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Sam Pulitzer, Spirit the Key & Stake the Door, 2014, Photo toner on colored paper, 17 x 11 in / 43,2 x 27,9 cm, Signed and Numbered [Black and white print includes details of a branch and a willow tree with a bird sitting on a key. Text reads "& Stake The Door"] -
Pop or Populus: Art Between High and Low, by Bettina Funcke, published by Sternberg Press, 2009. [A white book cover with patterned text reading, "Pop or Populus." In between these words, small black text reads, "Art between High and Low" and "Betinna Funcke".] -
Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon [Three works are seen in the gallery space. To the far left, five rectangular wooden boards stand stacked on top of each other. Central is a tall box made of similar wood boards. To the right sits an eagle-headed sculpture and an object resembling a modem. ] -
Gerry Morehead. Installation view, Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white photograph of two black circles on a dark background.] -
Michael Kalil, an analytical study for Osmotic Membrane (detail), 1986. [A scan of a constructed line drawing using different architectural notations like dashed and construction lines.] -
rio nagaoka, Fountain II, 2025. Steel, hydrocal, urine. Photo: Carter Seddon [A trough sits between two iron columns, liquid spouts out from the belly button of a torso-like sculpture hanging above the trough.] -
Portrait of Jackie Wang. [A figure, centered within the frame, leans against a beige tiled wall and stares directly into the camera.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure performing on a black stage in front of an audience. The figure on stage stands behind a white desk with a laptop and other audio equipment on it.] -
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Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A variety of images of covers and photographs of nude and semi-nude people is displayed on a white background.] -
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Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Galerie Schmela (1966),” Artists Space, 2014. [A closed room; in the foreground is a white table with varoius documents. On the back wall hangs a black and white portrait of a man on a blue patterened wall. To the right adjacent wall, hang a grid of photogrpahs.] -
Brad Kronz, Forces at Work, 2015-2025. Wood, enamel, colored pencil, boiled wool, fabric, electronics, cables. Photo: Carter Seddon [An eagle head sits atop an elongated wooden neck. Two black boxes resembling a modem sit beside. ] -
John Mendelsohn and Donald Sultan, Installation view, Artists Space, 1977. [A black-and-white photograph of a room with photographs arranged in a row on the right-hand wall, and in a large grid on the left wall.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer on stage, standing sideways, with an audience facing them. The performer has their hands up and their mouth open in an exasperated manner. They are holding a phone in one hand. They are standing near a microphone on a stand, with a hat balanced on it. The audience is seated. The back wall features a distorted projection of a live feed of the performance. ] -
Gillian Wearing, All I Ever Wanted Was Love, 1992/93, 23.5 x 16.5 inches [Photograph of a youthful figure with short brown hair wearing blue jeans and a dark shirt with a green jacket tossed over their left shoulder. A black bandana covers their mouth, obscuring the lower half of their face. They hold a sign in front of their chest with both hands. The phrase, "ALL I EVER WANTED WAS LOVE" is scrawled across the sign in handwritten text. A hand-drawn image of a sun and palm tree decorate the right side of the poster. The figure stares directly at the viewer and poses against a dark wall. Small white text placed at the image's lower left corner reads, "2020Solidarity - Gillian Wearing."] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A series of photographs are installed on a white gallery wall above a series of pipes that run horizontally along the wall. The photographs depict figures superimposed by saturated imagery.] -
Frances Stark, Consider the following again: Why should you not be able to assemble yourself and write?, 2010, Giclée and silkscreen on Somerset Enhanced Velvet, 330 gsm 18 1/2 x 14 1/2 in / 47 x 36,8 cm, Signed and numbered. [A collage-style image of a person sitting on a square object, perhaps a floor mat, viewed from the top-down. Black-and-white, aside from the person's exposed tan collar, hands and forearms, and feet. They are wearing a black-and-white checkered dress, and have black hair. The figure is looking at an upside-down text, reading "why should you not be able to assemble yourself and write?"] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A brown object housed in a mirrored glass case. An inscription on the case's surface reads, "BRAINWASH 408-983-2800." The case itself is enclosed in a larger glass vitrine supported by a white and orange table.] -
Sixth Anniversary Exhibition. Installation view, Artists Space, 1979. Artwork by Scott Burton and John Torreano. [In the foreground, a podium displays a curvy white object. Miniature doors and windows are attached to the top edges of the podium facing inward towards the tube-like white object.] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A long, thin metal pole attached to a round base sticks into the air at a jaunty angle in a gallery space. Several metal clamps are attached to the bottom third of the pole. A collection of photographs, drawings, and paintings are framed and hung on the gallery wall behind the metal pole.] -
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.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure peers into a computer while standing behind a table and next to a speaker.] -
[Dark blue text overlays red-pink background. The text reads: “February 25 / Steffani Jemison / Anne Waldman." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Attention Line. Installation view (exceprts from Clairvoyant Journal, 1974, Clairvoyant Journal cassette tape, 1974, If Workshop, c. 1990 ), Artists Space, June 11 - August 20, 2022. Image courtesy Artists Space, New York. Photo: Filip Wolak [An image of a display case with several letters, and a television sitting on top.] -
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Gerome Kamrowski. Metaphysical Menagerie, 1986. [A black and white photograph of various floating constructed fish-like objects in space.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of a man with tan skin and facial hair, wearing aviators, talking to a soldier.] -
Our Uprisings: Art Action Assembly. Event documentation, November 20, 2016, Artists Space. Courtesy Decolonize This Place. Photo: Marz Saffore. [View of the audience at the Artists Space and Decolonize This Place event, with banners of resistance posted along the walls. One visible reads "Akai Gurley Murdered by NYPD Open Mic Moved To Streets," while another reads "ABOLISH WHITE SUPREMACY."] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A black and white image of a man working intently on a machine is projected on a standing screen in an open room.] -
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Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space. [A figure in a white suit crouches on the floor of a gallery space, speaking into a microphone held in one hand while reading from a series of papers stewn about her on the ground. The ground is unevenly covered in a grainy, brown dirt-like material. A flashlight rests on the ground at her feet, pointing towards and illuminating a sculpture composed of a large glass pane wedged into the center of a square concrete block. String, golden tassles, and other sparkling ornaments hang on the glass pane.] -
[An offwhite poster with black letters framed two bands of a cropped watercolor painting announces a sound poetry festival entitled "Chorus."] -
Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A color installation photograph of a figure in front of a curved white wall in a gallery space.] -
Zona. Carga y Descarga, Issue 3, 1973. Courtesy Rosario Ferré. [A blue and yellow promotional flyer with text in Spanish.] -
Sanya Kantarovsky, Growth VI, 2023. Photo: Filip Wolak. [Color image of a watercolor painting. Against a purple and brown background, emerge flowers with bright blue petals opening up in the middle of the composition. In the background, other blue flowers, and plants surround them. A pair of eyes, nose and mouth are painted over the largest blue flower placed in the middle.] -
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. Three costumes hang from the left wall, a video is projected on a white wall in the background alongside a mixed-media sculpture. Two glass vitrines are visible in the foreground.] -
Richard Aldrich, Untitled, 2022. Photo: Filip Wolak. [Color image of an abstract oil and wax work on panel, featuring various layers of light blue, green, yellow, and red swatches of paint, done in geometric shapes.] -
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Still from Polly II - A Plan for a Revolution in Docklands (2006). [A woman with a hood looks diagonally upward, away from the camera. Behind her, a large building is on fire and the sky is dark.] -
Laurie Hawkinson, CineTrain, 1986. [A black and white photograph of a linear model consisting of many elements.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [Four photographs, each with a monochromatic haze and black borders, hang in a line. ] -
Still from Fiction Contract, 2025. [A small control room looks into an adjoining hospital patient room via an interior window. Inside the room a person sits in front of multiple display screens and observes the activity in the patient room.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a darkly lit room. A figure sits behind a white table filled with audio equipment and two standing microphones are placed above the table. Light sensors are attached to the wall behind the figure where a projection of images plays.] -
[A darkened classroom, lit dimly with overhead orange lights. Three rows of chairs and desks face an image projected on a screen. The image is a blurred figure with a pale face enveloped in a black cape.] -
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 space. A walkway made of plywood runs along the edges of the room, around the projection. The projection depicts a negative film image that has been mirrored along the center. Objects are arranged on a blue background to create vaguely recognizable images.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Photographs hanging on walls in a gallery space with a doorway on the right.] -
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Nandi Loaf, Aristotelis Nikolas Mochloulis, rio nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [A free-standing wall with paintings on it is placed in the middle of a gallery. Iron columns run down the center of the gallery, and in the background past the wall is a christmas tree decorated with lights.] -
Attention Line. Installation view (costumes worn by Johanna Went, 1970s-2000s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [Two life-sized costumes.] -
Peter Wächtler, Untitled (Nightly Scene Forest), 2015 Black and white linocut on paper, 19 x 23 ½ in / 50,2 x 59,7 cm, Signed and Numbered. [Black and white depiction of two figures in the woods at night. One is is hammering a fence post by the light of the lantern held by the second person.] -
Lyndon Barrois Jr., Guardians Gate (Farfanicchio), 2022; Masters of Fine Arts, 2011/2022. Wood, latex paint, antique brass elements, cast iron, oil paint, twigs, brass, burlap, packing felt; oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a door with multiple nested smaller doors within the doorframe. Each individual doorway is framed with a gold outline. To the left are several empty picture frames and two studio lights. In front of dark green curtains is a painting set in a gold frame.] -
Les LeVeque, The Rain Forest is on Fire, 1990. Mixed media, 65 x 126 x 26 inches. Photograph c/o Peter McClennan. [A large log spans the length of a table, held down with straps and with eight machetes affixed to the table alongside it. On either end of the log are two televisions, and the one facing the camera displays static.] -
[A grid of pink hearts on a blue background.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer playing the drums. Their eyes are closed and their mouth is open, they are wearing a black t-shirt and glasses. The face of the performer and the wall in the background are decorated with colorful pattern projections.] -
Michaela Eichwald, Ten Top Photographs for Artists Space, 2015, Series of ten inkjet prints, Assorted dimensions range from 5 x 7 in to 5 x 7 ½ in / 12,7 x 17,8 cm to 12,7 x 19 cm, each Signed and Numbered Certificate [An arrangement of 10 colored photos, each showing a different outdoor and indoor settings, including settings of nature, animals, a red trailer, an overexposed lecture hall, and a portrait of a woman.] -
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Flyer for Segue Reading Series featuring Zach Haber and Jubi Arriola-Headley. Saturday, October 10, 2020, Artists Space. Artist: Keith Higginbotham [A photograph features two boxers entangled in front of a faded photo of a house. Blue text on top of the image reads "Zack Haber / Jubi Arriola-Headley / Segue."] -
Aloïs Godinat: New Works. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A large black speaker rests at an angle in the middle of a wood floor. On the walls, a red cloth with black polka dots, a black and white photograph, and a taped black square with an X and horizontal line through the center are displayed.] -
New Red Order: Feel at Home Here. Installation view, Artists Space, May 19 – August 21, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A wide angle image of a dark exhibition space, on the left a large projection is shown on a long wall, on the right photograph negatives hang off a wall.] -
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Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [Inside a pink-hued room are three tanker desks and three rolling office chairs in a single-file line. Security monitors with color videos sit on each desk alongside small pieces of clay. In the distance, tree trunks wrapped in fabric rest on the floor and construction nets hang from the ceiling. A wooden structure and an aquarium with purple-colored lights are positioned behind the tree trunks.] -
Model Modernisms. Installation view, Artists Space, 2005. [A series of small, black and white photo-collages displayed in white frames on a gallery wall. The collages depict various interior spaces overlaid with geometric cut-outs of other photographic images.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [Three performers play various instruments on stage in front of an audience. The stage and wall behind it are bathed in a blue and red striped pattern. ] -
Photo: Alistair Thain. [Close-up of Annette Peacock wearing a beret, looking off to the left.] -
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.] -
Susan Eder, Matt Mullican. Installation view, Artists Space, 1976. [Black and white installation view of a gallery space with a large pole on the left. Several works hang from the walls.] -
Kenji Kanesaka, still from Hop Scotch, 1967 [Black-and-white image of a figure in a long black coat bending down and drawing a hop scotch pattern in an alleyway using white chalk.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of an installation in a gallery. Several dark metal columns line the left side of the space, and on the right a punching bag and other boxing equipment hang from a rectangular wooden frame. In the background, several more mixed-media sculptures are visible.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two portrait-oriented screens are each mounted on two floor to ceiling metal poles. The screens face outward at a 90-degree angle to each other and show abstract images.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A document that reads, "1976," next to several newspaper and magazine articles organized on a white surface.] -
*Jordan Lord: Prophetic Memory," Installation view, Artists Space (55 Walker Street), 2021. -
Daniel Tilsdale. Still from Contacts, Ponytails, Noses and Bleach, 1988. Graphite on Xerox (presented in slide format). [A close up black and white image of a slide projection with two figures.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
Mark Leckey, A Changeling Can Change, 2020, 23.5 x 16.5 inches [An image featuring a cartoonish illustration of a purple bridge crossing over a stream in a fantasy landscape. Medieval houses dot the riverbank across the bridge, and mountains are visible in the distance. A black mass vaguely resembling two pant legs emerges below the illustration. The mass rests on a small highway underpass, underneath of which three figures stand or walk. Two large blue sneakers emerge from the right and left ends of the black mass, resting at the image's lower corners. A white band runs across the bottom of the image. Small black text running along the lower edge of the image reads, "2020Solidarity - Mark Leckey / A project by Between Bridges."] -
Benje LaRico. Prova, 1986. Enamel, Plastic, Wood, Linoleum. 63.5 inches x 84.5 inches x 2.75 inches. [A black and white image of a painted abstract figure.] -
Chris Johansen. [Black and white mixed-media drawings of cartoonish, smiling faces.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures in blue morph suits face off, with one figure sitting down on a wooden box looking up at the other figure who stands above them wearing wings made of fresnel lenses. All the way on the right a figure takes video footage of the scene.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large, empty room with three white walls. The right wall displays glossy papers folded into geometric shapes. The left wall has symmetric, geometric patterns drawn on it.] -
Alan Ruiz, Hunter Green 1390, 2016. Courtesy the artist. [Installation view of a mechanical wall covering a window in a gallery space, with a diamond-shaped glass pane in the center letting light through.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure stands behind a table on a stage. Across the room, red light and small fragmented pieces of white light can be seen.] -
AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A close up, black and white image of the seat of an antique wooden chair. A mold of a human brain emerges from the center of the chair's cushion.] -
Susan Cianciolo, Flowers, 2018, 25 x 21 x 1 1/2 inches, Silkscreen on book cloth on bespoke archival box, Signed edition of 100, 5APs Courtesy of the artist. [A portfolio box with a flowered pattern on the lid is shown on a white ground with the lid slightly askew.] -
S*an D. Henry Smith in Constantina Zavitsanos’ Entropy (2023), a set of three performances (on-site and online) for If I Can’t Dance, I Don’t Want to Be a Part of Your Revolution. Performers and co-creators of the score: Angelo Custódio and Pedro Matias, S*an D. Henry-Smith and Geo Wyex. Photo: Prins de Vos [Photograph of a performer, standing next to a table covered in a black cloth. The background is bathed in purple light. A white spotlight shines on the table, highlighting the performer's hands as they pour liquid from one teacup into another teacup held below.] -
Eileen Neff, Cezanne's Dream, 1992. Mixed media installation. Photo: Erik Landsberg. [A bed with a mountain at its center in a partially constructed room with a floor and a single wall. Surrounding it are several framed paintings and empty frames, a bench with fabric piled on it, and a high shelf with a skull.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a large empty room bathed in a red light. Along one wall, a performer dressed in white stands against the wall, bending over and looking to their left. A bright white light shines from their hips and a sheath of crinkly, reflective one-way mirror film lays on the ground in front of them.] -
[A young deer made out of puzzle pieces with red streamers coming out of its eye and hip, as if bleeding. It is on a multimedia background showing bricks and grass.] -
[An anatomical, drawn figure of the interior of a human ear. Small lines of serif text placed below the image label the various parts and nerves on the ear, which are labeled with corresponding numbers on the drawing.] -
Flyer for Segue Reading Series featuring Edwin Torres and Ann Lauterbach. Saturday January 16, 2021, Artists Space. [Collaged computer graphic of ranging scale palm trees, green peppers and other objects. Pink text over the top half of the image reads "Edwin Torres/ Ann Lauterbach." Green text scattered throughout the image reads "Segue" and pink text on the lower half of the image reads, "16 January / 5 pm EST"] -
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 paintings of various sizes displayed against a fence with a thin layer of snow, marked with footprints, beneath them.] -
[Pink cursive text at an ascending angle which reads "Undoolay," with horizontal green text underneath that reads "Lucas Duwenhogger."] -
Patricia Caire. Installation view, Artists Space, 1980. [A sheet with painted black figures on it hangs suspended in a front of lighted windows in a gallery space.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Gray silhouettes are displayed on adjacent walls. Miscellaneous items are displayed on gray tables. A microphone and its extended wire lays on the floor in front of a speaker.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down next to a wooden table and looks off to the right. Audience members sit along the floor in the background.] -
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Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [Two colorful drawings are exhibited on a black wall. On the left, a series of open boxes is drawn in red. To the right, the drawing is crowded with the depiction of an open book, airplanes, and multicolored boxes. Both drawings are signed with F-.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Malcolm Peacock, How to address the full capacity of our will, 2023), Artists Space, 2023. Photo: Filip Wolak. [A gallery space with two large black treadmills placed on the right side of the room. Along the back and side are doors with large window panes that show the street outside. The edge of a wooden railing can be seen to the left of the treadmills.] -
[White text overlays an image of an old wall with child-like drawings. The text reads: “April 29 / FUNTO / Jessica Lynne." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Ed Bereal, Miss America: Manufacturing Consent: Upside Down and Backwards, 2000-2014, mixed media and found objects, dimensions variable. Photo: Filip Wolak [An image of a large assemblage sculpture with various posed and costumed mannequins.] -
[Flyer design featuring a pile of pink hair against a lime green background. Large white text superimposed over the clump of hair at the top edge of the image reads, "DEMONCLOWNMONKEY." Several small, black and white icons are arranged in a line along the image's lower edge. The icons feature stylized depictions of a skull with horns, a clown, a rabbit, and other symbols.] -
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.] -
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Lissette and Ruby, Las Avenida de los Gigantes, acrylic paint on paper, 2024 -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage, bathed in red light, while colorful geometric patterns are projected on the wall behind.] -
New Red Order with Virgil B/G Taylor Progenerator, 2020 – Ongoing Painted mural with dibond prints, five televisions, flag, plate, Improved Order of Red Men ephemera, and mixed media 14 x 40 feet Image courtesy Artists Space, New York Photo: Filip Wolak [An image of a multicolored wall filled with multiple tv monitors and info graphics. Black, red and yellow beach balls are scattered along the floor.] -
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.] -
Still from Spectres. Dir. Sven Augustijnen (2011). [A person in white pants and a blue shirt with the sleeves rolled up to the elbows is walking through a jungle. Their face is obscured by leaves.] -
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Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Black and white photographs hang in a horizontal line across a dark wall descending into an exhibition space. On the right, a video monitor sits on the ground. In the background is a free-standing wall featuring a series of framed photographs. A mannequin dressed in orange and green fabric is displayed in front of the photographs.] -
Activated Walls. Installation view, Artists Space, 1993. [A wooden chair facing the corner of a room. Painted on one wall is an empty red frame. On the perpendicular wall, there are several half-finished paintings of children.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three large windows are covered with a sheer fabric that includes faded printed text and images. Two gray silhouettes are displayed on the adjacent wall to the left. To the right, an electrical panel with exposed wires sits in the corner.] -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays the violin on stage. The stage and the wall behind it are bathed in orange light. ] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Two newspaper clippings and a sheet of written correspondence are installed in black frames on a gallery wall above a small vitrine. The vitrine displays a series of open, vintage magazines.] -
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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.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [A set of wooden chairs arranged in the exhibition space to face projected film] -
Flyer for Segue Reading Series featuring Sarah Mangolf & Toni Simon. May 7, 2022. [Black text overlays a white background with an orange bunch of flowers in the upper right corner. The top left corner reads: “Sarah Mangold / & Toni Simon / May 7, 5pm.” The middle reads: “Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519.”] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A bedroom scene set up in the middle of an open room. There is a beige rug, with a chrome lamp and matching bed frame. The bed has blue sheets with a dark blue comforter cover and a red blanket. There is a wooden chair facing in, and a brown table with assorted bottles on top. On the far side of the bed is a coffee machine, microwave, and television. In the background, various framed images are hung on white gallery walls.] -
Renee Gladman is a writer and artist preoccupied with crossings, thresholds, and geographies as they play out at the intersections of poetry, prose, drawing and architecture. Gladman’s first solo exhibition Narratives of Magnitude was held at Artists Space from January 13th to March 18th, 2023. She is the author of fourteen published works. Recent essays and visual work have appeared in POETRY Magazine, The Paris Review, Harper's, BOMB magazine and n+1. She has been awarded fellowships, artist grants, and residencies from the Radcliffe Institute for Advanced Study at Harvard, Foundation for Contemporary Arts, the Lannan Foundation, and KW Institute for Contemporary Art (Berlin), and is a 2021 Windham-Campbell Prize winner in fiction. She makes her home in New England with poet-ceremonialist Danielle Vogel. [Photo: Philippe Mangeot] -
El Nascimiento De La Tierra exhibition at Recirculation, WordUp Community Book Store, 2024 -
Nandi Loaf, Aristotelis Nikolas Mochloulis, rio nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [In the foreground a plushie of a cartoon mouse leans on a beaten up Nike Air Force One shoe, and sits on a white carpet. In the background, two panels of white wood, some director's chairs, and a stage light are arranged like a movie set. At the center of the set are two green frog plushies.] -
Mr. Dead & Mrs. Free invitation, 1996. [A person suspended as if swimming or floating, with large headphones, a silver bikini top, and loose, blue pants and bangles up her arms on a blue background. Red text above her reads, "from back out to south came / the King of the Gestapoes / Lord of the Sabotage / Ruler of the Astronauts..." and white text below reads, "Mr. DEAD & Mrs. FREE."] -
Rita McBride, General Growth, 1991. [A black and white photograph of a large convex panel strapped to a white column, its circular side extending out into an empty room.] -
Mark Hamilton: Echoplex. Installation view, Artists Space, 2006. [A white ceiling with penciled text reading "ROAD TO RUN."] -
Claire Fontaine, Please God Make Tomorrow Better, 2010, Silkscreen on archival box, 24 1/2 x 20 1/2 x 1 1/2 inches, Signed and numbered certificate [A rectangular image, opaque and black. In black, all-caps, sans-serif font, outlined in white, text reads "PLEASE GOD MAKE TOMORROW BETTER." The text appears slightly above the center of the image and center justified.] -
Tiffany Sia, A Wet Finger in the Air, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of three TV screens stacked on top of each other. Two small speakers are visible on either side of the TV screens.] -
Flipside. Installation view, Artists Space, 2004. [Two white walls meeting in a corner. The wall on the right has three large black and white photographs of people on winter streets with their small dogs. The wall on the left features a canvas covered in a red, green, and peach colored plaid pattern.] -
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Barbara Kruger. Installation view, Artists Space, 1974. [A color photograph of abstract rectangles with white, green, and black stripes, arranged in a sun like shape on a white background.] -
Charlotte Posenenske. Configured by Ei Arakawa. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor. The sculpture is modular, hollow, and consists of cube-like and triangular metal components arranged in a long form that snakes across the ground. A large sheet of brown paper rests on the floor before the sculpture, crumpling against the sculpture's lower edge.] -
Conrad Bakker, Untitled Project: Projection [ARTISTS SPACE], 2007. Painted wood and mixed media. Courtesy the artist. Photo: Bill Orcutt [On a wooden floor in a white room are a pile of objects which emulate video projectors plugged into a power strip nearby. There is a remote control on the pile. On the otherwise empty facing white wall, "EPSON" is written in green letters.] -
Hito Steyerl. Still from Liquidity, Inc., 2014. HD video with sound, 30 minutes. [A video projection playing in a blue lit room with a large curved surface for viewing.] -
Artists Draw. Installation view, Artists Space, 1979. [Various drawings are hung up on white walls. The drawings consist of simple shapes and lines.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Exhibition announcements (assorted). Artists Space, 1999. Graphic Design: Sara Soskolne. [Nine fanned announcement cards in assorted colors. Black text on each card announces the Lise Soskolne exhibition at Artists Space, noting the time and exhibition location.] -
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.] -
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SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [A crowd is pictured in front of a performer. Behind the performer are three large colorful projections.] -
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Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon [Iron columns run down the center of the open gallery. To the left sits a pair of wooden boards adorned with maroon and striped carpet. On the wall opposite hangs a smaller wooden square. A stool-like structure stands to the right of the iron columns. ] -
Friends of Artists Space Annual Dinner, 2018. [A color photo of three individuals smiling and posing together in an embrace for the camera. Other individuals engage with each other in the background of a dimly lit space.] -
Photo: Reily Horan [The artist devynn emory in their grandmother's fleece jacket covered in polar bears, standing in front of a silver sterile table. In the background is collaborator Joseph and cinematographer Jorge discussing where the ancestor forms draped in yellow fabric should be placed.] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of a musician on stage, seated in a chair, holding an instrument that appears to be a guitar across their lap. To their right, a microphone is positioned close to an amp. Their feet control several pedals placed on the floor. Their long blonde-brown hair falls down over their chest and back as they gaze down in deep focus at the instrument in their lap. Behind the musician, a diamond-shaped, geometric pattern, outlined in bright pink is projected on the back wall. ] -
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.] -
Aristotelis Nikolas Mochloulis, Frog Man & Baby Frog, 2025. Michigan J. Frog plushies, miniature directors chairs, ARRI 150 Junior light, Manfrotto Nano light stand, speakers, audio excerpts from movies. Photo: Carter Seddon. [Two panels of wood are joined to create a miniature stage set. In the center, sitting in a miniature director's chair are two cartoon frog plushies wearing black top hats. The larger frog plushy cradles the smaller frog in it's arms. Two more director's chairs are positioned facing the plushies, along with a miniature stage light and stand that shines a spotlight on the plushies.] -
Young Fluxus. Installation view, Artists Space, 1982. [Various sculpted insects appear on the white gallery wall and the word "Bread" appears in the center of the right section and the word "Queen" appears in both parts of the image.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A flower arrangement consisting of white flowers and green leaves displayed on a slated, wooden floor. The arrangement is shaped such that it forms a lowercase, italicized letter "a."] -
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Cave of Animals: Cave of the Future, site recording, 2024 -
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[Black text overlays a color-scheme grid background. The text reads: “Jan 13 / isaiah a. hines / Elizabeth Robinson." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Flyer for Segue Reading Series featuring Saretta Morgan and Jennifer Scappettone. Saturday, December 5, 2020, Artists Space. Artist: Anastasios Karnazes. [A snowy mountain landscape and flowing water is collaged with clear circular and rectangular shape graphics on top of the image. Blue text over the image reads: "Saretta Morgan / Jennifer Scappettone / 5 December / 5 pm EST / Segue."] -
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Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work in a gallery. On a wooden partition wall in the back of the space, two large carboard drawings hang. To the left, in front of the wooden parition, a paper-mache sculpture is placed on the floor. In the center of the image, ceramic works and kinetic sculptures made of branches surround a structural column. Behind the column, there are more paper-mache sculptures placed on the floor and hanging off the wall. In the right foreground, two windows with images painted on the glass hang from the ceiling.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A clay sculpture of a person, outstretched on a sofa, with miscellaneous items around them, is displayed on a wooden floor.] -
Tom of Finland, Untitled, ca. 1930. Watercolor, pen and ink on paper. Courtesy The Family of Touko Laaksonen, Finland. [A vitrine displaying a nuclear family of paper dolls with their various options of clothing.] -
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Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A view of a dimly lit room with a video monitor sitting on the ground of the right wall. The monitor screen is black with white text reading, "[The Manhattans continue to sing 'Shining Star']." Towards the corner, an inferometer projects green dots onto adjacent walls.] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
[An image of two figures in blue scrubs standing on opposite ends of a sterile table. A medical mannequin on the table is covered in shiny red silk fabric. In the background, there are projections and forms draped in yellow fabric.] -
Jaylynn Reyna, Bonnie, 2022, digital photograph -
Young Fluxus. Installation view, Artists Space, 1982. [Three large wall text pieces appear in a white-walled gallery space.] -
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 display of four black and white photographs on a beige gallery wall.] -
[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.] -
Adam Putnam, Magic Lanterns, 2004. [A sketch of a projector on a stand, projecting a black hole into a wall.] -
[A woman holding a large blue bag. To her right, vertical black text reads, "HAUST."] -
Leila Torres, Self Portrait, 2015 [The bust of a teenage girl looking up and away from the viewer's perspective, with a green, grey and yellow background. On the green section, white text reads, "We have lingered in the chamber of seas. With seaweed both red and brown. Till Human Voices Wake us. And we drown"] -
ART CLUB2000 Untitled (Punishing Enforcers of an Oppressive Regime), detail, 1998 Eight printed cardboard standees, satin sashes, and LED lights Image courtesy Artists Space, New York Photo: Filip Wolak [A view of four police officer cardboard cutouts with red eyes in a red lit room. They are wearing sashes that read "Punishing Enforcers of an Oppressive Regime."] -
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.] -
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Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. [Sixty images with dark backgrounds and a white, pixelated spot emanating from their centers arranged in a grid formation on an indigo blue gallery wall.] -
Laurie Simmons: Photographs. Postcard, Artists Space, 1979. [A black and white image of a dollhouse living room, a doll is sitting in the right corner, on a couch, next to a side table with radio on it.] -
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An audience member speaks at “Palestine, BLM & Boycott in the Arts.” Artists Space Books & Talks, Friday, November 4, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Andrés Rodriguez [An upwards-angeled view of an audience member, wearing a dark denim shirt, with a poster in the background that reads "mourning for all those massacred in GAZA".] -
Opening reception for J.B. Cobb, Martha Edelheit, Ree Morton, Artists Space, 1973 [A black and white photograph of a gallery with paintinfs on the wll and several figures milling and chatting.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$3,500
[A silver and gold object sits on a white base. A flat, multicolored surface is attached to the left side, and a metal antenna extends out on a diagonal.]
