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Jutta Koether is a painter, performance artist, musician, critic, and theoretician based in New York and Berlin. Her work with Artists Space began in 2012 with her performance fifth season act and most recently Analogue Drive (2024) performed in Hong Kong for Artists Space and Empty Gallery. In her live works, Koether enacts a highly specific form of entangled action centering on and around specific artworks. Embedded with performative possibility, these objects – positioned in a room, a situation, a city – circuit together in a network of language, duration, and the artist's active negotiation between producer and produced. As a painter, Koether challenges the viewer’s understanding of the medium’s terms and histories, often appropriating and retooling elements from the work of male masters. Engaging a range of motifs and materials—such as grids, X-marks, and red paint—she cultivates painting’s ability to yield something unanticipated, vital, and feminine. Koether studied art and philosophy at the University of Cologne and the Whitney ISP. In 1981 she joined the editorial staff of the music and art journal Spex. She is the author of several books and has written for such publications as Eau de Cologne, Artforum, Texte zur Kunst, and Flash Art. From 2010 to 2024 Koether was Professor for Painting and Drawing at the University of Fine Arts Hamburg. She has had major solo exhibitions at the Museum Brandhorst, Munich, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean; Museum Abteiberg, Mönchengladbach; Artium Museoa, Vitoria-Gasteiz; PRAXES Center for Contemporary Art, Berlin; Moderna Museet, Stockholm; Van Abbemuseum, Eindhoven; Kunsthalle Bern, Switzerland; Academy of Fine Arts Vienna; and Kölnischer Kunstverein, Cologne, among other venues. [Photo: Empty Gallery, Hong Kong, 2024] -
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.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [Against the left hand wall is a glass display case, above which and above on the right hang various ephemera.] -
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Ministry of Interior building in Plaza de la Revolución, Havana, Cuba. [The façade of a building adorned with a large, metal frame sculpture of the face of Che Guevara.] -
Portrait of Ciarán Finlayson. [A figure, sitting in profile and centered within the frame, speaks into a microphone.] -
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Tom of Finland, Untitled, 1976. Graphite on paper. Courtesy Collection Ulrich Tangermann, Hamburg. [Drawing of a muscular man with a combover and handlebar mustache, grappling the Earth and grinning as he inserts his penis into the planet.] -
Mariselis Rivera, Abstract Painting, 2015 [An abstract painting depicting several geometric figures against a turquoise background, arranged on either side of the canvas. Each figure has a green or brown outline and various colored patterns inside. Several outlined circles and squares grid across the background of the image] -
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Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A portrait of a purple buffalo photocollaged with of images including objects and people.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A miniature clay sculpture sitting on a gray table. The sculpture depicts a woman folding over, cross-legged, on carpet. Miscelaneous items are dispersed across the carpets.] -
Claire Fontaine, Greve Humaine (Interrompue), 2009. [Five people, two standing and three in folding chairs, painting the partially formed words "GREVE H" in brown on white walls. Assorted debris is scattered on the floor around them.] -
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Adam and Zack Khalil, still from INAATE/SE/ [it shines a certain way. to a certain place./it flies. falls./], 2016. [An image of a person with long brown hair pointing a pistol at the camera is superimposed on top of an image of a picturesque lake.] -
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Dr Andrew Torres, Teaching Artist leading a poetry class for Grade 8 students, 2022 -
[A warm-colored living space littered with discarded wrapping paper and boxes. A champagne bottle sits on a side table next to an orange couch.] -
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.] -
Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of one wall of a gallery space, shot head-on. The wall is painted black, and six colorful, and intimate paintings of Black Queer figures are arranged across it. White and yellow drawings are pained onto the wall, complementing and placed around the artworks.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A low futon couch on a wooden platform with multicolored pillows is fit into the corner of a room with two windows. There is a short table with two placemats and brochures, and a television. In the foreground, there is a white plinth with a glass top housing an orange object.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a gallery with a jacket and poster hanging on one wall, and a projection visible on the other. In front of the projection is a sculpture made out of bike parts and other materials.] -
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Carolyn Lazard: Two-way. Installation view (Fiction Contract, 2025; Borne, 2025), Artists Space, 2025. Photo: Greg Carideo. [A darkened gallery space with dark blue walls, dark blue carpeting, and light blue linoleum tiling. In the foreground a bench is centered in front of a large wall projection. The projection depicts a close-up of a newborn black mannequin laying down, being tended to by medical professionals.] -
Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [A close-up image of a musician sitting on the floor playing the violin. Three other violins lay on the stage before her.] -
MS 324 group work, collaborative drawing, 2019 [Five people's hands work on a colorful, abstract drawing with the drawing at the center of the image on a wooden table.] -
U.S. Projects: Howard Fried. Installation view, Artists Space, 1983. [A sink structure on wheels sits atop a tilted wooden table top with legs of varying sizes. Light from the ceiling is seen emanating onto the structure in the white-walled gallery space.] -
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Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [An image of a dark room with two spotlights, one pointed at wall text, and the other at a wall projection and glass display case.] -
Flipside. Installation view, Artists Space, 2004. [Small red sculptures of octopi and squids arranged in an oval shape on a white wall.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [An installation shot of two gallery walls, one white and one unpainted wood, meeting in a corner. The white wall displays nine images with accompanying text. The wood wall has an old television on a metal stand, showing a cartoon image.] -
[Collaged atop a yellow and orange field is a series of abstract graphic elements and an upside down image of a face. In the bottom right corner an upside down text reads "ABASEMENT 60."] -
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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez [In the left foreground of the image is a painting of a shark standing upright in water and in the right background of the image is a large, orange stuffed slug sculpture strapped to a cast-iron column in a white gallery space.] -
[A poster design with a light, gradated purple background with cloud-like, blue patterns laid overtop it. The cloud forms partially obstruct a large, digital rainbow wheel and extremely elongated text that reads "WikiLeaks." Small text at the poster's bottom spells out the event details.] -
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Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A group of figures dressed as firefighters spread out a tarp. Behind them is a cardboard set illustrated to look like a fire.] -
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Michael Kalil, an analytical study for Osmotic Membrane (detail), 1986. [Drawing of a globe figure bisected with long vertical rectangle, overlaid with line grid.] -
Constantina Zavitsanos: fwiw. Installation view (Ace of Spades, 2024), Artists Space, 2024. Photo: Carter Seddon. [In a darkened room, a bright blue LED light, two circular mirrors and scientific mounts sit atop two metal welding tables. ] -
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.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A large black disk installed on a white gallery wall. Bold gray text circling the circumfrence of the disk reads, "PROYECTO PARA MONUMENTO." Directly to the left of the disk, a square hole has been cut into the gallery wall. A horizontal metal bar and several planks of wood are visible through the hole.] -
Darien Urena, Living Brick, 2018. [A close-up photo of a snake plant in a white pot next to a brick wall, in front of a mural with somoene's instagram handle painted on.] -
Konrad Lueg with Balloons July 1962 Zero Festival, Rhine Meadows, Düsseldorf-Over-Kassel Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of a man in sunglasses holding a large cluster of balloons tied to strings above his head with his left hand.] -
Renee Gladman, Untitled (moon math), 2022. Photo: Filip Wolak. [Color image of an abstract drawing consisting of horizontal white lines scratched across black paper with circles interspersed throughout the composition. On the right side of the drawing are arrows, and blurred, scribbled lines and illegible text. Yellow marks accentuate different parts of the composition.] -
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Artists Space logo, 1980s. [A black, sans-serif A on a white background, with a black outlined square positioned at once in front and behind the letter, intersecting it at all three corners.] -
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-.] -
Nandi Loaf, Aristotelis Nikolas Mochloulis, ricardo nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [Along two white walls a series of paintings are arranged. Many of the paintings loosely depict human figures or abstracted body parts in brown and red toned paint against white backgrounds.] -
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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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Log Cabin. Installation view, Artists Space, 2005. [Several photographs and TV monitors installed along the length of a white wall in a gallery space. Black vinyl text on the wall's far right side reads, "LOG CABIN" and lists a series of artists. Six photographs are installed to the left of the wall vinyl and depict portraits of clothed and nude figures. A yellow composition on a wooden panel is installed directly above the line of photographs. Three TV monitors are installed on the wall to the left of the photograhs.] -
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Jenny Holzer. Maxim Poster, 1982. [Gritty street wall background with a white poster on it with black text that reads, "ABUSE OF POWER SHOULD COME AS NO SURPRISE / ALIENATION CAN PRODUCE ECCENTRICS OR REVOLUTIONARIES / AN ELITE IS INEVITABLE / ANGER OR HATE CAN BE A USEFUL MOTIVATING FORCE / ANY SURPLUS IS IMMORAL / DISGUST IS THE APPROPRIATE RESPONSE TO MOST SITUATIONS / EVERYONE'S WORK IS EQUALLY IMPORTANT / EXCEPTIONAL PEOPLE DESERVE SPECIAL CONCESSIONS / FAITHFULNESS IS A SOCIAL NOT A BIOLOGICAL LAW / FREEDOM IS A LUXURY NOT A NECESSITY / GOVERNMENT IS A BURDEN ON THE PEOPLE / HUMANISM IS OBSOLETE / IDEALS ARE EVENTUALLY REPLACED BY CONVENTIONAL GOALS / INHERITANCE MUST BE ABOLISHED / KILLING IS UNAVOIDABLE BUT IS NOTHING TO BE PROUD OF / LABOR IS A LIFE-DESTROYING ACTIVITY / MONEY CREATES TASTE / MORALS ARE FOR LITTLE PEOPLE / MOST PEOPLE ARE NOT FIT TO RULE THEMSELVES / MOSTLY YOU SHOULD MIND YOUR OWN BUSINESS / MUCH WAS DECIDED BEFORE YOU WERE BORN / MURDER HAS ITS SEXUAL SIDE / PAIN CAN BE A VERY POSITIVE THING / PEOPLE ARE NUTS IF THEY THINK THEY CONTROL THEIR LIVES / PEOPLE WHO DON'T WORK WITH THEIR HANDS ARE PARASITES / PEOPLE WHO GO CRAZY ARE TOO SENSITIVE / PEOPLE WON'T BEHAVE IF THEY HAVE NOTHING TO LOSE / PLAYING IT SAFE CAN CAUSE A LOT OF DAMAGE / PRIVATE OWNERSHIP IS AN INVITATION TO DISASTER / ROMANTIC LOVE WAS INVENTED TO MANIPULATE WOMEN / SELFISHNESS IS THE MOST BASIC MOTIVATION / SEPARATISM IS THE WAY TO A NEW BEGINNING / SEX DIFFERENCES ARE HERE TO STAY / STARVATION IS NATURE'S WAY / STERLIZIZATION IS OFTEN JUSTIFIED / STUPID PEOPLE SHOULDN'T BREED / TECHNOLOGY WILL MAKE OR BRAKE US / THE FAMILY IS LIVING ON BORROWED TIME / THE LAND BELONGS TO NO ONE / TIMIDITY IS LAUGHABLE / TORTURE IS HORRIBLE AND EXCITING / TRADING A LIFE FOR A LIFE IS FAIR ENOUGH / UNIQUE THINGS MUST BE THE MOST VALUABLE / YOU DIG YOUR OWN GRAVE / YOU MUST REMEMBER YOU HAVE FREEDOM OF CHOICE."] -
Lyndon Barrois Jr., Sinner Man, 2022; Double Appear (After Vuillard), 2013. Police tape, laser prints, museum board, MagiColor manual; oil on board, artist frame, solvent transfer, plywood. Dimensions variable. Photo: Filip Wolak. [A color photograph of a gallery space. Hanging from the wall is a printer manual, police tape outlining a rectangle with three additional strips extending from the wall to the floor, and a wooden rectangular painting.] -
Still from CNN’s coverage of the NEA controversy surrounding the exhibition Witnesses: Against Our Vanishing, recorded by Marion Stokes. Aired on 11/09/1989. [Still image with VHS distortion depicting the exterior of a building, and a sign with the Artists Space logo: white text on a black background with a large "A" on top of a thin white square, with "ARTISTS SPACE" written below. The sign marks a red door on a dark building façade.] -
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.] -
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LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [The gallery space displays an assortment of artworks on the left wall. On the far left, closest to the viewer, is a painting of Pope Francis with a top text reading "I WOKE UP LIKE THIS" and a bottom text reading "...FLAWLESS." An assortment of art objects, shelves, framed paintings, sculptural installations, and digital media recede into the gallery space along this wall. On the right a row of columns recede into the gallery space.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [An ashtray with the text, "Martini," three Schweppes bottles, six Coca-Cola bottle, and nine drinking classes arranged face down on a silver platter are displayed on a white counter top.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure sits behind a table, looking at a laptop, and speaking into a microphone.] -
Laurie Palmer, Winter Flush, 1989. [A close-up photograph of a light-colored mushroom with ruffled edges.] -
Wall Drawing. Installation view, Artists Space, 1981. [Multi-wall drawing of various figures visible in gallery space.] -
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Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A performer sings onstage, obscured by hair and bathed in shades of blue light. ] -
Flipside. Installation view, Artists Space, 2004. [A gallery space with a large metal structure in the middle of the floor. Four straw brooms are suspended from the top of the structure such that they just brush the floor. On the surrounding white walls, there are several pieces of art. One is a colorful canvas with geometric shapes, sharing a wall with several small objects arranged in an oval. On the other wall, there are series of framed depictions of nude figures in various poses.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the violin in front of a microphone.] -
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.] -
Hani Rashid, Corset Shop in Paris, 1985. Mixed media with ink, old paints, acids, chalks, 33 x 24 inches. [Drawing with various stools and faces in the center rectangle with lines emerging under it stretching towards the bottom.] -
_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. [A white wall with the Artists Space logo affixed. Light bulbs are affixed to the edge of the wall. In the background a piece hangs on the wall.] -
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.] -
Adrian Piper, It's Just Art, Artists Space, April 29, 1981. [A black-and-white image of a woman, wearing all black clothing and sunglasses, standing with her arms raised. An image is projected on the wall behind her, with a description reading "A Cambodian boy stands near the side of a road in Ban Laem, Thailand . . . and Cambodian civilians are turned back yesterday near Thailand . . .". Above her head, there is a cartoon thought bubble, with the text "14. We defend each other / (you certainly didn't come to an art performance to hear a lecture on current events)".] -
Jerry Beck, Cryptic Cross, 1985. [A sculpted pedestal with a black object on it is visible on a wooden floor below a sculpted multilayered cross hanging on a white gallery wall. Numbers are visible above the image.] -
Lee Gordon, Here's to America Series, 1990. Oil on canvas, 18 inch round. [A person wearing a black mask over their head reads a book titled Kennedys An American Dream.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage behind a music stand.] -
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.] -
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Reinventado, exhibition at Word Up Community Bookshop, 2018 [An exhibition view of various artworks. Several stylized portraits hang on the right; in the middle, a large didactic titled "REINVENTADO." On the left, several small photos of students in a classroom hang underneath a red-white-and blue airplane suspended from the ceiling] -
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.] -
_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. [Sheets of text hang on a white wall. Text is too small to be legible.] -
Amalle Dublon & Constantina Zavitsanos, a composition of waters (adjusted to fit), 2018. Photo: Daniel Pérez. [A white wall in a dimly lit room is illuminated in patterns by circles of light.] -
Tom Murrin, Johanna Went, 1985. Acrylic on foam core, 14.75 x 20 inches. Courtesy the artist. Photo: Patty Wallace. [A painting of a person with red hair, cross-shaped earings, and black paint under their eyes.] -
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Flyer for Segue Reading Series featuring Marie Buck and Peter Inman. Saturday, January 30, 2021, Artists Space. [An image of a cat laying on a persons lap. The cat is holding an Ipod Nano displaying a skateboarder. Neon green text over the top half of the image reads, "Marie Buck / Peter Inman". Black text in the center left of the image reads, "SEGUE." Black text on the bottom half of the image reads, "30 January/ 5PM EST."] -
Barbara Levy: Photographs. Postcard, Artists Space, 1979. [A view of a city street and the tail end of a bicycle is obscured by window blinds.] -
[Collaged atop a purple, pink, and orange field is a series of abstract graphic and typewritten elements, including a man's face with a bandana covering his mouth. In the bottom left corner an upside down text reads "ABASEMENT 61." Smaller text above lists the participating musicians and artists.] -
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REALLIFE Magazine, First issue, March 1979. Artwork by Sherrie Levine. [A silhouette of a human head in profile is filled with a photograph of a woman looking directly at the camera, her arms outstretched either side of a dark scultpure of child's head. Text situated above the image reads, "REALLIFE Magazine, March 1979, $1."] -
Donna Nelson. Piles of Snow, 1983. [Figures appear on the street with street lamps and a car coming in the center back part of the image.] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A crowd sitting down watching a performer on stage leaning over a table with electronic instruments, holding a mic close to their mouth. The audience is bathed in red light, and the wall behind the performer is covered with multicolored abstract projections. ] -
Brad Kronz, The Expert Thinks the Artist is a Fool, 2025. Wooden stool, felt, boiled wool, fabric, nails, screws, marker, pencil. Photo: Carter Seddon -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black abstract painting on a white wall.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A red, glowing neon light installed on a gallery wall just above eye-level is visible through a doorway opening in a white-walled space. To the left of the opening is a block of faint text on the gallery wall.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Close up shot of four music stands arranged side by side. The torsos and hands of three figures are pictured beside the stands. They leaf through the pages of scripts held in black binders, supported by the music stands.] -
Carlos Motta. We Who Feel Differently, 2012. New Museum, New York. Courtesy Mor Charpentier Galerie, Paris [Installation photograph. The floor is covered with multicolored carpet strips, some of which are raised above the floor to create seating or shelving for CRT television monitors. On the wall, several black-and-white artworks are hung, depicting human figures, and text is printed on the wall "WE WHO FEEL DIFFERENTLY." Several visitors stand and sit around the room.] -
Till They Listen: Bill Gunn Directs America. Installation view featuring artworks by Gunn, 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 artworks in gouache and watercolor.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A cluster of four works on paper against a white gallery wall. The works feature swooping, abstract calligraphic strokes in black and light green ink.] -
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Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Ruben Ulises Rodriguez Montoya, The Lil Rat that Made it on Board the Ship, 2021; Ruben Ulises Rodriguez Montoya, Goyas lil bat from “sueño de la razón produce monstruos”, 2022), Artists Space, 2024. Photo: Carter Seddon. [A hulking biomorphic black sculpture, composed of car parts and a large black t-shirt smeared with pigmented dragon skin silicone, hangs from the ceiling. To the right, a small sculpture of scuffed white plastic, brown fur, and various jutting animal teeth sits on a shelf.] -
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Isabelle Frances McGuire, Death of Napoleon, 2024 [Color image of a sculpture of a human body, laying face up, placed on a concrete floor. The figure is dressed in French military apparel and their head rests on a large glittery, red bow.] -
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] -
New Red Order Cover the Earth, detail, 2021 Painted mural with cut vinyl, dibond prints, kiddie pool, sod, inflatable alligator, turtle sandbox, beach towels, towel racks, beach balls, beach chairs, beach umbrella, real estate lawn sign, cooler, and pool noodles. Photo: Filip Wolak [An image of a multicolored exhibition space consisting of beach paraphernalia, a real estate lawn sign, and a mural wall collaged with images and drawings.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A decorated paper bag on a shelf. Blue ferns have been illustrated onto white, red, and pink backgrounds.] -
Flyer for Segue Reading Series featuring Sasha Banks and Derek McCormack. Saturday, October 31, 2020, Artists Space. Artist: Keith Higginbotham [Photographs of an opulant room are collaged together, creating a view of a single space with multiple perspectives. White text centered on the image reads "Sasha Banks / Derek McCormack," and black text below reads "Segue."] -
New Red Order with Laura Gardin Fraser Teddy’s Touchdown, 1938/2021 16mm film, black and white 14 minutes (loop) Image courtesy Artists Space, New York Photo: Filip Wolak [An image of a dark exhibition space, a film projector projects a sepia tone image onto the wall.] -
LaMonte Westmoreland. The Watermeleon Series, 1986. Mixed Media collages. [A black and white photograph of two mixed media collage works hanging side by side on a gallery wall.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Two foldable room dividers are installed in a large gallery. Multiple paintings are hung on the dividers, each depicting a scene of men in public and private spaces, engaged in various activities of work and leisure.] -
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Untitled (Business card), late 1970s. Copyright: Jack Smith Archive. Courtesy: Gladstone Gallery, New York and Brussels [A black and white illustration featuring a person in a black cat suit. A group of penguins, behind him, face towards the background. Text reads, "Jack Smith, Exotic Theatrical Genius!"] -
Joseph Marioni pictured with his work. Installation view, Joseph Marioni, Andrew Ginzel, Barbara Schwartz, Artists Space, 1975. [A figure standing in front of a black square canvas in a gallery space.] -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black, grey, and white abstract painting on a white wall.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work in a gallery space. In the left foreground, two windows with images painted on the glass are hung from the ceiling. In the center midground, ceramic sculptures and kinetic sculptures made of branches surround a structural column. To the right of the column, a large paper-mache sculpture rests atop Comet cleaner bottles. In the background, two large drawings done on carbaord hang from a wooden partition wall.] -
[A scan of an invoice from Corcraft, issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details the purchase of a two oak court benches, totalling to $1309.00.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A white gallery wall with several components. On the floor, there is a television with a cracked screen. Above that, a protruding shelf holds several booklets. There is a framed image with white text written on a black background, in the style of subway text, with the F and J train symbols below. Next to that, there is a standing white plinth with a glass covered top, housing a single tiny object. On the far righthand side, there are three framed photographs. One is a single image of a person wearing a blue shirt divided into two frames, and the other a hand holding out a holstered gun.] -
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 a wooden camper structure placed in the left corner. Two wooden ramps lead to the front and side of the structure. A freedstanding walls juts out from the right wall. A white projector hangs from the ceiling on the right side of the space.] -
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Installation view from International Projects: Belgium, featuring Didier Vermeiren, Artists Space, 1984 [A black and white image of a sculpture resembling a rectangular prism displayed in the exhibition space.] -
Dexter Sinister (Stuart Bailey and David Reinfurt): Cover Material, 2010 Custom archival box, 24 1/2 x 20 1/2 x 1 1/2 in / 62 x 52 x 4 cm, Wrapped in “Cialux 1580,” manufactured from direct dyes in aqueous solution by Manifattura del Seveso, Osio Sotto, Italy, Accompanied by: A List of Incorrect Things, 2010 Nick Relph Offset print 6 2/3 x 11 in / 17 x 28 cm, Signed and numbered by Stuart Bailey and David Reinfurt. [Two rectangular boxes lying next to each other on a white background, with a small shadow. The left box is black. The right is white paper, with a black border, and it has two columns of very small red text, offset to the bottom left of the page.] -
Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon [A small wooden stool is presented on a white pedestal. ] -
Konrad Lueg Boxer , 1964 (Boxers) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Daniela Steinfeld [A painting of two boxers engaged in a match. The bodies of both figures are depicted in grey monochrome with colorful attire. The figure on the left wears orange shorts with blue piping while the one on the right wears green shorts with yellow trim. Both are wearing red and white boxing gloves.] -
“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 [A projection on the wall displaying two posters, one that reads "Black Lives Matter" featuring an upside down image of the Empire State building, and to its right, one that reads "Palestine, BLM & Boycott in the Arts" with a yellow background, orange lightining-style graphic, and Arabic text.] -
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Poster from polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [Black, rounded text on a white background reads left, "galerie h, hannover, alleestrasse, gh;" right, "POLKE/RICHTER, Pop?, Kapitalistischer, Realismus?"] -
[Black text on an orange background. The text reads: “Nov 23 / Anne Waldman / No Land / Joey De Jesus.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [Ten photographs are displayed on a white gallery wall. The photographs are arranged into two identical rows. The photographs along the top are darker and cool toned. The photographs along the bottom are much brighter and warm toned. To the left of the photographs is a white panel that shows the floor plan of a gallery.] -
Artists Space, 38 Greene Street, 1993 – 2016. [A black and white image of a building. A black flag hangs that reads, "ARTISTS SPACE."] -
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Book spread from FWIW. [Two photographs are shown in a book spread. On the left page, a high-contrast black-and-white photograph hosts heavy light and shadow play. An iconic payphone handset is centered floating in a clear cube, with its top protruding slightly above the cube’s top surface. The telephone’s armored cord hangs down in loose loops inside the cube, its exposed wire slack touching the interior bottom. On the right page, a black-and-white photograph shows two pairs of modified headphones entwined on a deep black surface. In place of speakers, one headphone strap hosts clocks that each have a small stopwatch dial; the other strap hosts a pocket watch and a compass. The clock hands are missing from the clocks; inside their larger clockface circles, each clock hosts a smaller circle with a stopwatch.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. -
Flyer for Segue Reading Series featuring Nicholas Glastonbury & John Keene. Saturday March 6, 2021, Artists Space. [A pink colored background features black text in the top half of the image that reads, "Segue Reading Series / Nicholas Glastonbury & John Keene / March 6 / 5-6:30pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."] -
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 holding a violin in the air as they use audio equipment on the table in front of them. The musician on the right is sitting playing the drums. The room is red-tinted, and white dots reflected from a disco ball cover the walls.] -
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Yasunao Tone: Region of Paramedia. Installation view (Instrument for Aleitheia, 1987), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a piano. Six solenoids are placed along the piano's strings.] -
Jonathan Lyndon Chase, City of Beauty, 2023. Courtesy of the artist and Company Gallery, New York. [A painting in color depicting five Black Queer people within an abstract barbershop environment. The barber to the left of the scene holds clippers to the scalp of one of them positioned in the center. Another barber pictured in the upper right quadrant holds up a pair of shears between two other Black Queer figures with smocked patterning on their barber capes. Sgraffito-like swaths of grid serve as a tiled floor, shown in a floating perspective.] -
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.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three paper bags, decorated in collage and drawing, sit on pedestals of varying heights. An abstract lanscape painting hangs on a wall behind them. To the left, a purple painting of an buffalo hangs on another wall.] -
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Porcelain Lenin figures from DADALENIN Limited Special Edition, 2013. [Black busts of Vladimir Lenin arranged in a grid formation on a table.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Six pornographic illustrations of men near trees are framed on a wall.] -
[A room with wooden walls and bright, open window. A red couch sits on the right of the frame. A lamp with sphere light bulbs sits on the floor to the right. To the left of the frame next to the doorway sits a rolling bar cart.] -
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.] -
ART CLUB2000 Gli Avvoltoi (The Vultures), 1995 Vinyl paint and newsprint flyer Image courtesy Artists Space, New York Photo: Filip Wolak [Behind two large columns is a wall mural displaying multiple cartoon vultures resting on black scaffolding. Beside the mural sits a pile of newsprint flyers.] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [The title TIME // TIME is written centered on a white wall. To the right, a white shelf displays objects and a colorful poster of Ernie Kovacs.] -
Matt Mullican, Wall labels, 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A black and white photograph of black silhouettes on a white wall, including human figures, a car, a house, and a television set.] -
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Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure whose face is illuminated by red light plays flute into a microphone.] -
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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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.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A gallery with low lighting and white walls is hung with a painting and a grid of photographs. More artworks are visible around a corner in another room.] -
Artists Draw. Installation view, Artists Space, 1979. [A drawing of a figure on white paper. The figure has horns and lines emenate from its eye.] -
[A color photographic picturing two figures who sit watching a television screen, their backs facing the camera.] -
Nuestro Reflejo, Threads of History exhibition, Morris Jumel Mansion, March, 2025 -
Jose Miguel Salcido, Sin Titulo (Nhsr), 2009. [A man spray paints a large piece of abstract blue graffiti against a white city wall below a graphic emblem of an eagle. The street is dark, but he is illuminated by the flash of the camera.] -
Jeff Gibson, Delusions of Grandeur, 1989. Media unknown, 20 x 24 inches. [A close-up, black and white image of a face, with parts of the image chipping off and revealing a black backing.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [In the foreground is a slug sculpture leaning against a cast-iron column in a white-walled gallery space. In the background slug sculptures forming circular ring shapes can be partially visible around columns and two square paintings are visible on walls adjacent to one another.] -
U.S. Projects: Peter Shelton. Installation view, Artists Space, 1982. [A large square edifice with an opening in its center bottom held up off the floor with numerous steel rods on its sides in a gallery setting. A shadow of a human figure appears/disappears in front of the work.] -
[White LEDs hung on a white wall spelling "SPRITZ".] -
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Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [Two performers pictured in front of soft pink, blue, and white light projected onto the wall behind them. Performer on left is smiling and pointing at the performer on right, who is seated in front of a mixing board and microphone.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of three figures, wearing all white, performing in a dark gallery space. The leftmost figure lays on the floor with their legs spread and hands pushing their chest up. On the right, a figure with a flashlight around their hips stands with their shoulders and head flung back. The third figure contorts their body on the floor in the rightmost corner.] -
Michael Brewster, An Acoustic Sculpture, A Clicker Drawing. View from Opening, April 2, 1977, Artists Space. [A black and white photograph of a person standing in a doorframe. On the left, a broom rests against the wall. A circular window behind a radiator is visible on the right. Buckets of paint and painting rollers are scattered across the floor.] -
Paul Lamantia. The Critic (A Portrait of Dennis Adrian), 1984. [Three figures with misshapen faces appear together in an surreal setting.] -
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Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Two paintings and several sculptural elements are installed in a corner. The paintings, one in an oval frame and the other rectangular, have figurative subjects of humans and animals. A whimsical end table is illuminated by a light fixture shaped like a flowering plant whose stem extends from a patterned curtain hung against the wall.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A detail shot of a larger photo collage work featuring 20 identical images in a grid that have been altered with black, yellow, or white paint to vary the scene presented of a man opening up the hood of a car.] -
Brad Kronz, Egna Spartan, 2025. Plywood, wood filler, stain. Photo: Carter Seddon [Lit from above, a square wooden panel hangs in the center of the wall. ] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white installation photograph of a gallery space. On the wall, a trapezoidal shape with riders on horseback slowly emerging from the top is visible. On the right, two figures converse.] -
Catalogue cover of History Lessons, Joel Katz. [A black and white photograph, taken from above, of rows of school desks facing a television with a map behind it.]
