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Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [The word "TIRANNY" is handwritten in block letters on a wall. In front of it, there is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a silver ball, a brown box, and more. The room is lit with a green hue.] -
Tiffany Sia, In Plain Sight (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close-up photograph of an orange LED light on the gallery floor. Black vinyl on the floor in front of the LED reads, "SIGHT]."] -
dissolving city, digital photographs, 2024 -
Friends of Artists Space Dinner 2024. Cindy Sherman, Jack Hanley, Claudia Gould, Alexandra Auder. Photo: Jenna Bascom [Cindy Sherman, Jack Hanley, Claudia Gould, and Alexandra Audler stand together and smile at the camera in front of a red wall with an illusionistic landscape view inside a painted pointed arch window.] -
Ilana Halperin: Physical Geology (slow time). Installation view, Artists Space, 2009. [Protruding clusters of dots and triangles form designs in a gray surface.] -
Ann Goldstein has been a museum professional for over forty years. She currently serves as Deputy Director and Senior Curator at Large at the Art Institute of Chicago and on the board of directors and as President of the Michael Asher Foundation. Goldsstein joined the Art Institute in 2016 as Deputy Director, and Chair and Dittmer Curator of Modern and Contemporary Art. Prior to joining the museum, she served as Director of the Stedelijk Museum in Amsterdam from 2010–2013, and as Senior Curator at The Museum of Contemporary Art in Los Angeles (MOCA) from 1983–2009. She is recognized for such large-scale historical survey exhibitions as A Minimal Future? Art as Object 1958-1968, 1965-1975: Reconsidering the Object of Art, and A Forest of Signs: Art in the Crisis of Representation, as well as numerous solo exhibitions and projects over the years with Jo Baer, stanley brouwn, Judy Fiskin, Felix Gonzalez-Torres, Roni Horn, Richard Hunt, Mike Kelley, Martin Kippenberger, Barbara Kruger, William Leavitt, Steve McQueen, Cady Noland, Pope.L, Josephine Pryde, Nancy Rubins, Lawrence Weiner, and Christopher Wool, among others. In addition to the Asher Foundation, Goldstein serves as a member of The Felix Gonzalez-Torres Foundation Fellows Forum, on the board of trustees of the Richard Hunt Legacy Foundation, and as a member of the Serralves Museum Advisory Committee. In recognition of her work, the Center for Curatorial Studies at Bard College presented her with the Audrey Irmas Award for Curatorial Excellence in 2012. -
Laurie Simmons: Photographs. Postcard, Artists Space, 1979. [A black and white image of a dollhouse living room, a doll is sitting in the right corner, on a couch, next to a side table with radio on it.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Several photographs and sculptures in a large gallery space with wooden floors and white columns. To the left of the space is a white sculpture forming a rig-like structure, with two wing-like appendages at its top. A large animal skull rests on a triangular support mounted to the gallery wall on the left. Glass panes with red liquid spread across them rest on the gallery floor in the image's center.] -
[A digital rendering of a dark tank filled with water. Spherical pods sit into the top of the tank, with one pod lying sideways next to it.] -
Elizabeth Diller and Ricardo Scofidio, Bed for the Condemned Man, 1986. [A drawing of a hanging figure supported by weighted straps.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage, bathed in red light, while colorful geometric patterns are projected on the wall behind.] -
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.] -
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of five performers on stage. From left to right, they are playing guitar, saxophone, drums, and trumpet. The room is lit up with pink and white projections. The backs of multiple audience members are visible in the bottom of the frame. A few of the performers are lit with yellow light, as well as some of the audience.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A person sits on a wooden chair where there are three arranged, wearing headphones and looks at a TV monitor. The monitor displays a construction landscape in the Middle East.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [Three glass topped vintrines carry smaller color photographs. The gallery walls behind display five photographs, each depicting a different hazy space adorned with thick black borders. ] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A large black bowl, painted with colorful faces, is filled to the brim with vibrant beaded jewelry. The bowl is placed on a tall black rectangular platform, covered with a beige woven blanket with long tassels and a white pattern along its border. Beaded jewelry from the bowl dangles down to the floor, intertwined and curled amongst themselves.] -
Christopher Wool, untitled (wool poster between bridges), 2020, 23.5 x 16.5 inches [A black and white image featuring a large, dark shape that resembles a plus sign. The plus sign sits at the center of a white backdrop covered by various irregular markings, including a large ink blot and print markings. While the surface of the plus sign is opaque, the background markings are slightly transparent. Small black text placed at the image's lower left corner reads, "2020Solidarity - Christopher Wool," while text placed at the image's lower right corner reads, "A project by Between Bridges."] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak [A color image of a gallery space. A freestanding white wall runs perpendicular into an existing white wall. On the right side, projected onto the existing wall, is a black and white image of a spoon resting next to a bowl of water. To the left of the projected image is a single black frame containing a black and white photograph, hung above a small floating vitrine. Installed in a single row on the freestanding wall, is a series of seven black and white photographs housed in black frames. Behind the freestanding walls, a sliver of window that faces the street outside is visible. Contained within the four transom windows are black and white enlargements of a white man smoking and blowing smoke rings. ] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [Six abstracted and colorful drawings hang on a black wall. They vary in size and include motifs of clocks, animals, and partially drawn caricature-like people. ] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of a room with a set of two tables and chairs, books resting on the tables, in the center. On the back wall hangs a banner in red painted text, reads "...Pessimism of the intellect, Optimism of the will... Gramsci." On the right adjacent wall, text covers the whole height, the title reading, "Vigilance:"] -
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.] -
Young Fluxus. Installation view, Artists Space, 1982. [View of a small diamond-shaped object framed in a box on the wall next to a doorway in a white-walled gallery space.] -
David Antin, Sky Poem, La Jolla, CA, Santa Monica, 1987. Courtesy Getty Research Institute, Los Angeles. [Two people wearing large sun hats look up towards an empty blue sky framed by scattered palm trees. Faint, white text written in dotted cloud formations is visible in the sky.] -
The Fairy Tale: Politics, Desire and Everyday Life. Installation View. Artists Space, 1986. [A glass vitrine appears in the center with headphones and seats placed around it in a circle. Behind it is another glass vitrine sculpture as well as paintings and sculptural objects on the gallery walls.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [An audience looks at a mannequin on a table.] -
[A pink pamphlet with black text announcing "Artists Space Presents: PUTT-MODERNISM", an "artist created 18-hole fully playable minature golf course." There is an illustrated map showing the location of the event, and additional printed information on the location and hours.] -
Still from Polly II - A Plan for a Revolution in Docklands (2006). [A woman with a hood looks diagonally upward, away from the camera. Behind her, a large building is on fire and the sky is dark.] -
Everything is common. Installation view, Artists Space, 2022. Photo: Steven Cottingham. [Color photograph of a gallery space with two dark columns. In the foreground, a cornhole board is visible resting on the floor. In the background, a work on a video monitor is installed on a desk that has two chairs in front of it. A chandelier hangs from the ceiling near the furthermost column and rests on the floor. In the left side of the background, a wall is filled with images and has a mounted monitor with a video work.] -
Flyer for Segue Reading Series featuring S*an D. Henry-Smith and Joey Yearous-Algozin. March 26, 2022, Artists Space. [Black text overlays a white background. The top left corner reads: S*an D. Henry-Smith / Joey Yearous-Algozin. The middle reads: Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “Saturday, March 26, 5pm / Zoom ID: 893 9594 7519 / Suggested donation $5."] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
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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.] -
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 wall there is a line of nine polaroid photographs, evenly spaced and hung about five feet from the light wooden floor. The right wall features a frame from a video being played from a projector. The black and white film frame shows the interior of an industrial space, the exposed ceiling rafters and brick wall. ] -
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.] -
Hito Steyerl, Guards, 2012. HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, gesturing towards the viewer with both hands together, is on the back wall.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with a table made of wood and a fresnel lens tabletop on the right side of the space. Along the top of the image the basement windows are tinted blue.] -
Listening Room, recorded compositions, collage and ceramics 2025 -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure wearing blue clothing uses the body of another person beneath them to hold their weight up.] -
Murray Reich. Two Ply, 1989. [A plywood board with rows of circular holes cut out of it overlays a black rectangle with blue and yellow lines on it.] -
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.] -
Gerry Morehead. Installation view, Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [Black and white installation photograph of a gallery space. Black circles are attached to the wall and a figure is visible standing in the space.] -
The Happy Hypocrite - Freedom Issue 6. [A magazine cover depicting a grid of international stamps.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer and a small white tent on a stage. The performer is on the left, wearing all white, with a bouquet of flowers in their hand and a stick of insense in their mouth. On the right side of the stage, the tent is lit up with multicolored projections. The top of the tent is decorated with colorful stars. The walls in the background, as well as the audience in the foreground, are lit by patterned projections and blue lights.] -
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Neil Goldberg, Fortune 500 Dream Fax Project, 1996. [A pink piece of paper with the typed text "Dream Fax Transmission Sheet" positioned at its top edge. Underneath, there is a handwritten account of the artist's dream from 3/26/96.] -
In the Kaleidoscope Room, by Elizabeth Stone. [A book cover of In The Kaleidoscope Room by Elizabeth Stone, with the title and author written at the top in yellow text. Underneath, there is an image of a woman's face with orange lazers shooting out of her forehead in the shape of a soda bottle, with a straw coming out of the top. Behind her are light green and dark green checkered mountains. Under that is an old silver car with yellow headlights on a pink and blue checkered floor.] -
Laurie Anderson; PersonA. Performance documentation, April 25, 1974, Artists Space. [A color image of a person sitting on a pedestal, speaking into a standing microphone.] -
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Installation View from Recent Art From Chicago, Artists Space, March 8, 1986 - April 5, 1986. [Dirt appears on the edges of the floor and in the plastic clear cases hanging above them in a gallery setting.] -
Retrovizija (Peter Vezjak), still from Laibach: Sympathy for the Devil, 1988. 5 minutes, 40 seconds. [A seated group of four people cluster together in front of a white background.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Audience members are seated along a back wall, with a figure in a blue morph suit seated on a rectangular wooden frame alongside them. Blue light is projected onto a screen in the background.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view (Nick Raffel, No title, 2025; Catherine Sullivan in collaboration with George Lewis and Sean Griffin, Afterword via Fantasia, 2015), Artists Space, 2025. Photo: Carter Seddon [A projected video displays a black and white still of two black men looking at each other. We see the back of one of these men's heads and the furrowed face of the other. A speaker sits in front of the projection. And although subtle, the corners of the gallery walls are curved as opposed to perpendicular.] -
Constantina Zavitsanos, the one who knows may show the one who knows (detail), 2024. Digital print on dibond. 30 x 30 in. [A photograph made in a two mirror Schlieren system with knife edge shows the silhouette of a hand holding a small lit flame in front of a round mirror, staged in a black surround. Typically invisible, heat waves are visible along the golden shadowy gradient of a telescope mirror. At the bottom a candle’s wick and its mirror image break the circle.] -
Sean Snyder, still from Casio, Seiko, Sheraton, Toyota, Mars, 2004-5. Courtesy Lisson Gallery, London. [A person in army camouflage and a military gun grabs a handful of packaged cookies from a stand selling assorted candies, snacks, sodas, and other food.] -
Yasunao Tone, Voice and Phenomenon, Experimental Intermedia Foundation, New York, 1976. [Black-and-white photograph of a TV against a brick wall, connected to a camera recording directly above a spotlighted chair and desk.] -
Jack Smith, still from Hamlet in the Rented World (A Fragment), 1970-73. 16mm transferred to video, (sound, color), 27 minutes. [A figure wearing all black clothing, a black hood, heavy eyeshadow, and a fake mustache looks at the floor.] -
Laura Cottingham & The Anita Pallenberg Story. Installation view, Artists Space, 2017. Photo: Daniel Pérez. [Eight, framed, color photographs arranged into a grid on a white wall.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs stand on the edge of pieces of red fabric, stretching their arms outward.] -
[Black text on an orange background. The text reads: “Oct 5 / Joan Larkin / Malcolm Tariq.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure to the left plays the saxophone while another figure sitting in the middle of the frame watches with a guitar in his lap, another figure in the back right plays the bass.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
[A white, graphic shirt sits on a piles of items next to nested wicker baskets in front of a wooden wall. On top of the baskets is a sign that reads, "freedom club."] -
Judy Rifka. Installation view, Deborah S. Freedman, Judy Rifka and Ernest Silva. Artists Space, 1975. [A black and white photograph of three forms over a wooden background. The forms are vaguely triangular and are white, grey, and black.] -
Still from Fiction Contract, 2025. [Close-up of a black person leaning over a black birthing mannequin laying on a hospital bed in a patient room.] -
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Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Several blank, white walls in a large gallery space with wooden flooring. An opening emerges at the corner of two intersecting walls at the image's center, leading into a dark space. Rows of windows line the right wall of the gallery.] -
Richard Hollis, Whitechapel Gallery advertisement, 1980. [A blue flyer with the word "OPEN." printed in yellow.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [A color image of a pink-hued room inside which an irregularly shaped platform with a reflective surface sits on the ground. Objects such as plants, a fish tank, and tree stumps sit on and around the platform.] -
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John Mendelsohn and Donald Sultan, Installation view, Artists Space, 1977. [A rectangular, abstract painting is mounted on a black frame at an angle to the white gallery wall.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of a woman captured mid-performance in a dimly lit venue. The performer is situated before a microphone and a music stand, while a crowd of seated and standing audience members attentively watch. Bright spotted lights from a disco ball out of view sparsely illuminate the environment.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure stands behind a table on a stage. Across the room, red light and small fragmented pieces of white light can be seen.] -
Jack Smith in Jack Smith’s Fear Ritual of Shark Museum, Cologne, 1974 Photograph © Gwenn Thomas. Courtesy Exile Gallery, Berlin and Southfirst, New York Courtesy New York University, Fales Library and Special Collections [A black and white image with an organic border features Jack Smith in a white cloak standing in front of a wall. To the left of him are two posters that read, "Krone," at the top in block letters. Behind him are large, white block letters that read, "R O N." A ghost-like figure with multiple arms is pictured above him.] -
[Collaged image featuring a vintage color photograph of the Golden Gate Bridge. A gigantic box whose sides are covered with images of forest treetops covers the center portion of the bridge. The bridge appears to pass through the box through a hole in its left side, out of which water pours into the Bay below. Verdant, rolling hills are visible in the image's foreground.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
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. ] -
rafa esparza: Camino. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with large panels of adobe with paintings of various figures on them. In the foreground is a painting of a panther that approaches the viewer. Adobe bricks are laid out on the floor to create short walkways.] -
[A red background with white text which reads: "BDS IS THE FLOOR NOT THE CEILING", followed by the Decolonize This Place Logo.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a table filled with several stacks of a book titled *EINE PINOT GRIGIO BITTE*. The book covers appear in various shades of orange, pink, blue, yellow, and green, and are stamped with the same ornate Latin emblem. Some are comb bound and others are side stitched.] -
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S*an D. Henry Smith in Constantina Zavitsanos’ Entropy (2023), a set of three performances (on-site and online) for If I Can’t Dance, I Don’t Want to Be a Part of Your Revolution. Performers and co-creators of the score: Angelo Custódio and Pedro Matias, S*an D. Henry-Smith and Geo Wyex. Photo: Prins de Vos [Photograph of a performer, standing next to a table covered in a black cloth. The background is bathed in purple light. A white spotlight shines on the table, highlighting the performer's hands as they pour liquid from one teacup into another teacup held below.] -
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.] -
Jim Lutes. Lazy, 1985. [A view of a large amorphous creature with eyes and mouth on the right next to a dwelling space with a figure lying on a bed with clothes and other accoutrements nearby.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [Two performers sit at tables facing eachother on stage. Each performer operates a mixing board abundant with cables. The tables are lit from a single bulb above. ] -
Other Minds, San Francisco. Photo: John Fago [Black-and-white photograph of a figure, walking in the middle of the frame between two sets of suspended wires that run from across the room. The figures hands manipulate the wires on each side of them.] -
Frames 2-9: installation views of Ken Lum’s “Untitled Sculpture”; Frames 10-23:installation views of Nic Nicosia’s “Domestic Dramas” ; Frames 27-35: installation views of Peter Waite’s “Las Meninas”. Artists Space, 1982. [Contact sheets made from the installation of the exhibition.] -
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Laurie Palmer, Winter Flush, 1989. Installation view, Artists Space, 1989. [A pile of dark earth and plant matter is heaped against a wooden bannister.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [An onlooking audience watches a performer play an electric guitar on stage. The audience is bathed in red light, and projections are present on the left wall. ] -
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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.] -
Miyoko Ito: Heart of Hearts. Installation view, Artists Space, 2018. Photo: Daniel Peréz. [A painting with blue, yellow, and neutral tones is hung on a white wall. Another painting is visible in the background with bright yellow and orange hues.] -
Abasement #73. Performance documentation, November 4th, 2024, Artists Space. Photo: Joshua Wildman. [Image of a performer on stage in a yellow shirt and baseball cap playing the drums. They are facing an audience. To their right is another performer playing the guitar. The room is dark with red and blue-tinted light.] -
Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a doorstop shaped like a donkey. The donkey carries a bundle of sticks on its back and props open a brown door.] -
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Vidas Perdidas. Installation view, Artists Space, 1989. [A folding wall is erected in the center of a gallery space. Its top features painted portraits of eight people from the waist up. Below them, the lower half of the wall is covered in white, handpainted text on a black background. The text extends onto the floor, and its bottom edge is bordered by a row of votive candles. Behind this wall, other artworks are partially visible.] -
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. ] -
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.] -
Kate Shephard, Paper Bedroom, 2006, Cut paper collage, 13.75 x 10.25 inches (34.0 x 26 cm), Edition of 30. [The image shows a cut paper collage that uses saturated color blocks to define the architecture of a bedroom, including a bed, desk, reclining chair, and other abstracted shapes and figures.] -
The Body Politic. Installation view, Artists Space, 1991. [A black and white photograph of four sculptures resting on slightly elevated rectangular plinths. The sculptures are constructed of metal molded into headless and limbless humanoid body shapes.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Color image of a seated musician playing an oboe into a microphone. The musician is dressed in all black and has medium length black hair. The image catches the musician with their eyes downturned, just a moment before blowing air into the oboe. The musician and the back wall are flooded with a circle of yellow light, in the top corners, the yellow turns into blue. ] -
Shala Miller, Genesis. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color documentation image of Shala Miller's Genesis, 2023. Three monochrome projection panels float equidistantly in a dark room, with vinyls on blacks walls.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Various framed works on paper hang on two facing white gallery walls. Each features small looping ornamental symbols, drawn with pencil within the individual boxes of gridded paper, to form larger shapes and structures. The large work on the right wall features repeated ornamental symbols in gold on pink ground.] -
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Peter Saville, Bespoke archival box with hand-marbled paper and band, 24 1/2 x 20 1/2 x 1 1/2 in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A print of marbled, amorphous forms in blue, grey, and white is centrally intersected by a horizontal orange band.] -
Hannah Weiner circa 1969. Photo by Ira Joel Haber. [A black and white image of a person with dark hair looking to the left with their arms outstretched. In the distance is a dish rack with dishes and a window flanked by cabinets.] -
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Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a wooden cafe chair with green cushion in a gallery space. The chair is placed up against the wall and a set of doors is visible in the background. A television screen rests atop the chair with a cord extending down to an outlet on the ground.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [A glossy black frame surrounds a painting of a man in a grey suit seated at a table. The man is wearing a white earpiece and is leaning forward towards a microphone. His fingers are tented on top of the table in an emphatic gesture.] -
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.] -
It's Just Art, Adrian Piper, April 29, 1981 [Adrian Piper, dressed in black with sunglasses and holding her arms aloft in mid-motion, stands in front of a projected image showing a photo of herself in sunglasses, and a thought bubble that reads, "14. WE DEFEND EACH OTHER / (YOU CERTAINLY DIDN'T COME TO AN ART PERFORMANCE TO HEAR A LECTURE ON CURRENT EVENTS)"] -
[Text superimposed across a deep green and blue image of architectural blueprints depicting both structures and topography. Small white text on the center right side of the image reads, "L.E.FT : SQUATVILLE / 03.09 - 05.01.2004 / ARCHITECTURE + DESIGN PROJECT SERIES." Large yellow text running up the left side of the image and arranged such that it reads from the bottom to the top of the image reads, "ARTISTS SPACE."] -
Julie Mehretu, Mind-Wind Earth Drawings, #4, 2022. Photo: Filip Wolak. [Color image of an abstract painting done on white paper, with black flowing lines running across the composition in various directions, and swathes of colorful paint accenting the background. The lines are blurred, as if in motion.] -
Laurie Palmer, Winter Flush, 1989. [A close-up photograph of a light-colored mushroom with ruffled edges.] -
Bonnie Rycheck. Black and Gray Benches, 1980. [A black and white image of a black bench with two distinct black drapery on both sides behind it.] -
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[An abstract pixelated artwork in pastel tones.] -
Keeph, Artists Space construction site no. 2, 2020, digital photograph [One figure is looking at the ground with their back facing the camera and another painted figure appears frontally looking down. They both are around a bright light emerging from below. A black wall covers the right half of the image.] -
[A metal statue is being lifted from its platform by a crane via ropes around its neck and feet. A large building is visible behind it.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A brown and tan object stands on a white base. On the flat surface of the object, an onion and a lemon sit connected by a rainbow wire. In the base of the object, a processing chip is embedded.] -
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Abasement #79. Performance documentation, August 11th, 2025, Artists Space. Photo: Joshua Wildman. [Two performers stand in the middle of a crowd in a darkened basement. A white light emanates from the table in between the performers, which also holds all of their audio equipment. The performers are bent over the table, manipulating the equipment.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of white lettering on a black glossy structure: "SMASH FALSE DREAMLANDS".] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two black display cases in the middle of a gallery space, with clear horizontal glass cut-outs, one taller than the other. Each display case houses a collection of mugs and other ephemera.] -
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Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage, both seated in chairs. The musician on the left plays a violin while the musician on the right plays a guitar that is placed across their lap. Each musician has several pedals placed on the floor that they control with their feet. Two amps flank the pair of musicians. The musicians and the entire stage is cast in a light pinkish purple light emitted from a projector. A design of overlapping circles with a triangle in the center are projected onto the back wall.] -
Laura Ortman performing at the Friends of Artists Space Annual Dinner, 2018. [A close-up photo of a violinist performing in front of several people and a chandelier.] -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black and white abstract painting on a white wall.] -
Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer sitting on a stage. Their right arm is reaching out to the side with their hand open, and their left arm is bent in towards their heart with a closed fist. They are wearing a white dress. Their hair and dress are tined by a green light. The wall and column in the background are patterned with multicolored abstract projections.] -
Selections: Aljira & Artists Space Announcement Postcard [A white postcard with purple text announcing fall 1990 exhibitions at Artists Space, including Selections: Aljira & Artists Space.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Overview of a large black glossy structure built in a gallery. The "bc" logo is visible, printed in white on one of the structure's walls. A TV depicting an abstract, colorful image and the word "EVERYWHERE" is hung on an upright rolling stand, visible through an opening in the structure.] -
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.] -
Portrait of Dorothy E. Roberts [Portrait of a black woman, looking forward with her face resting in her left hand, and her right arm placed on a table. Behind her is a dark grey background.] -
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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [A square painting of a partially nude human figure is visible next to large, orange slug installations attached with black elastic cords onto cast iron columns.] -
Untitled, Taro Quirk, City-As-School high school student, 2021, digital photograph. -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [An audience watches a performance, some are seated on the floor or chairs, while others stand behind them.] -
Students creating prints at International Print Center NY, 2019 [Two people in aprons use a printmaker. One stands in the foreground, using the machine, while the other stands to the left in the background.] -
Kaisa Lassinaro, We (Not I), 2015. [A red, white, and black text logo that reads, "We (not I)."] -
ART CLUB2000 Untitled (Punishing Enforcers of an Oppressive Regime), detail, 1998 Eight printed cardboard standees, satin sashes, and LED lights Image courtesy Artists Space, New York Photo: Filip Wolak [A view of four police officer cardboard cutouts with red eyes in a red lit room. They are wearing sashes that read "Punishing Enforcers of an Oppressive Regime."] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures wearing medical scrubs stand on pieces of red fabric, stretching outwards toward the audience.] -
Tiffany Sia, The Bastard Scroll (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with dark grey walls. Eight photographs and print-outs are hung on the walls, and to the right of them is a wooden bench.] -
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Nayland Blake, Rafts (detail), 2019. Wax and aluminum. 3 aluminum shelves, each: 8 x 20 x 60 inches. 60 wax candles, each: 7 1/2 x 7 x 1 7/8 inches. ©Nayland Blake, Courtesy Matthew Marks Gallery. [A series of candles, each made of layers of red, white, and blue wax, are placed on an aluminum shelf. From the front, the shape of the candles spell out "LOVE." ] -
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.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure reading into a microphone, sitting behind a music stand.] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
Pope.L, Some Basic Problems of Re-Gifting, 2019. Photo: Filip Wolak. [Color image of a bright green cloth-lined box with a bright blue interior, placed on a white pedestal. On one side of the opened box lies a copy of "stories and texts for nothing" by Samuel Beckett. On the top side of the box is a small piece of torn paper.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer manipulates a record while seated at a turntable.] -
Establishing Shot Exhibition Catalogue, Artists Space, 2004. [A grid of slightly distorted portraits; the left side all in black and white and the right side in light blue and white. Arranged along the border between the two colors text reads vertically "ARTISTS SPACE." Additional text reads, "ESTABLISHING SHOT / 03.09 - 05.01.2004 / MAIN SPACE."] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [An orange water dispenser sits on a low metal stool in a gallery space. Encircling the top portion of the dispenser is a round glass table, with a wedge-shaped cut-out removed from its right side. A photo of a woman sits on top of the glass surface.] -
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Yasunao Tone: Region of Paramedia. Installation view (ephemera c. 1970s), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine from above. Various ephemera, including magazines, posters, press releases and photocopied images are placed inside.] -
Cover of Christopher D'Arcangelo, Kunstverein Publishing and Artists Space. Photo: Cathy Weiner. [Scan of the cover and back cover of a book. On the front cover, black text on a white background reads "Christopher D'Arcangelo." The back cover features a black-and-white photograph of a figure doing a headstand, their back facing the viewer. The figure is shirtless, exposing black text written on their skin.] -
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Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures hold medical instruments over a table with a manneuqin and an IV.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak [A color image of a gallery space. A freestanding white wall runs perpendicular into an existing white wall. On the right side, projected onto the existing wall, is a black and white image of a spoon resting next to a bowl of water. To the left of the projected image is a single black frame containing a black and white photograph, hung above a small floating vitrine. Installed in a single row on the freestanding wall, is a series of seven black and white photographs housed in black frames. Behind the freestanding walls, a sliver of window that faces the street outside is visible. Contained within the four transom windows are black and white enlargements of a white man smoking and blowing smoke rings. ] -
[An offwhite poster with black letters framed two bands of a cropped watercolor painting announces a sound poetry festival entitled "Chorus."] -
[An exhibition flyer featuring an image of a small fig tree growing in an interior space. Yellow text superimposed over the image lists the participating artists as well as dates for the opening event and gallery hours.] -
Flyer by Joe Frivaldi. [Magazine cutouts of scattered blocky letters (reading ABASEMENT) and a series of people's heads overlay a light yellow background. A chunk of upside down text lists the performers, as well as the time and place of the event.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [Two figures stand behind a table, setting up audio equipment.] -
Tom of Finland Untitled , 1967 Graphite on paper Tom of Finland Foundation, Permanent Collection [A man wearing only a leather jacket thrusts his pelvis forward as he ejaculates in front of seven enthusiastic men.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a monitor with two chairs in front of it. To the right of the monitor, a photocollage hangs on the wall.] -
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Vivienne Dick. Still from She Had Her Gun All Ready, 1978. [Close-up of the face of a figure with short, light hair. The figure looks downwards. They are illuminated by a dim red light.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
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New Music Circle, St. Louis. Photo: Theo R. Welling [Color photograph of a hand, fingers outstretched and manipulating a group of suspended wires that run across the frame.] -
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Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [A slide projector sits in a dimly lit corner of a gallery space. The device projects an image of rocks and other debris onto a poster hung on the wall, which lists various statistics related to The Letchworth Village, a residential commuinty in Rockland County, New York. A second poster hangs on a wall to the left of the slide projector. A stack of papers rests on a small support below the poster.] -
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.] -
Flyer for Segue Reading Series featuring Dazie Grego-Sykes and Douglas A. Martin. Saturday, October 24, 2020, Artists Space. Artist: Keith Higginbotham [Yellow rectangles with cropped black text are arranged haphardly on a white background. Black text over the top and bottom of the image reads "Dazie Grego-Sykes / Douglas A. Martin," and positioned in the center vertically, black text reads "Segue."] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a figure dressed in black performing in front of an audience in the background. The room is dark, with LED light sculptures made from dried SCOBY in the background. The figure sits on the floor, looking off to the right and holding a mask in front of their face.] -
Individual self-portraits, Untitled, 2021, collage and sequins on paper -
Robert Gero, Untitled, 1989. Straw, lead, tar, 8 x 11 x 8 inches. [Robert Gero, Untitled, 1989. Straw, lead, tar.]
