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Jaylynn Reyna, Legendary, 2022, digital photograph -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure wearing a conical sheath of reflective one-way mirror film. They stand in the corner of a dark room, shining a bright light against the wall behind them. Their silhouette can be vaguely seen under the mirror film.] -
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[Black text on a light green background. The text reads: “April 25 / Wayne Koestenbaum / Douglas Kearney.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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.] -
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.] -
Theresa Hak Kyung Cha, Dictée (New York: Tanam Press, 1982), 74 - 75. [A two-page spread from the novel Dictée shows four diagrams of a human larynx and neck on the left-hand page and a page of writing from the novel on the right.] -
Édouard Manet, A Bar at the Folies-Bergère, 1882. [A painting of a female bartender standing behind a bar, facing the viewer. A large mirror directly behind her reflects the space of the crowded bar before her. Another woman behind and to the right of the bartender, her back to the viewer, turns to speak to a man with a top hat and mustache.] -
Joey De Jesus, NOCT: The Threshold of Madness, 2016. Ink on found book. Courtesy the artist. [A text titled "Before the Encounter" with a strikethrough on nearly every word - drawn over with abstract black symbols and shapes, circling some words.] -
Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of three square photographs with wide white matting attached to a wall.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [An audience observes two performers playing a keyboard and a bass on stage. The performers are seated at an angle towards each other, and the stage is bathed in orange light and blue cloud-like patterns. ] -
Attention Line. Installation view (James as Jimmy, 2001, Guitar from the exhibit All Indian All the Time, 2005), Artists Space, June 11, 2022 - August 20, 2022. Photo: Filip Wolak [On the left, a framed photograph hangs on the wall. In the center, a sculpture built around a red electric guitar hangs from the wall. In the distance on the right, various posters and ephemera adorn the wall.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A freestanding white wall displaying a metal plaque engraved with paragraphs of text juts in front of another angled, white wall in an exhibition space. A large paragraph of wall vinyl text is displayed on the second, angled wall.] -
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Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays an electric guitar on stage. The performer and stage are bathed in blue light and geometric patterns. ] -
A visit to Federico Herrera exhibition at James Cohan. -
[Black typewriter text, underlined, reads, "Vigilance: An Exhibition of Artit's Books Exploring Strategies for Social Concern," text with no font alteration reads, "after an exhibition curated by Mike Glier and Lucy R. Lippard."] -
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Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure seated behind a white desk. They are using a laptop, open to a computer program page.] -
Abasement #73. Performance documentation, November 4th, 2024, Artists Space. Photo: Joshua Wildman. [Two performers on stage in front of a seated audience. The musician on the left is playing the violin, and the musician on the right is playing the drums. The room is bathed in red and blue light. The wall behind the performers is projected with blue and purple graphics.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [The stage is dark except for a red glow, and a single bulb illuminating two performers sitting at tables facing each other on stage. Each performer operates a mixing board abundant with cables.] -
Shala Miller performs Genesis: Medley. Performance documentation, May 11, 2023, Artists Space. Photo: Roy Baizan. [Black & white photograph of a performer singing into a microphone stand, positioned along the center of the wall. The audience sits on the floor around the center of the room, where hanging screens depict a projected video of a close-up of a figure's face with a bright light coming from one side of the image.] -
Pamphlet Cover for Mike Henderson, Artists Space, 1990. [An abstract image of two rectangles, one light and one dark, each dotted with a grid of circles. Below this, black text reads, "Mike Henderson, April 19-May 19, Artists Space."] -
Abasement #79. Performance documentation, August 11th, 2025, Artists Space. Photo: Joshua Wildman. [Two performers are on stage, the performer on the left side blows into a long woodwind instrument. The performer on the right sits behind a desk on top of which is a large pile of audio equipment. The stage and wall behind it are bathed in blue light, created from projections of a geometric pattern.] -
Brad Kronz, Egna Spartan, 2025. Plywood, wood filler, stain. Photo: Carter Seddon [A smaller wooden panel has been inserted into a larger surrounding wooden square. The woods' grains contrast with slight color variations. ] -
Dr Andrew Torres, Teaching Artist leading a poetry class for Grade 8 students, 2022 -
Hito Steyerl, Duty Free Art: Art in the Age of Planetary Civil War (New York: Verso Books, 2017). [A book cover with large text and a digitally altered, skewed human face blurred behind the title.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [Black and green sans-serif text decorating a white gallery wall. Large, green text stacked vertically reads, "lines of loss." Smaller, black text superimposed over each of the green lettered words reads, "gabriel kuri damian ortega manuel rocha mauricio rocha guillermo santamarina." A small wall label below the text notes the exhibition's sponsors.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [Three figures stand on a stage cast in red and purple light from a projector. They each hold a microphone to their face, their eyes closed in concentration. The figure in the middle wears a guitar, and the figure all the way on the right leans forward on a table with audio equipment.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A large cone-shaped object in a room with wooden floors and a window covered with a sheer curtain. A light, floral print decorates one wallpapered wall; the same print covers the cone.] -
Kayla Asalcedo, Lower East Side Map, 2018 [A black-and-white drawing in a collage style, depicting many public parking signs, street-level façades, advertisements, buildings, a bycicle, smoke, and two large, flowing arrows] -
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Charles Harbutt. Le Mistral in France, 1975. [A figure sits nexts to a window with light shining through the shades, making an evident striped shadown on them and the seats next to them, one of which includes a purse.] -
Vaginal Davis, The White to be Angry, 1999, color video converted to digital. Photo: Filip Wolak [An image of a gallery space with walls painted red and a projection with speakers in front of the right-facing wall.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Along the wall are two glass display cases holding ephemera, in the center of them three images hang on the wall, on the left sits a tv monitor on a shelf.] -
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Jason Simon, still from Vera, 2003. 25 min. [A woman seated on a couch wearing a green button-down shirt captured mid-laughter.] -
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.] -
Tiffany Sia, Too Wet (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a foggy gallery window. The words on the windowsill read "THREAD VII (TOO WET)."] -
ARTstudio exhibition at Blue Sky Gallery, PS 140, 2024 -
Wolf Vostell idécollage No. 3, Bulletin aktueller Ideen , Cologne, December 1962 Collection Andersch [White text against black background, landscape orientation poisitioned in portrait with words reading from bottom to top. The large title reads "dé collage."] -
[A figure sits in a chair facing—and silhouetted by—a soft, sunset-bathed city skyline and river. Their back faces the viewer, and they appear to rest their head on their hand. The space around them resembles a corporate office space.] -
Social Surfaces. Installation view, Alexander and Bonin, 2017. Photo: Ron Amstutz. [A wide blue mop with a yellow handle is tethered to a white pillar by a black cord, and is stretched with the handle angled forward. Resting against the pillar is a tv, angled and facing slightly leftwards, displaying a sculpture in a parking lot.] -
Tom of Finland, Untitled, 1967. Graphite on paper. Private Collection, Sweden. [A half-naked man sits inside a prison cell wearing a police cap and gripping a large electric dildo. His erect penis emerges from the fly of his leather pants, while a naked man on the floor licks the back of his leather boots.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
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You Are The Everything and The Everything Is In You. Installation view, Artists Space, 2005. [Two delicate, framed works on paper hang side by side against a white wall. A light blue color has been imprinted on the central portion of the wall. The artworks feature flecks of pastel color on an otherwise white surface.] -
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James Luna, High-Tech-Peace-Pipe, 2000, mixed media, touch-tone phone, pipe, dimensions variable. Photo: Filip Wolak [An image of a mixed-media sculpture.] -
[A pattern consisting of blue prints of delicate flowers repeats across a white surface. The image resembles wallpaper.] -
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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 multiple works displayed in a multilevel gallery space. An old tv monitor, a coffee machine, and an artificial seagull are placed near a yellow boombox sitting on a black rug. Beside the boombox is a large image of a group of individuals in a defaced bedroom.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement, a figure holding a video camera with a rig on their shoulder takes footage of the back wall, which has blue and purple light projected onto it.] -
Yasunao Tone, Carles Hac Mor, and Barbara Held performing Música desterritorialitzada at Metronom, Barcelona, Spain, 1997. [Black-and-white photograph of three figures performing together. On the left, a figure in a striped shirt and glasses sits down in front of a table full of audio equipment, wearing headphones. In the middle, a figure in a graphic shirt stands and reads off a piece of paper. The rightmost figure wears a glitter and mesh top and plays the flute standing.] -
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["We (not I)" typed in red, black, and blue serif font.] -
Stéphanie Smith, still from Untitled (Tissue), 1994. Video. [A close up, blue and white halftone image of a figure wiping their mouth with a handkerchief. Their mouth is partially open, exposing their teeth, and a lipstick-like material is smudged around their mouth.] -
New Economy. Installation view, Artists Space, 2007. [An installation view of two rows of photographic portraits tacked to the walls. In the background is a red, white and black print that says "Imagine that capitalist revelations are overcome by local economic federations of grassroots groups that produce according to regional demand."] -
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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez [In the foreground a large, orange slug sculpture forming a circular ring shape is installed around two cast-iron columns suspended by ten elastic cords such that it encircles the column and rests close to the ceiling. Behind it is a large, orange slug sculpture forming a circular ring shape installed around one cast-iron column suspended by eight elastic cords such that it encircles the column and rests at its vertical center. In this white-walled gallery space one can also notice a partial view of a painting in the background.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure sits behind a table, a microphone in front of their face, as they close their laptop and grab a stack of papers on the table.] -
[A black and white postcard with an image of a bed with a mountain in the middle of it and a dilapidated chair with the back hollowed out. Text underneath the images reads, "A Bed / And A Chair / Eileen Neff / April 9 - May 23, 1992 / Artists Space."] -
[An offwhite poster with black letters framed two bands of a cropped watercolor painting announces a sound poetry festival entitled "Chorus."] -
[A crowd of people standing outside a brick building, mingling and talking.] -
[White text on a bright fuchsia background. The text reads: “Nov 1 / Terrence Arjoon / Laura Henriksen.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Adjua Gargi Nzinga Greaves, Autotelemachy, 2017. Collage, 59 x 68 inches. Photo: Filip Wolak [A collage of eucalyptus sprigs, other plants, and human figures attached to a framed map.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of the silhouette of a figure on the right, they are bent over with a small radio in their hands. To the left is a standing microphone placed over speakers on a desk, with light sensors dangling on the wall behind.] -
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.] -
P.S. 140 students painting sound, 2019 [An image of several students paitning with watercolors, each on their own desk] -
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.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Shala Miller, Genesis, 2023), Artists Space, 2023. Photo: Filip Wolak. [Three hanging projector screens surround the middle of a darkened gallery space on three sides. The screens all show the same black-and-white video still of a figures face, illuminated on one side by a bright flash of light.] -
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [Four overlapping photographs show a panorama of a crowd outside Artists Space at night. One group int he foreground files into the gallery through its double doors, while others on the sidewalk hold protest signs.] -
Liam Gillick, Thinking, 2010, Inkjet print on Sunset Cotton Etch 285 gsm, 24 x 20 in / 61 x 50,8 cm, Signed and numbered [An image depicting a digitally-created cartoon-style black-and-white humanoid figure standing upright, holding a stick. He has a long beard, hair across his body, and leaves as a skirt and hat. A thought bubble appears above his head, with sans-serif text stating "Thinking more about production than consumption..."] -
Developing cyanotypes, 2022 -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging and standing in a white-walled gallery space.] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [Color image of an individual seated at a table with a variety of musical and electronic equipment and gear in front of him. The individual stares with focus at a computer screen, which illuminates his face in the darkened performance space. A variety of guests can been seen seated all around the musician's work table.] -
Praydoliub Ivanov, Pessimism No More (detail), 2002. [A block of cheese sitting on a white plate on a wooden table. There are several Band-Aids covering the holes on the block of cheese.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit room where two people are seated in chairs on the right, looking at a projection. The projection displays a yellow-hued image of a city skyline.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [An audience watches a performance, smoke fills the room to the left and a projector casts dark blue light over the audience.] -
Hiroshi Araki, still from Mechanic and Angel, 1990. [Black and white photograph of a doll lying on a wooden surface. To the left of the doll, white text on a metal surface reads, "GOD POWER." A cross is situated between the two words.] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure stands on the stage with a mic, speaking to the crowd.] -
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Artists Space Curator Jamie Stevens speaking with P.S. 140 Portfolio Students [Two people stand in the foreground: one person holds a notebook and points to a page while the other looks on.] -
Marie Karlberg Videos. Installation view, Artists Space, 2013. [A gallery with an L-shaped bench covered in fabric, plus several video projections and artworks adorning the walls.] -
Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer sings into two microphones while green, purple, and white lights illuminate the stage and wall behind it. ] -
LaToya Ruby Frazier, A Message In Nestle Water Bottles from Shea Cobb and Amber Hasan at Sussex Drive and West Pierson Road, Flint, MI, 2017/2023, set of three archival pigment prints on Canson Platine Fibre Rag, 16 x 24 inches (40.6 x 61 cm) -
Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. -
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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.] -
Photograph released by St. Louis County prosecuting attorney of police officer Darren Wilson after he fatally shot Michael Brown on Aug. 9, 2014 in Ferguson, Missouri. [A small ruler held up to a man's face, measuring a bruise on his cheek.] -
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 #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays a stringed instrument with a bow. The stage and wall behind it are bathed in blue light, created from projections of a geometric pattern.] -
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A person holds a sign that reads "KEEP ART FREE!" in handpainted text.] -
Charlotte Posenenske, Series D Vierkantrohre (Square Tubes), 1967. Galvanized sheet steel, dimensions variable. [A geometric metal sculpture against a blank, white background. The sculpture is composed of four identical components, each with two triangular spikes extending upwards or downwards. Each of the components is hollow, and the interior of the sculpture can be glimpsed from its side.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [Sculptural white lettering appears on a shelf starting with 'b', but then a figure's torso appears and then the letters "n" and "t". Next to this shelf is a photograph on a wall of a figure touching another person's back. There is an indistinguishable object under the shelf.] -
A New World Order III: The Curio Shop. Installation view, Artists Space, 1993. [A black and white photograph of two shelves, each with several Quaker Oats canisters and vases of assorted shapes. Beyond the shelves are several plinths housing objects, and a metal rack with dozens of glass jars.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez.. [In a large, open gallery space, several photographs hang on walls to the right. To the left, multiple small monitors mounted to a colorful gallery wall play video works. In front of the monitors, there are wooden stools with headphones resting upon them.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [A slide projector sits in a dimly lit corner of a gallery space. The device projects an image of rocks and other debris onto a poster hung on the wall, which lists various statistics related to The Letchworth Village, a residential commuinty in Rockland County, New York. A second poster hangs on a wall to the left of the slide projector. A stack of papers rests on a small support below the poster.] -
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Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a well lit gallery, with various multimedia works placed around the space, projected against the walls, and hanging on the walls.] -
Ei Arakawa: Social Muscle Rehab (outdoor performance). Performance documentation, October 16, 2021, Artists Space. Photo: Filip Wolak. [Tennis players stand in an alleyway, ready to hit balls from an automatic ballfeeder. A crowd watches intently in the background. Suspended above them the words "Social Muscle Rehab" are painted in white capitalized text on black and green signs.] -
Gerome Kamrowski. Metaphysical Menagerie, 1986. [A black and white photograph of various floating constructed fish-like objects in space.] -
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Those Lost Trees by Viola Yesiltac (2005). [A woman stands, facing away from the camera. She is standing on a photo backdrop of trees in a forest, which covers part of the floor and is raised into the air by stand. Studio lights surround her, casting a slight glare off the backdrop.] -
[Black text on a light blue background. The text reads: “April 26 / Peter Gizzi / Susana Plotts-Pineda.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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 a wooden cafe chair with a green cushion in a gallery space. The chair is placed in front of a small seam in the wall. A television screen rests on top of the chair.] -
Anna Gili, Casi del Mare. [Five glass sculptures of varying colors arranged in a line. They are painted with small circular and oval dots.] -
Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A black and white installation photograph of two figures in front of a curved white wall in a gallery space.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A TV monitor is displayed left of center on a white wall plastered with black-and-white posters that read, "Wanted, wee willy," and two large "e"s. To the right behind a doorway, large beanbags sit infront of bookshelves.] -
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Richard Hollis. Installation view, Artists Space, 2013. [A view of a book stand perpendicular to a wall in which staggered posters are hung. The book stand displays various documents and materials.] -
Cover of Lonnie Holley, Rizzoli Electa, 2025. [Book cover featuring a black background, and a sculpture resembling a cross, with the word "MITH" engraved into a block of stone. In the top right corner of the cover bold text reads "Lonnie Holley."] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
Crystal Z Campbell, Revolver, 2022. 16mm film transferred to Digital Video, Stereo, Sound. 17:27 min. Courtesy the artist [Negative film image that has been mirrored across a diagonal line of symmetry, depicting a blue board with objects arranged on it to create vaguely recognizable patterns.] -
Axine M: Sold Licker Glass, 2024, Artists Space. Courtesy of ISSUE Project Room. Photography by Cameron Kelly McLeod. [View of 5 musicians on stage performing under blue tinted lights with the audience in the foreground. From left to right the instruments played are the cello, clarinet, horn, flute, guitar, and vocals.] -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of a gallery space. The right half of the image is taken up by a wall with printed text identifying the exhibitions, "Min Joong Art: A New Cultural Movement from Korea," and, "I Miss the Revolution."] -
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Pictures. Opening Reception, Artists Space, September 23, 1977. Sherrie Levine (left), Irving Sandler (right). Photo: D. James Dee. [A black and white photograph of two figures standing in a gallery space. The figure on the left looks at the one on the right. In the background, a crowd of people and se veral large wall hangings are visible.] -
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Terry Fox, Yield, University Art Museum, Berkeley, California, September 4, 1973. Photo: Larry Fox. Courtesy Marilyn Bogerd. [Black-and-white film photograph of a mound of flour on a concrete floor. A figure's hands are shown along the right and top side of the composition. The figure's right hand is poised above the center of the flour mound, pouring yeast into it from a small packet.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A green, blue, and yellow abstract landscape painting hangs on a white wall. A purple buffalo painting is hanging on the wall to the left. To the right, a tall paper is pinned into a purple section of wall.] -
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.] -
Ilana Halperin: Physical Geology (slow time). Installation view, Artists Space, 2009. [Protruding clusters of dots and triangles form designs in a gray surface.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a TV screen playing blue-tinted video footage of the performance with a fresnel lens placed in front of the screen, distorting the image.] -
[Black and white line drawing of a bucket with handle.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A yellow object with a cracked surface sits on a white base. A metal antenna extends out on a diagonal.] -
Vanalyne Green, Still from A Spy in the House That Ruth Built, 1989. 29 minutes. [A close up image of hands holding a film camera in black and white on a white background. Below the hands, a small, black silhouette of a figure walking.] -
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.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in a baseball cap stands beside a table covered in scattered drinks and a laptop, typing on the computer’s keys.] -
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Jim Hodges, Untitled, 1999, Etching and aquatint with chine-collé, 22 x 30 inches (55.9 x 76.2 cm), Edition of 30, Signed & numbered. [A white image with a faint grey line that bisects the page lengthwise. In small text, the word "with" Iies at the center of the image.] -
[A Frida Kahlo painting and portrait of woman against a black background.] -
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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.] -
Vintage clocks designed by George Nelson, late 1940-50s. Collected by Felix Gonzalez-Torres. Loaned by Julie Ault, John Connelly, Amada Cruz Harman and Rick G. Harman, Jim Hodges, Roni Horn, Michelle Reyes, Andrea Rosen. [A series of vintage, abstract clocks hanging on a white wall above a long didactic text displayed on a horizontal plinth.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A performer stands on stage, operating a sound system. The performer and the wall behind the stage are illuminated in red light.] -
Louise Lawler, Why Pictures Now (traced); Red, Yellow, Blue, Green, Sometimes Silver or Gold, 1981/2013, Archival pigment print with hand painted gouache in multiple colors, 3 x 6 in / 7,6 x 15,2 cm (image size), 10 x 8 in / 25,4 x 20 cm (paper size), Signed and Numbered [A line drawing of an ashtray containing a book of matches with "WHY PICTURES NOW" written on the front.] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art. Two dogs walk through the crowd.] -
Till They Listen: Bill Gunn Directs America. Installation view, c. 1973, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [An image of a projection in a dark room above a glass display case holding ephemera.] -
KH Hödicke Magic Window Cleaner II , 1967 80 copies + 40 artists proofs, signed and numbered screen print on Plexiglas, 83 x 59 cm Courtesy of Edition Block, Berlin [A red image, portraying a window squeege at the bottom left of frame, of which the section of it's width above is a darker red.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [Along the gallery wall is an assemblage of objects hanging off the wall and to the floor connected by metal thread. Further down the wall is a painting, a plinth of colorful sculptures, a framed artwork, and a television playing a video in the corner. In the back is a glimpse of an alcove with three artworks appearing as colorful stripes, grey and yellow on the wall, and black on the floor. ] -
Sidewalk Archives, Artists Space, April 2023 -
Demonstrations outside the opening of Witnesses: Against Our Vanishing, Artists Space, 1989 [Protesters standing in a line hold a variety of signs with statements such as "Helms impedes the 1st Amendment," "Obscene Art?", "I have no taste," and "No taxation without artistic representation"] -
Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [Color image of a performance space illuminnated with blue and red light. On the left, a figure on a stage plays the double bass, there is a large black speaker to their right. Abstract images are projected onto the wall. Below the projections, audience members sit on chairs.] -
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Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A light sculpted figure appears on a pedestal in the foreground and behind it appears a map with images of humans and nature.] -
Installation view of Barbara Bloom's Solution. From Barbara Bloom, David Salle, Artists Space, 1976 [A group of people seated around a table in an empty room. In front of them are various cups and papers, they appear to be in deep thought.] -
The Friends of Artists Space Dinner, May 8, 2010. Julie Ault's speech. [A woman in a dark dress with shoulder-length auburn hair stands before a microphone in a gallery space, reading from a sheet of paper. She looks up from the paper to gaze in front of her.] -
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Jon Rubin. *Alice Underwater. Installation view from Dark Rooms, Artists Space, 1985. [A figure sits in front of a two screens next to each other with impressionistic forest imagery. The light from the projection spills out onto the walls and ceiling while the figure and the floor is shrouded in darkness.] -
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Hito Steyerl, We cannot confirm the authenticity of this artwork, 2015, Archival inkjet print with letterpress and blind emboss, 11 x 8 1/2 in (27,9 x 21,6 cm) (image), 20 x 16 in (50,8 x 40,6 cm) (paper), Edition of 10 + 3 AP, Signed and dated imprint. [This print shows an image with text beneath on a white background. The text reproduces the work's caption then beneath that says, "1/10 / This certificate shall serve to verify authenticity and must / accompany the work through any transfer of ownership. / We cannot confirm the authenticity of this artwork. / Hito Steyerl [with signature] Date [with 2015 written]." The image shows a reproduction of the image on a blue background which repeats within that image, and so on.] -
Sherry Markovitz, Danny Boy, 1985. [A crafted deer head with horns appears on the wall with various drawn patterns on it.] -
Doris Guo, angst, 2023 [Color image of a small pinhole projector, sitting on a pedestal and facing a wall to the left of the image. On the wall, an image of a red pearlescent ball, with a small white pearlescant ball attached on top, is projected.] -
Aisha Rodriguez, Untitled, 2014 [A pen and watercolor artwork of several glasses resting on a surface, each filled with different color liquids and casting shadows towards the viewer] -
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Constantina Zavitsanos, Three Card Monte, 2018/24, three 2.5 gram Pamp Suisse 999.9 gold bars on offer in their certifying cases, dimensions variable. Photo: Constantina Zavitsanos. [A takeaway artwork shows three 2.5 gram gold bullion bars in blue Pamp Suisse certifying cases. Each bar depicts a low relief icon of Lady Fortuna, the blindfolded goddess of luck, fortune, and chance.] -
Nandi Loaf, Aristotelis Nikolas Mochloulis, rio nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [Three steel structures sit in the space, lit from a singular overhead white LED strip light. On the left sits a trough, fed liquid through the belly button of a torso-like sculpture. In the middle sits a human-sized metal box. A clear tube connects the box to the structure standing on the right, which includes metal rails that hold and pitch the tube upright.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Several artworks and vitrines displayed in a gallery space. On the left, a slide projector projects an image of a figure wearing a leopard-print body suit onto a white wall. A glass vitrine displaying several paper documents stands in the middle of the room next to a freestanding wall. Twelve drawings arranged in a grid formation and one additional drawing installed to the right of the grid are dispalyed on the freestanding wall.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 29, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a gallery space with an installation consisting of a large mirrored pond, made from a wooden base with a reflective lining on top, that is surrounded by tree trunks, plants, fish tanks, and a phone booth. A large lamp hangs from the ceiling, and an orange construction net is placed over the pond.] -
Drake Carr, Marcs IV, 2023. Acrylic on panel. 87 x 33 1/2 x 2 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color image of a work, made out of cut-out panel, of a woman-presenting figure with short blond hair. The work on the left is a woman-presenting figure, with short blond hair. It has its arms crossed over its chest, and is dramatically looking up. It's wearing a black suit and a single red glove] -
Drake Carr: Housecalls. Performance documentation, September 7, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. [A color image of a man sitting down on a low sofa. He is seen, through a window, holding up a portrait of him that depicts him in this specific scenario.] -
Entrance to Marble Cemetery. © Paula Court Photography, 2018. [A black metal gate with raised letters that read "New York Marble Cemetery, Incorporated 1831" with several inflatable lobsters attached to the gate.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit performs on stage, reading into a microphone off sheets on a music stand in front of them.] -
Lise Soskolne. Installation view, Artists Space, 1999. [Three large, monotone paintings, each hung on its own white wall. A protruding white wall with a blue canvas and white text in French partially obscures a black canvas with white text. Perpendicular to that is a red canvas.] -
Richard Hollis. Installation view, Artists Space, 2013. [A view between two book stands, perpendicular to the wall, displaying books, documents, and papers. On the wall, posters are staggered including various text and images.] -
New Economy. Installation view, Artists Space, 2007. [An installation view of multiple sewing stations and a clothing rack of red and white sweatshirts.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Three figures adorning firefighter costumes pass white buckets back and forth while being menaced from above by a figure wearing a wig.] -
Hito Steyerl, excerpt from Duty-Free Art, 2015. [A moving image of a hand appearing in front of a black background. It's fingers positioned upwards in a wide pinch.] -
ricardo nagoka, Shroud (detail) Steel, human body, 2025 [In this close-up shot, a white pleated structure resembles a tent structure. Underneath the pleat there appears a backlit illumination. In the left side of the frame a ventilation tube extends from the front towards the back of the white structure.] -
Still from Ganja & Hess, picturing Marlene Clarke, 1973. [A woman screams as a trail of blood runs down her chin.] -
[A digitially generated image of a series of curved, x-shaped cutouts stacked one on top of the other in long rows. The rows are clustered around white text that reads "h-edge." The shadows of the cutouts are visible on the ground directly below the text.]
