right corner of the frame.] -
Laurie Anderson; PersonA. Performance documentation, April 25, 1974, Artists Space. [A black and white image of a person sitting on a pedestal, performing in front of a crowd.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Various figures stand around a mannequin covered with foliage and flowers.] -
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.] -
Joel Katz. Still from History Lessons, 1990. [A close-up mage of a person wearing large glasses in front of a world map.] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of the audience. In the foreground, audience members are seated in chairs and in the background, folks stand and watch the performance. Almost all of their eyes are attuned towards the stage, which is out of frame to the right. Many of the audience members wear smiling, joyful faces as they watch the show. The audience sits in the dark of the seating area, small specks of bright white light reflecting from a disco ball scatter on their bodies and the walls behind them. ] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of four framed works displayed in a horizontal line on a white wall. The drawings, made on black paper, depict abstract compositions made up of white lines, arrows, circles, and illegible textlines.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [A long piece of plexiglass hangs vertically from the cieling in a gallery. Eight postcards are mounted onto the plexiglass. All of the postcards depict different garbage trucks, shown from the exact same angle. ] -
Painting as Paradox Exhibition Catalogue, Artists Space, 2002. [A pink book cover opened all the way so that the front and back covers are visible. It is bright pink, with white text on the front cover reading "Painting as Paradox" and "Artists Space." There is an image of a maze in the center of the cover. On the back, a long column on the lefthand side lists artists names.] -
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[Black and white image of an unmade bed under a wall covered with small images of people and idols.] -
Marian Zazeela, Portrait of Helen 10/12, 1977, black ink on graph paper (bilateral symmetry; sequential series of mirrored names moving closer together and retrograding apart). Courtesy of the artist. [Image of drawing done on white graph paper. In the middle of the paper is a cluster of lines, each made of individual dots, which overlap and curve over each other to create a symmetric composition.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Audience members are seated along a back wall, with a figure in a blue morph suit seated on a rectangular wooden frame alongside them. Blue light is projected onto a screen in the background.] -
[Black text on a green background. The text reads: “Jan 25 / Ted Rees / Jimin Seo.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Still from Bernadette, 2008. Courtesy of Duncan Campbell and HOTEL, London. [A black and white image of a woman sitting alone in a row of seats, as if on a bus or train. Her face is obscured by the seat in front of her from the nose down, but her full reflection is visible in the window next to her.] -
Photo: Gabe Hoot. [A woman in a pink dress sitting at a table in a yard surrounded by stuffed animals and a tea set.] -
Still from Ganja & Hess, picturing Marlene Clarke, 1973. [A woman screams as a trail of blood runs down her chin.] -
Milford Graves: Fundamental Frequency. Installation view (ephemera c. 1965-1987), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a vitrine containing ephemeral material, including pamphlets, photographs, and a blue flyer.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Two photographs are hanging next to each other on a wall.] -
Friends of Artists Space Annual Dinner, 2022. [A color photo of several individuals engaged in festivities and banter within a large reception space. Light and dark red overhead lights shine onto the guests in the event.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$3,500
[An object with tones of tan, blue, pink, and grey sits on a white base. A metal antenna extends out on a diagonal.] -
[A basement gallery is filled with red light and disco lights. On the far wall is projected a book cover featuring a painting of a naked body with body parts squished together. Fake chairs drawn in black outline are placed around the space.] -
Salad Days. Installation view, Artists Space, 2004. [A white wall with orange and yellow lollipops arranged in lines. In front of the wall is a small television on a white plinth.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure reading into a microphone, sitting behind a music stand.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three planks of glass lean on a white wall. Etched displays read from left to right; "The more you teach the less you learn," a smiley-face,"But I swear dis beat go."] -
Lawrence Weiner. WITH A SHIFT, 2013, Silkscreen on archival box, 24 ½ x 20 ½ x 1 ½ in 62 x 52 x 4 cm, Signed and Numbered. [A doubled arrow points to the top left corner of the image. In the bottom left, a diagonal yellow stripe outlined with red lines is overlaid with curving text that reads "WITH A SHIFT SIMULTANEOUS REALITIES COLLIDE"] -
Anna Gili, Flower Dress, 1987. [A mostly nude woman with parts of her body obscured by plants and flowers. She holds her arms up, with a large plant sprig in each hand. She has a large stem woven through her hair, and a single flower held between her toes.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[A green object with a processing chip embedded in its front sits on a white base. On top of the object sit a red potato with a wire attached, false teeth, and a telephone cord.] -
[A paper clipping announcing Parasite's event offerings from 1998, with a dark image of a person looking at a book.] -
Photo courtesy the artist [Color photograph of a mound of brown rocks and dirt. In the middle of the frame, jutting out of the mound is a broken piece of clear glass with a gold metallic finish on the outside.] -
Front Yard Exhibition Galerie Parnass, Villa Jährling, Moltkestraße 67 February 1964 Photo: Rolf Jährling, Zentralarchiv des internationalen Kunsthandels ZADIK [A black and white image of four men, dressed in coats, standing on a walk way leading to the door of a building. On the ground sit several painting leaning against walls and trees.] -
[A white text logo reads, "Union Gaucha Productions."] -
Caitlin Keogh, Interiors, 2016, Silkscreen on paper, 24 x 18 in / 61 x 45,7 cm, Signed and Numbered. [A graphic illustration of a headless female mannequin is seated against a checkered background. Her arms suggest the motion of tightening a sash around her waist, but the implied fabric around her body is missing from the image, leaving an empty space that divides her body in two halves.] -
Michael Robinson. Still from Victory Over the Sun, 2007. [An empty pool with weeds growing out of cracks. There are trees and bushes in the background, and a pink glow on the righthand edge, as if from a sunspot.] -
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, books, and handwritten text. On the wall above is a paragraph of text that reads, " Anyway, dear Taylor, I will visit all the soft and dark spots in our town. I will walk backwards on old Endleman's fence, I will stare at the old books and try to place what words went with which conversation about whatever it was you said. I'll go to church and eat fruitcake, sweep the pavement, water the flowers, hose out the garage and tell our fathers about the big city, I might even have a few drinks to show them how much I have changed. And I will come to the cemetery and tell you how different it all is, and what it's like up here hanging on year after year."] -
This drawing by Jean-Louis Forain, published on the front page of a Parisian newspaper in 1920, rallied support for the original Droit De Suite. [Drawing depicting an impoverished beggar and his child outside an auction house where the father's painting is being sold for large sums.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Color image a performer in a bald cap with both of their hands raised with elbows at shoulder height. The performer occupies the center of the image wearing a blue dress covered in a square and circle pattern. From the left, bottom corner, a microphone on a stand rises to meet the performer in the center. In the lower, right hand corner, another bald performer, dressed in a red top bends down towards the performer in the center of the image. The wall behind both the performers is filled with a projected image in hues of yellow, brown and white. ] -
A Living Testament of the Blood Fairies. Installation view, Artists Space, 1996. [Black and white image of several sculptures and two-dimensional artworks installed in a gallery space bisected by three white columns. Behind the columns, a large dark tarp covers two gallery walls that form a small corner. To the right of the columns, a large glass container filled with honey rests on a plinth. To the left of the columns, a wide doorway opens up into another gallery room, where several chandelier-like sculptures hang from the ceiling, while three spindly structures are propped on the floor.] -
Sharon Hayes, Symbionese Liberation Army (SLA), 2002. [Stacks of labeled VHS tapes of varying heights arranged against a white wall.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Two pieces hang on a wall.] -
Warnung vor einer heiligen Nutte (Beware of a Holy Whore). Dir. Rainer Werner Fassbinder. 1971. [Two men sit at a bar discreetly discussing an event that occurs off-screen. Two other men appear in the background, focused on a separate activity.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Small sculptures on pedestals are lined up diagonally in front of a map and various images.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A bookcase displays documents within as well as on top of its glass. Above, right of center, three black and white photographs are hung, in white frames, on the wall.] -
Abasement #87. Performance documentation, June 15th, 2026, Artists Space. Photo: Joshua Wildman. [A seated performer in a black leather dress sings into a microphone, with their mouth open wide and left arm outstretched. On the wall behind, a projection of an abstract design of blue circles is juxtaposed by an orange-tinted photograph of a galaxy and stars.] -
YAP (Young Artist Perform), P.S. 140, 2019 [Several students sit on the edge of a wooden stage holding printed sheets of paper. One girl reads from her paper while holding a microphone] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A large red carpet extends across the length of an exhibition space next to a windowed wall. A long line of framed photographs lean against the windowed wall. Two figures examine the photographs and additional artworks displayed in the space's background.] -
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A blue-lit gallery space is filled with various sculptures arranged on the floor, including including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; sugar cane rollers; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.] -
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Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A seated crowd watches a performer who stands behind a table on a stage. The room is illuminated by red light and the reflection of a disco ball.] -
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[A low-angled view of an empty gallery space with wooden flooring and white walls.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A makeshift screening room enclosed by unpainted wooden walls. There are two wooden benches arranged to face a projector screen. The screen displays an image of a luxury pool surrounded by palm trees, with the sun shining.] -
Louise Lawler. Installation View. Artists Space, 1986 [A yellowish image of a fireplace with paintings, a mirror and a TV monitor next to a line of text that reads: "Once there was a little boy and everything turned out alright. The End."] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls as guests enjoy the exhibition opening.] -
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 opening with dark painted background behind it.] -
rafa esparza: Camino. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with large paintings made on adobe panels and resting on steel armatures that are organized in various configurations. Some paintings are also hung on the wall, and adobe bricks are laid out to create a walkway in the middle of the room.] -
[Black text on a grey background. The text reads: “Feb 7 / Eric Bogosian / Bunny Rogers.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph showing mostly the concrete floor of a gallery. Sitting on the floor is a large plexiglass box, the bottom of which is lined with eggs arranged in neat rows.] -
Fontaine Dunn, Untitled, 1976. From Gary Bower, Fontaine Dunn, Hermine Ford</>, Artists Space, 1976. [A black and white image of a painting. Two triangular shapes are painted on either side of the canvas. The hypotenuse of each triangle is tiered, appearing like stairs. The space between the triangles is painted in a darker shade.] -
The Library Vaccine. Installation view, Artists Space, 2014. [A series of books sit at eye level on a wall that displays a black and white photographic collage graphic behind them.] -
Pamela Jenrette. Lavalava, 1974. From Scott Burton, Pamela Jenrette, Artists Space,1975. [A black and white photograph of a textured wall with white and grey splotches.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit performs on stage.] -
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Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [An audience watches a performance.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space. 2010 [An expansive space with a grid of white columns, sheer curtains cover windows lining the back wall.] -
Brad Kronz, I Reject the Good Opinion of Others, 2024. Wood, carpet, paper, latex paint, staples, bolts, nails. Photo: Carter Seddon [Two boards, one horizontal on the ground and the other vertical on the wall, meet at a right angle. The bottom board sits covered with stripped carpet, the top nearly covered with marroon carpet. ] -
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Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage. The stage and wall behind it are bathed in blue, patterned lights.] -
Marian Zazeela, 19 XI 66/2, 1966, India ink on card. Courtesy of the artist. [Black-and-white drawing of a cluster of black curled lines organized into a square shape in the middle of a white page. Handwritten text in faint pencil along the bottom of the page reads "© Marian Zazeela 1988."] -
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.] -
Crystal Z Campbell: Ode to the Underloved. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of a video installation in the center of the floor of a gallery. A walkway made of plywood runs along the edges of the room, encircling the projection. The projection depicts a mirrored negative film image. The image features an assortment of abstracted objects arranged on a blue background.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A seated figure in a black hoodie and black beanie plays the guitar with red and purple light cast onto them.] -
Artists Space's two tote bags. [Two Artists Space tote bags lay in the autumn grass. One is black with a white architectural line drawing with the phrase "OPEN TO BEYOND" at center, the other is pink with a black bold graphic of an "A" inside an outlined circle.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Four gallery walls sit at various angles in a bright-lit exhibition space. One of the walls is decorated with colorful vertical stripes. Another wall is covered in many small, square grid-like compositions. A wall at the photograph's center is decorated with a composition of abstract, smooth shapes and various figures rendered in black and white.] -
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.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands facing a black tarp tacked to the wall. A second figure holds a camera, photographing the tarp. An image is projected on the back wall.] -
[Black text on a light green background. The text reads: “May 2 / Darcie Dennigan / Tess Brown-Lavoie.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Ashley Baez, Untitled, colored pencil on paper 28 x 24 inches, 2016 [Three long and slim dresses on mannequin figures - one yellow, one orange, and one blue. Her signature and the date (12.5.15) appear in between each figure] -
[A red background with white text which reads: "SETTLER COLONIALISM OUT OF BROOKLYN", followed by the Decolonize This Place Logo.] -
The Library of Helen DeWitt Kitchen view Courtesy Helen DeWitt [Three white shelves, that extend the entire length of the frame, are filled with books of various colors and sizes.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dark room with a screen projection showing an image of a man with a partially cut out button down shirt. The sleeves and top button are intact, with the chest and torso bare except for three elastic strips spaced out spanning the torso.] -
Gedi Sibony Animal Scramble, 2013, Archival inkjet print, 14 1/4 x 13 1/2 in / 36,2 x 34,3 cm (image size), 24 x 20 in / 61 x 51 cm (paper size), Signed and Numbered. [Assorted animals, including tropical fish, birds, reptiles, a cat, dog, and rabbit are drawn in black marker on yellow paper.] -
Thomas Bayrle, Woody Allen: f ilms fi lms fil ms film s fil ms fi lms f ilms, 2011, Bespoke archival box wrapped in silkscreened cotton book cloth, 24 1/2 x 20 1/2 x 1 1/2 in / 62 x 52 x 4 cm, Signed and numbered certificate. [A black-and-white image, tiled across with tiny, interlocking patterns, similar to a Pacman level. The pattern is skewed - made more or less dense - to form the curvature of a face with dark glasses.] -
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.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [An orange water dispenser sits on a low metal stool in a gallery space. Encircling the top portion of the dispenser is a round glass table, with a wedge-shaped cut-out removed from its right side. A photo of a woman sits on top of the glass surface.] -
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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 figures hands holding a block of ice on top of thekeys of a reed organ. The reed organ is covered in a sheet of clear plastic.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Installation view of a gallery filled with projectors arranged on the floor around three large black columns in the middle of the room. Each projector is projecting a bright white test screen onto white walls, aligned so all play at the same height. A wooden wardrobe stands in the foreground of the image against a white wall.] -
Film still from Now Voyager, 1942. [A black and white image of a woman looking into the camera. She has a wide-brimmed hat with a sheer veil over her face, and dark makeup.] -
Spring Exhibitions. Installation view, Artists Space, 2009. [An installation shot of a gallery room. There are two black plinths with glass-encased tops. On the left, the glass cover has two speakers embedded in it, facing inward toward the dried grasses which it covers. On the right, the glass covers brown grasses standing in white sand. A print of green leaves encircling a yellow background is installed on the gallery wall behind the two plinths.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Two painted portraits sit on the ground of a gallery space to the left of several other artworks. A kite hangs from the ceiling of the exhibition space in the center of the image. Various small documents are tacked across a wall to the right of the kite with red thumbtacks.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of a gallery space with a painted drum set, a hanging gong. A television monitor is placed on the floor to the right with several LP covers hanging above.] -
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[White text on a bright fuchsia background. The text reads: “Nov 15 / Lauren Cook / Funto Omojola.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Image of a white desk on a black stage. Layed across the desk is a laptop and a control pad, along with a paper with printed instructions and diagrams.] -
[A black and white, portrait photograph of a woman at the beach. She wears sunglasses and has short, curled hair.] -
Michael Robinson. Still from All Through the Night, 2008. [A ghostly, blurry figure in white with their arms out with digital light blurs swirled around.] -
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Ei Arakawa, Syllabus Painting (The Films of Keanu Reeves, a class by Stephen Prina, at ArtCenter College of Design, Pasadena, CA, USA, 1994), 2023. Photo: Filip Wolak. [Color image of an art work made up of 7656 small LED lights placed on a bleached fabric, creating an image of two figures laying intimately in bed together. Along the floor below the image are a string of wires, attached to various outlets and a controller.] -
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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 a small drum set lit by a spotlight underneath a demolished wall, blue and green gallery walls displaying dynamic images of individuals hung by large push pins.] -
Octopus and water paintings, 2022 -
Invitation for the exhibition at Kaiserstraße 31A (two copies) Düsseldorf, May 11, 1963 Collection Tobias Kuttner, Berlin [Two panels of square images, of which are surrounded by text within sections.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A color image of the white wall of the gallery space. In the center, a projected image of two hands tying rope around the body of a fish. The black and white projected image is flanked by two sets of six black and white framed photographs. Each frame is black, with three on the top and three on the bottom. ] -
Abstraction in Process. Installation view, Artists Space, March 26, 1987 - May 2, 1987. [intermezzo?] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of a installation and sound work. In the right foreground, two lab tables contain a lab equipment such as beakers, distilling chambers, jars, hot plate and two blenders. On the left midground, an antique cabinet with its doors open, reveals shelves and drawers filled with more lab equipment, such as a microscope and household items such as a dustpan. In the background, two box television screens sit on top of wooden lab tables. A posterboard with a periodic table rests on top of the televisions. Each "element" of the periodic table features a small lightbulb that glows.] -
Abstruction. Installation view, Artists Space, 2003. [Several artworks installed in a large gallery space with white walls and wooden flooring. A television monitor rests on a low acrylic box on the floor to the room's right side. A warped purple and pink image resembling a kaleidoscopic star shape is displayed on its screen. There are white columns to the left of the monitor. Hanging on a gallery wall on the image's far left side is a large piece of translucent, white cloth embroidered with amorphous red and blue linework. The far gallery wall behind the twinned columns has been painted with slanted, striped areas of peach, yellow, and ochre color.] -
Liberalism at Large: The World According to the Economist, by Alexander Zevin, published by Verso Books, 2019. [A digital image of a red book title, overlaid several times on top of itself. A world map centered on the Atlantic ocean is visible in orange beneath the title.] -
Judith Barry. In the Shadow of the City (Vampry...). Installation view. Artists Space, 1985. [A video projection on a scrim of an urban environment with a store and a park lot visible with buildings in the background. A standing box with a wire coming from the back is visible and another box with a wire from the back is visible on the right wall. All of this is set up in a gallery setting.] -
Jack Smith, still from Song for Rent, 1969. 16mm, (sound, color), 8 minutes. [The profile of a person with orange hair wearing heavy makeup.] -
Kelly Poe, Untitled (Chaemaea fasciata, Wrentit caught in mist net. Monitoring Avian Productivity Survivorship, Canada Gobernadora, Rancho Mission Viejo, California), 2003. Courtesy the artist and Anna Helwing Gallery, Los Angeles. [A small grey bird with its head and feet caught in a net.] -
Detail of the flyer for the performance "Fun With Time Time," Ralston Farina, May 22, 1977, Artists Space. [A black and white drawing forms an image puzzle featuring broken-up text and a clock. A handwritten date appears in the bottom right corner: "5.22.77."] -
Everything is common. Installation view, Artists Space, 2022. Photo: Steven Cottingham. [Color photograph of a gallery space with two dark columns. In the foreground, a cornhole board is visible resting on the floor. In the background, a work on a video monitor is installed on a desk that has two chairs in front of it. A chandelier hangs from the ceiling near the furthermost column and rests on the floor. In the left side of the background, a wall is filled with images and has a mounted monitor with a video work.] -
Nick Relph, A List of Incorrect Things, 2010, Offset print 6 2/3 x 11 inches, Signed and numbered by Stuart Bailey and David Reinfurt, Text by Nick Relph. [Two pages of red sans-serif text on a white background, titled "Notes:"] -
Carolyn Lazard: Two-way. Installation view (Vital, 2025), Artists Space, 2025. Photo: Greg Carideo. [A darkened gallery space with dark blue walls and dark blue carpeting with a large wall projection. The projection depicts a black patient in a blue hospital gown laying down on an examination table. A white doctor holds a stethoscope to the patient’s stomach.] -
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.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans their arms on top of a rolling table made of wood and fresnel lenses, pushing it toward another figure that stands in front of them filming them. In the background a third figure in a blue morph suit sits and leans down on top of a rectangular wooden frame. Blue footage is projected onto the back wall.] -
Installation View from Recent Art From Chicago, Artists Space, March 8, 1986 - April 5, 1986. [Cutouts seen placed in front of drawing on wall. Paintings and sculptures can be seen in the area around it in a gallery setting.] -
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.] -
YAP: Young Artists Perform, 2025 -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down on one knee, placing their hands on top of a table made of wood and fresnel lenses while audience members watch in the background.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A white table holds a white model of a house. Behind it, a television on a stand displays an image of a large, white house. There is a white wall with five color photographs arranged in a cross formation with images of a large house and yard.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A view of a gallery installed with multiple sculptures. In the center foreground sits a wooden box sculpture painted light blue,and another box painted dark blue with a repeated traffic light motif, sits in the distance behind. To the left, a large biomorphic sculpture composed of found materials hangs from the ceiling. In the background, three large pink banners emblazoned with silver stars hang from ceiling to floor.] -
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.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A square, gray canvas with a large white circle centered towards its bottom edge hangs on a light, mauve-colored wall. At the bottom center of the circle, the canvas stretches outward in a verticle line.] -
Gerome Kamrowski. Hopeful Monster, 1980. [Three panels with animal-like figure outlines appear on the floor opened out with a black background.] -
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.] -
Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of a rectangular photographic work with wide white matting.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures in medical scrubs stare into the distance.] -
Exhibition Card (front) -
Attention Line. Installation view (costumes worn by Johanna Went, 1970s-2000s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [A brightly lit photograph of three human-sized costumes in front of a wall.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Close up of a small sculpture resting on a square wooden support jutting out from a white gallery wall next to a window. The sculpture has a metallic color and an irregular, round shape, with a tree-bark like texture. A similar sculpture and support are mounted on the other side of the gallery window.] -
Sariyah, Cupcakes, 2022, colored pencil on paper -
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Millie Wilson, The Painter Who is Not One, 1990, detail. Acrylic on canvas, text, type, photos, wall paint, 13 by 25 feet, variable. [A small square of illegible text, an abstract image of two black squares on grey, and a painting of a person in period dress and a top hat all hang on a blue wall.] -
Ann Hamilton, Mirrim, 1999, Iris print, 30 x 22 inches (76.2 x 55.9 cm), Edition of 40, Signed & numbered. [A photograph with a wood frame hangs on a wall. The photo sits on a white background, centered in the top half of the page. The photo shows a person's nose and mouth, with mouth agape.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A barrel, converted into a grill, sits horizontally on a wheeled cart. It is opened, with a silver metallic interior, in the center of the room. On the left, three long planks of glass lean onto the wall. To the right, photographs displayed in a pane of glass sit at eye-level on the wall.] -
Left: Andrew Siedenburg, Material Support, 2022. Masking tape, charcoal, and construction fasteners on gessoed luan. Right: Andrew Siedenburg, Doghouse with Tin Snips, 2022. Masking tape, charcoal and constructions fasteners on gessoed watercolor paper over masonite. Photo: Steven Cottingham. [Color photograph of two works with white, black, brown and grey hues hanging on the wall side-by-side.] -
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.] -
Selections: Aljira & Artists Space Announcement Postcard [A white postcard with purple text announcing fall 1990 exhibitions at Artists Space, including Selections: Aljira & Artists Space.] -
DIVA TV Collective, Target City Hall, 1989. 27 min. [Onlookers and news reporters with cameras crowd around helmeted police officers surrounding a graffitied truck.] -
Hannah Weiner, Book of Revelations, 1989, Pencil in altered book, dimensions variable [An image of a brightly photographed display case with a book which has been cut into in the center.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work. An antique cabinet with its doors open reveals shelves and drawers filled with household items such as jars, books, herbs, candles, a teapot, a cooking pan, cleaning products and a clock. On the top of the cabinet] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A performer facing an audience in a dim, red-tinted room. The musician is standing over a table covered in electronic instruments. Patterns of white dots reflecting from a disco ball surround the room. ] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of red and yellow paper. Pieces of beige paper with typewritten text listing the performers and event details are scattered around the flyer.] -
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, 2019. Photo: Daniel Pérez. [Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.] -
Ed Bereal, Miss America: Manufacturing Consent: Upside Down and Backwards (detail), 2000-2014, mixed media and found objects, dimensions variable. Photo: Filip Wolak [A close-up detail of a large assemblage sculpture.] -
Electronic Disturbance Theater 2.0/b.a.n.g. lab. The Transborder Immigrant Tool, 2007–ongoing. Pages excerpted from The Transborder Immigrant Tool publication. Courtesy the artist, University of Michigan Ann Arbor, and University of California, San Diego. [The English translation of the poem “When everything—including this cell phone—fails…/Cuando todo—incluyendo este teléfono móvil—faile...” appears above the Spanish translation. Two grey lines of different thicknesses cross to form an X-shape on the right of the page.] -
Constantina Zavitsanos: fwiw. Installation view (Days (Cortlandt Alley Crosswalk), 2024), Artists Space, 2024. Photo: Carter Seddon. [In the corner of a darkened room, a blacked out window hosts a small lens, which projects an image of the crosswalk outside the building onto the wall and ceiling inside.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A performer on stage faces the wall. Both the performer and wall are bathed in speckled blue and green lights.] -
Chris Johansen. [Black and white mixed-media drawings of cartoonish, smiling faces.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a performer dressed in white, kneeling on all fours. A bright light from their pelvic area shines onto the floor, as viewers stand around the figure.] -
Trisha Donnelly, Untitled, 2010, 3 1/2 x 5 in / 8,9 x 12,7 cm, C print, Signed and numbered certificate. [An inverted color-like green, black, and white, overexposed image of a person wearing a hat, holding thier hands to their face. Most of their facial features are overexposed and not visible. In the bottom right of the image, a grey image is overlaid, as if cut-out, depicting various unidentifiable objects.] -
New Red Order Give it Back, 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 Photo: Filip Wolak [An image of a white facade with real estate listings in the windows, and above them, in vinyl lettering reads "NRO".] -
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers, shot from behind the stage looking out to the audience. The musician on the left is bent down with their arms out and their back is facing the camera. The musician on their right is signing into a microphone. Multiple rows of audience members are facing the stage. A bright light from the back of the room creates a glare in the image. The room is dark and it is tinted yellow and pink.] -
Abasement #78. Performance documentation, June 16th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers, the performer on the left is standing over a 4-track tape teck on a table, the performer on the right is sitting playing the cello. A mic stand in the foreground splits the frame. A blue and yellow water-like image is projected on the wall.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Doris Guo, Doorstop 1, 2024; Doris Guo, Doorstop 2, 2024), Artists Space, 2024. Photo: Carter Seddon. [Color image of two small doorstop sculptures on the floor of the gallery space landing. The sculpture in the foreground consists of a short column of aluminum, banded with black rubber near the top. In the background sits another sculpture, a squat column of concentric stainless steel rings with a black rubber core.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the keyboard in front of a microphone.] -
[Blue text reading “PROMOTE INDIGENOUS FUTURES” in all caps is overlaid on a faded image of a windowed glass building.] -
Anton Vidokle, still from This Is Cosmos, 2014. [A film still of a woman, captured from the shoulders up, standing in an outdoor field. The white subtitle reads "that death is a mistake."] -
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.] -
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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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New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A wide shot of a person sitting at a table with a computer. The table is covered in a red tablecloth with white lettering that reads, "WHAT ARE SAVAGES FOR?" and "THE URGE TO MERGE." Lighter red, stylized text reads "NEW RED ORDER" and "NEVER SETTLE." Behind the table, a projected image shows a man with one hand outstretched superimposed on a city skyline. On either side of the table are informational posters with printed text.] -
Young Fluxus. Installation view, Artists Space, 1982. [A number of objects and writings appear on the gallery wall and a desk with a light appears in front of it with windows visible in the background.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs move a table with wheels, on which a mannequin lies.] -
Paul Lamantia. The Critic (A Portrait of Dennis Adrian), 1984. [Three figures with misshapen faces appear together in an surreal setting.] -
MTL+, Artists: NYC Not for Sale, 2016. [A flyer for the event depicting MTA subway routes in white on a red background. Event title reads "ARTISTS: NYC NOT FOR SALE" with a strikethrough on the alternative subtitle "IN THE BUSINESS OF GENTRIFICATION."] -
William Pope.L, Maybe, 2009-2010. MDF board, sardine cans, plastic bag, cardboard box, nails, electrical extension cord, paint, graphite. 96 x 96 x 18 inches. [A large white MDF board rests against a gray wall. A series of metal sardine cans are placed across the MDF board in a loose grid. ]
