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The Expendable Reader, by John McHale, edited by Alex Kitnick, published by Columbia University Press, 2011. [A black and white book cover with the text "The Expendable Reader John McHale" overlaid on a recycling logo.] -
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] -
Cover for Everything is common catalogue by Jack Hogan [A person holding caution tape over a patch of wet cement with the words Everything is common written in it.] -
Paintings by Fontaine Dunn. From Gary Bower, Fontaine Dunn, Hermine Ford, Artists Space, 1976. [A color installation image of a gallery space. Several small canvases painted with geometric forms are hung on the walls.] -
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Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A color image of the corner of a gallery space. On the left white wall, a collection of six framed black and white photographs are arranged in a grid. Each frame is black, with three on the top and three on the bottom. On the right wall are four paper-based items hung in a row. The right-most item is an enlarged map, next to it are three smaller pieces of paper with handwritten notes and drawings. ] -
Adjua Gargi Nzinga Greaves: The x in florxal is silent when spoken. Installation view, Artists Space, 2021. Photo: Filip Wolak. Courtesy Artists Space, New York. [Two prints, of books with annotations written on the side, are hung on a white gallery wall.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage standing next to each other. The performer on the right is holding a microphone close to their mouth as they touch an audio board. The performer on the left is holding a microphone with both arms in the air, looking down at the board. There are drums to the sides of both performers. The scene is lit with soft pink and green light. ] -
Kembra Pfahler, Garden Party at the New York Marble Cemetery: In celebration of Jack Smith, 2018. Photograph: ©Paula Court [A group of people gathered outside in a semicircle around a performer. Some sit on benches, others on grass, and others stand. The performer is dressed in a long white robe and knee-length, high-heeled boots; their face is painted blue and they are speaking into a microphone.] -
Event Poster, Topical Cream Presents, 2016. [Event poster with performers and time information on the right. On the left, an image of a person putting on full protective medical gear and a white facemask.] -
Sixth Anniversary Exhibition. Installation views, Artists Space, 1979. [Contact sheet of stills depicting numerous installation views.] -
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."] -
Charlotte Posenenske. Configured by Ei Arakawa. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Several geometric, silver metal sculptures sit on a wooden gallery floor in a light-filled exhibition space. The sculptures are modular, hollow, and consist of cube-like and triangular metal components. At the photo's center, a long roll of crinkled brown paper enfurls across the floor of the gallery, resting in between the sculptures.] -
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Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Galerie Schmela (1966),” Artists Space, 2014. [A white table with various documents sits in the ceter for a room. On the right, a televsion displaying a man walking sits on a pedestal. In the background, a black and white image of a crowd at a dinner table is displayed.] -
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Still from Resonating Surfaces, 2005. Courtesy of Manon de Boer, Auguste Orts and Jan Mot Gallery, Brussels. [A grainy image of a woman looking to her left. She is leaning against the back of a chair, one arm outstretched while the other is bent and holds a cigarette.] -
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.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A projected image on a standing screen shows a bumper-to-bumper view of two shiny silver cars with a third car in the background.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three floor-standing, backlit images of a woman wearing a white Adidas soccer jersey decorated with a "bc" logo. The images are identical and are arranged one behind the other. Paragraphs of text are superimposed across two of the photos.] -
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Artists Performance Series. Installation view, Artists Space, 1977. [A black and white photograph of a gallery space. On the left, a window casts soft light onto a table and two chairs. On the right, a television monitor is positioned on a low bench.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A red metal sculpture displayed on a pedestal in front of a monitor installed on a freestanding wall. The monitor's screen displays an image of three people gathered around the displayed sculpture as it is pieced together.] -
[White text on a grey ombré background. The text reads: “March 1 / Marina Abramović / William Parker.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Hernan Bas, Needles (In Anticipation of the Fall), 2005, Single color hard ground etching, 26 1/4 x 21 inches (67 x 53 cm), Edition of 30, Courtesy the artist, Fredric Snitzer Gallery, Miami & Daniel Reich Gallery, New York, Printed by Julia D’Amario. [A wood framed drawing hangs on a wall. The pencil drawing depicts a youthful figure at the center of the page with abstract pencil markings surrounding them.] -
New Red Order with Ashley Byler and Jeremy Pheiffer / Kate August and Enver Chakartash Urge 2 Merge, 2021 3 channel video, color 12 minutes (loop) Image courtesy Artists Space, New York Photo: Filip Wolak [An image of a dark exhibition space with three video projections projected on to a wall.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [An angled view of a display case containing several framed drawings. To the left of the display case, three vintage television sets rest a white support and play video footage. Framed documents and photographs hang along the back wall on either side of a doorway.] -
[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.] -
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Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of three paintings hanging on a wall.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a black display case depicting an image of woman printed on a white cloth, with the title *2000 WASTED YEARS*. She is sitting down in an antique chair, one foot up, wearing a full-body black-and-white suit adorned with black English and Japanese lettering.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [A color photograph of an arepa placed on a purple tablecloth.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Two figures stand back to back, juggling clubs above their heads.] -
Robert Gero, Untitled, 1989. Corn, aluminum. [A cube supports an inverted pyramid, both covered in corn kernals, shown on a white background.] -
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.] -
35 Artists Return to Artists Space. Installation view, Artists Space, 1981. [Photographic and sculptural works appear in a white-walled gallery space.] -
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.] -
Local Transit. Installation view, Artists Space, 2006. [A black, kayak-shaped sculpture is suspended from the ceiling in a gallery space. On either wall, there are black and white prints mimicking the structure of the boat.] -
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.] -
Tony Oursler, Untitled (Talking Photograph), 1996, Photograph mounted on plastic frame with audio recording in custom box, 6 x 7 x 1/2 inches (15.2 x 17.8 x 1.3 cm), Signed & numbered. [The image shows a photograph with a plastic frame. The frame has holes for a small speaker and a button that says, "play." The photograph shows a close-up of a woman's face looking off into the distance while laying face down on white lace. Projected on the side of her face is another woman's face.] -
Work by Susan Eder. From Susan Eder, Matt Mullican Artists Space, 1976. [A black and white photograph of a small photograph against a white surface. The image pictured features the faces of two figures.] -
Invitation for Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus (Living with Pop. A Demonstration for Capitalist Realism) October 1963 Estate Konrad Lueg [Two square images of paper. Top reads, "Leben mit Pop." Bottom contains a green image of a deflated baloon that reads, "Pop."] -
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Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [Two figures dance on stage in black-and-white.] -
“Chinatown Is Not for Sale.” Artists Space Books & Talks, Saturday, October 22, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Marz Saffore [A panoramic image of the audience at Artists Space and Decolonize This Place's event, featuring colorful banners on the wall that read "ABOLISH WHITE SUPREMACY," "Black Lives Matter", "Don't Play with Apartheid #BDS".] -
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".] -
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Carolyn Lazard. Still from Untitled, 2020. [A gas fireplace turned on is framed with a strip of faux white marble on either side. The flames are yellow and white with glowing orange embers at their base. A yellow caption appears at the base of the fireplace with the following text in between musical notes: Where my dreams await someone to share.] -
Still from Memories of Underdevelopment, 1968. Tomás Gutiérrez Alea, 97min, 35mm -
Left: Andrew Siedenburg, Material Support, 2022. Masking tape, charcoal, and construction fasteners on gessoed luan. Right: Andrew Siedenburg, Doghouse with Tin Snips, 2022. Masking tape, charcoal and constructions fasteners on gessoed watercolor paper over masonite. Photo: Steven Cottingham. [Color photograph of two works with white, black, brown and grey hues hanging on the wall side-by-side.] -
Margia Kramer. Installation view, Artists Space, 1980. [Black and white photograph of cursive white text on a black background on the floor of a room with an upside down chair in the foreground and a heater in the background.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure stands on stage behind a table with a laptop, preparing to perform.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Framed works on paper hang on a white gallery wall. Some feature large circles composed of smaller ornamental swooping lines. Others feature abstract calligraphic strokes that resemble text.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A view of a gallery installed with multiple sculptures by Matthew Langan-Peck, Ruben Ulises Rodriguez Montoya, and Isabelle Frances McGuire. In the center foreground sits a wooden box sculpture painted light blue, with a pair of headphones hanging from a small peg on the side facing us. Another wooden box, painted dark blue with a repeated traffic light motif, sits in the distance behind and partially occluded by the box in the foreground. To the left, a large biomorphic sculpture composed of found materials hangs from the ceiling. In the background, three large pink banners emblazoned with silver stars hang from ceiling to floor.] -
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.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Four upright bags with images on them sit on two different leveled shelves on a white gallery wall.] -
Nathan Carter, Static Cipher Signal Beacon for Inbound Flights, 2007, Wood, steel, enamel and acrylic paint, 28 1/2 x 40 inches (72.4 x 101.6 cm), Series of 10 Signed, Courtesy the artist & Casey Kaplan. [A sculpture affixed to the wall made of a red steel rod with red steel rod arms that project out from the top to make shadows against the wall.] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of four framed mixed media collages installed on a gallery wall with light shining on them from above.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two screens hung on either side of the top of a support beam in a gallery. The room is otherwise empty. One screen depicts a woman walking down a fashion runway, wearing a black jacket and shorts with a sheer top.] -
Unstretched, bound, outside mission, 2020, acrylic on linen, bubble wrap, ratchet strap, chicken wire, dimensions variable. [A large, orange and brown stuffed slug sculpture is strapped around a Greco-Roman style columns on the facade of a cast iron building. The slug’s antennae point towards the blue sky. Further down the street are additional buildings, parked cars, and a Detour sign.] -
Drake Carr, Martin Cohn, 2023. Colored pencil on paper. 40 1/16 x 32 3/16 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color image of an unframed drawing of a figure wearing a yellow dress. The figure is seen from a three-quarter view. To the right, near the head, there is a floating blue fish. Behind the figure, a brown column stands.] -
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 close up of white picket fence and painted dark background.] -
Cover of FWIW. [A book cover featuring a vertical stack of disabled-access grab bars mounted on a black wall. White text across the center reads "FWIW: Constantina Zavitsanos / Danielle A. Jackson." Along the right edge of the book seven tabs each read a different keyword: "Infinity / Ouroboros / Stop-time / Cipher / Caption / Specter / Epilogue." The book is set on a black background.] -
Carolyn Lazard: Two-way. Installation view (Vital, 2025; Borne, 2025), Artists Space, 2025. Photo: Greg Carideo. [A darkened hallway with dark blue walls and light blue linoleum tiling leads into an open gallery space with dark blue carpeting. On the left sits a bench, which faces a large wall projection on the right. The projection depicts a black patient in a blue hospital gown sitting in a chair. The projection is partially obscured by a wall.] -
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New Red Order, Informants Get Paid! Performance documentation, Artists Space, January 23, 2020. Photo © Paula Court. [Figures wearing partial face coverings stand in front of a projection that reads: "We cover for you / new red order"] -
[A person walking down a city street, speaking into a megaphone. Around him are several cars and scattered onlookers.] -
Renée Green. Still from Partially Buried Continued, 1997. Video, color, sound; 36 minutes. Courtesy the artist, Free Agent Media, and Video Data Bank. [A television box monitor displays a diagram connecting Robert Smithson to Theresa Hak Kyung Cha, and the past to the present and the future.] -
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AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A black and white image of a blank frame on a white wall. At the center of the frame, a sculptural mold of a brain protrudes out from the canvas.] -
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. [Various photographs of athletes and other personal images are arranged on a light wooden wall to the left. A wooden shelf sits against the right wall, shown in profile. A frisbee and two loofahs hang off the side of the shelf, with other stickers and printed images arranged on the walls.] -
_____, 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. [Two images hang on a white wall, far apart.] -
Matthew Langan-Peck, Golden Egg 1, 2024. Photo: Carter Seddon. [Color image of a corner in a darkened gallery space. A large golden egg sculpture sits on the floor in the corner.] -
Susan Eder, c. 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A photograph of a figure with long hair, placed aboce a photograph of several squash.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A wooden bar with four chairs and a palm tree in a pot is displayed against a white wall.] -
Miguel Angel Rios, Morir ('til Death), 2003. [A collection of black spinning tops on concrete. Several are upright, spinning, and several have fallen onto their sides. A white grid is just visible on the ground beneath them.] -
Beverly Semmes, Woven Photograph, 1989. [A black and white photograph of a field with trees in the background has been cut into strips and woven back together.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A makeshift screening room enclosed by unpainted wooden walls. There are two wooden benches arranged to face a projector screen. The screen displays an image of a luxury pool surrounded by palm trees, with the sun shining.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Two pieces hang on a wall.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [A white T-shirt hangs on a clothes hanger placed on a cylinder of plexi which is affixed to a white gallery wall. Down the middle of the shirt in vertical orientation is a six-digit phone number. In front of the wall and to the right of the shirt is a low plinth made of MDF, with a newspaper placed on top. ] -
Video from Sidi El Asphalt's Mulid. Dir. Wael Shawky. 2003. [Two figures' faces positioned close to one another. The woman on the left looks away from the camera, while the man on the right closes his eyes and opens his mouth. The image is blurred, as though the figures are in motion.] -
Model Modernisms. Installation view, Artists Space, 2005. [The corner of a gallery space. At the base of the corner, where both walls meet the floor, a small area of the wall has been removed and replaced with the materials from another building's wall, displayed in a cross-section. Several black and white, framed photo-collages hang on the wall to the right of the corner.] -
Richard Klauber. Small Black Painting, 1975. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black and white abstract painting on a white wall.] -
“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.] -
Photographic work by David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Well. Announcement card, work by Pat Place, Artists Space, 1980. [A black and white image of a toy alligator holding a medicine bottle, surrounded by miscellaneous objects.] -
[A basement gallery is filled with red light and disco lights. On the far wall is projected a book cover featuring a painting of a naked body with body parts squished together. Fake chairs drawn in black outline are placed around the space.] -
Establishing Shot. Installation view, Artists Space, 2004. [A large space with a wooden floor and white walls. On one wall is a black and white floorplan with 3D structures. On the other wall, there are a series of photographs with several small street signs arranged in a clump. To the right of that, there is a block of wall text with four frames below. Two of the frames hold *Time Magazine* covers.] -
Kelly Poe, Leave, Take, Kill, 2004. Courtesy the artist and Anna Helwing Gallery, Los Angeles. [Yellow text on a brown background reading "LEAVE NOTHING BUT FOOTPRINTS / TAKE NOTHING BUT PICTURES / KILL NOTHING BUT TIME."] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in white, laying down on a window ledge facing the street. They raise on arm up and a white light shines from their pelvic area.] -
Gary Falk, Brigid Kennedy, Ladd Kessler, Peggy Yunque. Installation view, Artists Space, 1981. [A dim photograph of mulitple sculptures placed in the exhibtion space. A couple of black curtains are hung in the gallery.] -
Four Artists: An Exhibition of Painting and Sculpture. Installation View. Artists Space, 1985. [Circular sculptural forms hang from the ceiling and touch the floor in a white-walled gallery space.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Two gray silhouettes displayed next to each other on a white wall. In front of them, a gray table displays colorful documents.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017). [A book cover with the title "Strike Art: Contemporary Art and the Post-Occupy Condition" and author Yates McKee in black and grey on white ground. In the upper right corner, a red-toned image shows a group of standing men.] -
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Azian Nurudin. Still from The Headhunters of Borneo, 1989. 10 min. Photo: Micki McGee. [A black and white image of a shirtless woman holding a baby, while another woman looks on from a doorway to the right.] -
Still from Leave, Cara Benedetto, 2023. [Color image of a white, blonde woman laying face down on the floor. Empty bottles of alcohol and other drinks cover the floor, along with balloons, cardboard boxes and a wooden shelf.] -
Charles Long. Installation view of Gnomons' Land, 1987. Film Installation. [A black and white photograph of two projected images emerging from darkness.] -
[A simple graphic of words forming the shape of a triangle reads, "A NEW SYMBOL PROPOSED & PROJECTED INSIDE THIS SPACE IS (LIKE EVERY LOGO) ALL SURFACE: A BUBBLE BLOWN AROUND NOTHING INFLATED TO BURSTING POINT BY THE LAZY ASSUMPTION THAT WHAT WE LOOK LIKE IS WHO WE ARE IN OTHER WORDS, 'IDENTITY' = IDENTITY."] -
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Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a large group of people standing around a gallery space. Chairs, and tanker desks with TV monitors on them are placed in the space. The audience watches a figure in a red suit that stands next to a column, holding their hand to their mouth.] -
Abasement #78. Performance documentation, June 16th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of five performers on stage. They are playing bass, violin, guitars, and drums. A row of audience members are visible in the foreground, with their backs to the camera. A blue projection covers the performers and the back wall.] -
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.] -
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.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
Laura Ortman, cover artwork for My Soul Remainer, 2017. [A black and white composite photo showing a close-up of an eye superimposed under an illustration of a sunset over a sea horizon.] -
Tiffany Sia, Barriers Buy Time, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A row of books with silver covers on a shelf. A black table and chair can be seen in the reflection of the book cover.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures in blue morph suits engage in an argument, standing on either side of a wooden table with a fresnel lens as the tabletop. A third figure to the right films their encounter, while audience members watch in the background.] -
Establishing Shot. Installation view, Artists Space, 2004. [A profile of a man in a jacket on a gray and white background. Painted streaks of color are superimposed over the man's profile. The whole image is slightly blurry.] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery space. On the left wall is a projected black-and-white video. On the right wall are various scores, posters, and photographs, and a vitrine.] -
The Artists File at Artists Space, 1986. [A black and white photograph of a number of unmounted 35mm slides on a lightbox is visible in the foreground with a computer and printer visible in the background in an office setting.] -
Contemporary Architecture - an installation by realities:united. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [In a gallery space, a large white overhead LED-style sign acts as both a drop ceiling and overhead lighting. It displays two numbers, a 2 and a 5. Below are a black sofa and, facing it, a small television on a wooden pedestal.] -
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.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Two shelves and several artworks sit in a gallery space with wooden floors. To the right, there are two empty wooden bookshelves placed at right angles to one another. Above a bookshelf positioned against the gallery wall, there is text that reads "ARTISTS SPACE." To the left of the shelves is a figurine with rectangular torso, arms, and legs and a more naturalistic face made of a brown, clay-like material. Four small monitors are installed on the gallery wall behind the figurine, while a larger monitor rests on the gallery floor to the image's far left.] -
[A rendering of a head with two faces, one positioned head-on and the other seen in profile, is made from gradient strips of red, orange and yellow color. Dissecting lines and geometric shapes define the face's blocky features. The top lips are blue and the bottom red, while the left eye is black with a white dial and the right eye is a hazy blue with yellow lightning coming out of it. Under the image, text in red, white, blue serif font reads: the segue reading series and artists space present / a reading by David Larsen and Sara Larsen / saturday, may 9, 5 pm nyc time / zoom id: 378 232 567.] -
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.] -
Installation view from J.B. Cobb, Martha Edelheit, Ree Morton, Artists Space, 1973. [A black and white photograph of a gallery space. A painting of nude reclining women hangs on the left, and a figure in a suit and tie looks on from the right.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A view of a bedroom with various imagery on the walls along with a line and clothespins and a dotted line cloth on a matress lying on the floor.] -
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.] -
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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Installation view of Social Disease and Two Possibilities, Artists Space, April 12, 1986 - May 10, 1986. [Two people sit on chairs in front of television monitors that are showing a black image. The television monitors are on pedestals in the gallery space.] -
[Black and white line drawing of a bucket with handle.] -
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 including CRT monitors, a vending machine, a tulip chair against a seafoam colored wall, and a glass display table backed by tiled photographs.] -
Photo Wall at P.S. 140, Nathan Straus, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
Carolyn Lazard: Two-way. Installation view (Vital, 2025), Artists Space, 2025. Photo: Greg Carideo. [A darkened gallery space with dark blue walls and dark blue carpeting. On the left sits a bench, which faces a large wall projection on the right. The projection depicts a black patient in a blue hospital gown sitting on an examination table.] -
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Ken Aptekar, Fuck Me? Fuck You, 1990. Oil on wood, sandblasted glass, bolts, polyptych, 60 x 60 inches overall. [Two suits of armor face one another, with a medieval-style battle scene in the background. The words "FUCK ME? FUCK YOU FUCK ME? FUCK YOU" form a circle on top of the scene.] -
Sixth Anniversary Exhibition. Installation views, Artists Space, 1979. [Contact sheet of stills depicting numerous installation views.] -
Poster for No Total Weekend, May 29-31, 2015, Artists Space. [A teal circle on a white background with several names written around the perimeter, circling the midpoint of the circle. White text on the right side of the circle reads, "May 29-31. 2015 / No Total Weekend." The rest of the text spells out the schedule of the event.] -
Flyer for Palm-Lined with Potience. April 28, 2022, Artists Space. [A dark grey background with black silhouettes of leaves and foliage. In the top left corner, "Artists Space / Ugly Duckling Presse / present the launch:" is written in yellow-orange text. In the center "Palm-Lined with Potience / Fury Young / Jaylen Strong / Alex Tatarsky / Benjamin Krusling / Adjua Gargi Nzinga Greaves / JJJJJerome Ellis / x / Basie Allen" appears in yellow text. In the bottom right corner "Thursday, April 28 / 7:00pm 11 Cortlandt Alley" is written in yellow-orange text.] -
Ian Bader. Spalation Clock, 1977. Axonometric. [Drawing of large square architectural development with half circle surrouding it and a small development above it to the right.] -
Ritsuko Taho, Untitled, 1985. [A black and white photograph of two constructed shoe-like objects on small constructed shape sitting on the grass in a foresty area.] -
[A woman holding a large blue bag. To her right, vertical black text reads, "HAUST."] -
Martine Flor, Echoes From A Scene IV, 2022. Part of a larger series, spatial photogram on polyester textile (diptych), and text. Photo: Steven Cottingham. [Color photograph of a work consisting of two large sheets of textile with shades of white and grey, suspended from the ceiling. The work casts a shadow on the wall behind it.] -
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[Black text overlays a color-scheme grid background. The text reads: “Dec 16 / Laura Henriksen / Celina Su." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Ally Bueno, Katz's, 2017. [A black-and-white photo of a man smiling with his arms crossed, standing in front of a number of hanging salamis, and wearing a hat with a logo stating "send a salami"] -
Robert Longo. Performance documentation, Exchange Show: Hallwalls, Buffalo, NY, Artists Space, 1976. [A black and white image of two hands behind a figure's back. They cross their index and middle finger on each hand.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure points a microphone towards an audience, while various figures wearing white costumes and balancing plants on their heads can be seen just out of focus in the background.] -
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.] -
Neraldo de la Paz. San Sebastian, 1984. [A nude figure with a nude figure emerging from its neck is pierced with three arrows while its arms are hidden behind its back. Blood-like lines appear dripping from the arrows. A sky is visible behind the figure.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A continuous strip extends around the perimeter of the room, hung up on the walls. The strip alternates between photographic stills and black boxes overlaid with white text.] -
Constantina Zavitsanos, LEAVE - A - PENNY / TAKE - A - PENNY, 2024, Bronze, 4.5 in. x 4.25 in. x 1.5 in. Photo: Destiny Mata [A hand reaches into a bronze penny-share dish filled with coins.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of two people in period dress engaged in conversation at the far end of an ornate allway lit by candlelight. In the foreground, a person in a maid's costume peeks around one end of a colonnade, observing.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Five framed works on paper, one individual work on the left and a cluster of four on the right, hang on a white gallery wall. Works feature abstract, calligraphic strokes in black ink on paper. Individual work on the left includes hand-painted text reading "3 concerts, improvised music. La Monte Young - sopranino saxophone, Angus MacLise - hand drums, drone, 8-12pm Sundays - August 12, 19, 26, 10-4 Group Gallery, 73 4th Avenue, contribution $1.50" ] -
Charles Simonds. Still from Mythologies, 1974. From Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A black and white film still of a stone rockface with a small stone shelter built into the rock on the left side.] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [White sculptural form hanging on white gallery wall with stark lighting contrast.] -
Young Fluxus. Installation view, Artists Space, 1982. [Contact sheet of photos from the opening reception of the exhibition.] -
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.] -
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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.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A seated figure in a black hoodie and black beanie plays the guitar with red and purple light cast onto them.] -
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Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [Color image of three large pink fabric banners by Isabelle Frances McGuire, each emblazoned with three silver stars, hanging from ceiling to floor. In the gallery space behind the banners, an off-white foam sculpture of a naked human form rests supine on a small white platform.] -
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Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a black platform with a black screen at the end, depicting a person wearing a shirt] -
Bill Benway, The Bath of Hercules in the Love Canal, 1986. [A black and white photograph of a painting of a pastoral landscape with trees and a waterway.] -
Caitlin Keogh, Interiors, 2016, Silkscreen on paper, 24 x 18 in / 61 x 45,7 cm, Signed and Numbered. [A graphic illustration of a headless female mannequin is seated against a checkered background. Her arms suggest the motion of tightening a sash around her waist, but the implied fabric around her body is missing from the image, leaving an empty space that divides her body in two halves.] -
Untitled (note), date unknown, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [A page ripped from a planner, with a header reading, "for week beginning Monday ...., Thursday, Friday, Saturday, Sunday." Handwritten red cursive text, written over divided sections reads, "Capitalism lends to expectation to be manipulated but politely and a horror of ordinary usage between people."] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A painting can be seen on the right adjacent to walls with a number of posters on them and a window. A sculpture on a pedestal can be seen in the background. A curving ceiling is visible above.] -
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Milford Graves: Fundamental Frequency. Installation view (handpainted LPs, 1966), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of three handpainted LPs in a wall mounted vitrine.] -
Fontaine Dunn, Everything's Always Just the Same, Only Different, 1976. From Gary Bower, Fontaine Dunn, Hermine Ford, Artists Space, 1976. [A black and white image of a painted spiral.] -
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.] -
Sherry Kromer Schapiro. Still from Am I My Mother's Keeper?, 1989. 5 min. Photo: Micki McGee. [White block text reads SPECIES EXTINCTION on a background of grey and white swirls.] -
Eiko Ishibashi, Two New York Nights. Performance documentation, June 8, 2022, Artists Space [A figure lit with red light is sitting at a table holding a microphone to their mouth. On the table are a desk lamp and a laptop computer.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Two figures standing behind a set of music stands. The figure on the left gazes downwards, while the figure on the right looks up, speaking. Her hands are raised by her torso in a gesture. Both figures wear dark clothing.] -
"Identity". Installation View, Artists Space, 2011. Photo: Daniel Pérez. [Three adjacent panels, reading "pompidou", "moma", and "tate" in black text against a luminous white background hang in a dimly-lit exhibition space.] -
[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “May 4 / Nature Theater of Oklahoma / Violet Spurlock.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Dies alles Herzchen wird einmal dir gehören (All This Darling Will Once Belong To You). Performance organized by Paul Maenz and Peter Roehr, Galerie Dorothea Loehr, September 9, 1967. DVD transfer, 6 mins, 55 secs. [Black and white image of a crowd of people gathered in a large open space. Several hollow, metal sculptures composed of geometric components are installed in the space. Some performers interact with the sculptures—one figure walks across one of the metal forms that lays on the ground.] -
Artists Draw. Installation view, Artists Space, 1979. [Four drawings are hung in a row on a white wall. The foremost depicts a man and a woman looking out a window through window blinds. The next depicts two men sitting at a table.] -
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 installation photograph of two wooden cafe chairs with green cushions in a gallery space with a column on the left. Resting on the chairs are two television monitors with cords that extend to outlets on the ground.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a fgure wearing a conical sheath of reflective one-way mirror film that covers their entire body. They squat down next to a viewer sitting in a wooden chair. The performer shines a bright light against their face, making their face visible from under the mirror film.] -
_____, 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.] -
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[White and yellow text on a green background reads "THE SECOND ANNUAL CONFERENCE ABOUT ARTIST-CURATED EXHIBITION," and other details about the events.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Alternating clusters and individual small framed works on paper hang on a white gallery wall. The works feature swooping, abstract calligraphic lines that resemble text.]
