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Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [A close-up color image of a drummer captured in the middle of a performance. Abstracted projections of bright yellow and purple hues are cast against the musician, who looks out at something out of view.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down on one knee, placing their hands on top of a table made of wood and fresnel lenses while audience members watch in the background.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Three figures perform in a basement. On the left a figure in a blue morph suit wears a pair of wings made of fresnel lenses. On the right another figure in a blue morph suit stands behind a rolling table made of wood and fresnel lenses. Another figure to the far right takes video footage.] -
Clocking Out: Time Beyond Management. Installation view (Simon Gush, Sunday Light, 2013 / Without Light, 2016; Victor Masayesva Jr., Itam Hakim, Hopiit. 1984; ektor garcia, portal DF/SF, 2021; ektor garcia, textile bronceado, 2023), Artists Space, 2023. Photo: Greg Carideo. [Photograph of a corner of a basement gallery space with large columns along the back. Behind the columns are benches placed in front of video displays. On the right is a CRT TV monitor, and to the left is a projected video.] -
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Richard Hawkins, Sarrasine 3, 2013, Archival pigment print on Sunset Cotton Etch 285 gsm with collage element on Hahnemühle Photo Rag 188 gsm, 19 x 16 inches, Signed and numbered [A photo and drawing collage featuring the image of a man in contrapposto with a phone to one ear. In the background, stairs leads into an arched passageway.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two white walls are suspended on six vertical poles and are arranged so that they form a right corner. A large grid-like composition composed of many small squares is mounted on the left wall. On the right wall there are many photographs and printed video stills either mounted in grid patterns or one above the other.] -
Exterior of exhibition invitation. International Art Exhibition for Palestine. Beirut, 1978. Courtesy Mona Saudi. [A flyer with an abstract, colorful artwork on the left and exhibition information on the right.] -
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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 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.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A performer stands on stage, operating a sound system. The performer and the wall behind the stage are illuminated in red light.] -
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.] -
Immanent Madness. Installation View. Artists Space, 1985-86. [A drawing of a multilayered circle. The inner circle reading "Imminent Madness", the second layer reading " academies, forest, huts, villages, cities," and the outer layer reading, "pleasure, luxury, neccesity, utility, comfort."] -
Cory Arcangel, $10 Applebee’s Gift Card, 2013, Plastic gift card with $10 value, 2 x 3 in 5 x 7,6 cm, Signed and Numbered [Gift cards features Applebee's branded logo of a red apple. Verso of the card shows the apple design with an American flag and says "THANK YOU"] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls as guests enjoy the exhibition opening.] -
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The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A room with white walls, with two windows on the back wall with shades pulled halfway down. The wall to the left of the windows has three framed photographs, and a white plinth with a glass top. In front of the windows, a television on a low table faces sideways toward a low black couch. On the far right side, a protruding corner of a wall has white text projected on it reading "cupholder mount vaio."] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the guitar sitting down, while another figure stands behind him playing the bass.] -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A color image of a gallery space features two shovels, standing upright on pedestals, a radiator sitting on its side; In the forground, a divining rod attached to a pedestal is placed on the floor.] -
Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [A close-up icolor mage of a musician playing the guitar. Red light cast onto them. A disco ball hangs from the ceiling, projecting white dots onto the room.] -
Gerome Kamrowski. Paintings on the Surface of a Dome, 1960. [A black and white photograph of a large constructed rock dome in a galelry space.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A large red pole with matching brackets stretches from floor to ceiling, holding up an spread of Artists Space's 1987 *We The People* exhibition catalog. To the left of the pole, a brown paper bag with an illustration of an Indigenous man wearing a ten-gallon hat sits on top of a white desk. To the left of the pole, a bookshelf with floating shelves is partially visible, holding many colorful books.] -
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.] -
Guilt for Shame. Performance documentation, August 22, 2013, Artists Space. Photo: Lyndsy Welgos. [A man stands, motioning towards at an LED light sculpture hung on the wall. A woman sits on one of three benches circling the man, and the audience is seated on the floor behind them.] -
Artists Space's locations, 1973-2019. [A stylized map of SoHo and TriBeCa, stretching in latitude from West Houston Street to White Street, and in longitude from Hudson Street/West Broadway to Broadway. Each past location is marked by a red dot, indicating its address and years active, alongside a photo of the space's exterior.] -
[Black text overlays a color-scheme grid background. The text reads: “Jan 13 / isaiah a. hines / Elizabeth Robinson." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure stands behind a microphone and table with audio equipment. They hold one hand over their mouth and the other around their neck.] -
Sydney Schrader [An illustration takes up the whole frame depicting a yellow house with one rectangular door, one square window, and an orange roof. The house sits in an ambiguous space of slanted red ovals without any perspectival grounding.] -
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David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [A vitrine and a gallery wall are parallel in the bright gallery space. The vitrine displays books of different sizes opened to various pages. On the wall, four black and white photographs hang vertically in sequence. ] -
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:"] -
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Milford Graves: Fundamental Frequency. Installation view (Movements in the Snow, 1990, Herbal Chart, c. 1980), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a floorbound television monitor, showing a figure in a snow bank. Above is an annotated drawing of a human figure.] -
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Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 29, 2022, Artists Space. Photo: Destiny Mata [Color photograph of visitors standing around a gallery space, conversing and studying the works on the wall.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. [Sixty images with dark backgrounds and a white, pixelated spot emanating from their centers arranged in a grid formation on an indigo blue gallery wall.] -
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[White Xs on an orange background forming an image of 'K.] -
Willie Cole A.R.T. (in the new world order), 1994, Oilstick on framed blackboard, 18 x 24 inches (45.7 x 61 cm), Signed & numbered. [A black chalk board displays various words written in white chalk. The word "ART" in all caps boldly appears as a header and twelve additional words are written below. Four words are crossed out with red chalk.] -
Charlotte Posenenske. Configured by the staff of Artists Space. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor. The sculpture is modular and hollow and consists of rectangular and triangular metal components arranged in a long form that snakes across the ground before arching up and down, forming a large U-shaped archway.] -
DIVA TV Collective, Target City Hall, 1989. 27 min. [Onlookers and news reporters with cameras crowd around helmeted police officers surrounding a graffitied truck.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two monitors are hung on a white wall. On the left, an image of a man crouching in a room with a chair sitting on the ground behind him. On the right, a purple, pink, and red graph is displayed next to a column of indicating numbers.] -
Flyer for Segue Reading Series featuring Brenda Iijima & Simone White. Saturday April 17, 2021, Artists Space. [A conical shape extends from a planet on the right side of the image towards a glowing orange sphere to the left. This basic image is repeated directly below with slight variations. The image is overlaid with text that reads “the segue reading series and artists space / present / Brenda Iijima / Simone White / saturday, 4-17 / 5pm eastern / $5 suggested / zoom id: 830 2698 4031."] -
Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [The audience faces the stage in the background, next to a projected graphic of an psychedelic-style eye and a red exit sign. The backs of two musicians are blurred in the foreground. The musicians are lit with soft blue and green lights. The room is dimly lit, and audience members are also tinted with multicolored lights.] -
[Several students stand around a large desk working on mixed-media artworks. One reaches for something from another student towards the camera.] -
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Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a wire. In the base of the object, a processing chip is embedded.] -
Baskets. Installation view, Artists Space, 2006. [A series of amorphous, basket-like objects sit on a series of plinths of varying heights in a gallery space. Two additional scultural forms composed of sticks and grasses, as well as metallic materials, hang from the ceiling behind the plinths.] -
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Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996. [A person looks at several sheets of paper with text and black and white photographs mounted on a wall. Hanging just above the papers is a sculpture of a human head with blonde wig.] -
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Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A sculpture of a man holding a book is leaning against a column in an empty, open room. He is wearing a purple shirt, patterned blue shorts, and is crossing his legs, wearing white sneakers.] -
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Photo: Ben Tran -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure leans down and places a beer can on the stage.] -
Yasunao Tone: Region of Paramedia. Installation view (ephemera, c. 1980s), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine from above. Various ephemera including press releases, photographs, and notes are placed inside.] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [Portrait view of solo performer, next to a small suitcase opening to show light bulbs and several small wires. The wall behind performer shows the lights from and the shadow of a disco ball. The performer has thick red lipstick and an eyeball on top of their head amidst long blonde hair.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a reed organ with a sheet of clear plastic falling off the organ, and a block of ice fallen on its side on the floor of a black stage.] -
Poetry Class: Writing As Flow, 2024 -
[Dark blue text overlays red-pink background. The text reads: “February 11 / Felix Bernstein / Whitney Claflin." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [Two dynamic images of a group of individuals pinned by large push pins on a green gallery wall.] -
Flyer for Segue Reading Series featuring Will Alexander & Mei-mei Berssenbrugge. Saturday, April 10, 2021, Artists Space. [Two hands hold an orange ball against a light orange background. The image is overlaid with text that reads, "the segue reading series / & artists space / present an online reading by / Will Alexander / & / Mei-mei Berssenbrugge / saturday, 4.10.21 / 5pm nyc time / $5 suggested donation / zoom id: 830 2698 4031] -
Malachi Sherrill, from Dogs portfolio, 2020, digital photograph [Two dogs face each other at an angle on eggshell colored sand.] -
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Untitled (Dealers in a round table dialogue, Basilico Fine Arts, July 18, 1996), 1996 Duratran lightbox 3 x 8 feet Image courtesy Artists Space, New York Photo: Filip Wolak [A lightbox displaying a group of sitting and standing individuals. Behind them is a wall of small photographs and artworks.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A sculpture of a man holding a book is leaning against a column in an empty, open room. He is wearing a purple shirt, patterned blue shorts, and is crossing his legs, wearing white sneakers.] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays a stringed instrument while wearing a suit adorned with multiple appendages and colors. The suit obscures the performer's face and body, revealing only an arm. ] -
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.] -
On Being an Exhibition. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [The interior of a Soho loft space with a wooden front desk to the right. Two neon quotation marks hang behind it. Within the room there are empty wooden shelves, wooden benches, and a rough-hewn wooden enclosure at the far end.] -
[Several students listen to a woman speaking, while standing in an exhibition space. Several materials are arranged in a vatrine and several framed artworks hang on the opposite wall. Behind the students are large open windows opening to a cityscape, and one of the windows has the word "PRINT" in large back letters] -
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.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A figure faces towards a microphone and red light, playing some sort of instrument that is out of focus.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of two figures performing in a dark gallery space, lit only by an installation of LED lights covered in dried SCOBY material. One figure wearing black leans down in front of one of the LED lights. Partly hidden behind a column, another figure stands wearing a red suit.] -
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Americo Rossi, Untitled, 2021, digital photography -
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Tilo Schulz, Remake Performance, Artists Space, 2004. [Two men walking inside a large inflatable sphere being followed by a crowd of people, some who are filming them, outside in a grassy and paved area.] -
Min Joong Art. Installation view, Artists Space, 1988. [Several people seated on a couch watch a monitor set on a pedestal in front of them. A large speaker is placed to the right of the screen, and on the wall alongside this are two rows of black and white photographs.] -
Poster from polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [Black, rounded text on a white background reads left, "galerie h, hannover, alleestrasse, gh;" right, "POLKE/RICHTER, Pop?, Kapitalistischer, Realismus?"] -
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.] -
Young Fluxus. Installation view, Artists Space, 1982. [A couch is visible in the center with drawings, banners and paintings surrounding it in a white-walled gallery space.] -
Individual self-portraits, Untitled, 2021, collage and sequins on paper -
[Black text on a grey background. The text reads: “Feb 14 / Paul McMahon / Linda Mary Montano.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure in side profile studies sheet music placed on a piano.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Tiffany Sia: Slippery When Wet. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a long rectangular table and chair in the background. In the foreground is a bookshelf with a row of books with silver covers.] -
Scavenger Hunt, Serena Booth, City-As-School high school student, 2021, digital photograph. -
Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Several sculptures and models sit in a gallery space with wooden floors. To the left of the image, there are several shining metalic forms supported by long, spider-like legs standing at hip height. On the image's right is a large model of a futuristic building. Hanging from the ceiling behind the metal sculptures is a shiny, white rectangular sculpture with sleek, ribbon-like forms.] -
Tom Murrin, Johanna Went, 1985. Acrylic on foam core, 14.75 x 20 inches. Courtesy the artist. Photo: Patty Wallace. [A painting of a person with red hair, cross-shaped earings, and black paint under their eyes.] -
Manuel De Landa, still from The Itch Scratch Itch Cycle, 1976, 16mm, color, sound, 8 minutes. [A color image of a man and a woman standing facing each other. The man in the red shirt, with his back facing the viewers, points to himself; the woman in the blue top puts her hands on her hips and stares back at the man. A reflection of the man's irate facial expression is cast on a glass surface, overlapping onto the woman's body.] -
rio nagaoka, Untitled, 2025. Steel, electrolytes, urine, human body. Photo: Carter Seddon [A human-sized steel box stands in the room, lit by white light from above. The box rests on metal supports, and a plastic tube protrudes from one side.] -
Daniel Tilsdale. Still from Contacts, Ponytails, Noses and Bleach, 1988. Graphite on Xerox (presented in slide format). [A close up black and white image of a slide projection with two figures.] -
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 close up of low windows on a brick facade covered in layered black and yellow film.] -
Shala Miller, Modern-Day Sisyphus I, 2023. Courtesy the artist [Black-and-white print featuring multiple photographs of a naked body, spotlighted against a black background and collaged together. Flashes of white light across the print obscure parts of the image, bringing the body in and out of focus.] -
Renee Gladman, Untitled (Moon Math), 2022. Pigment, oil, pastel, 30 x 44 inches. Courtesy of the Artist [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.] -
Brad Kronz, Forces at Work II, 2025. Woodel stool, felt, subwoofer, acrylic, wood, fabric, paper, board, screws and bolts, mc cable, leaves. Photo: Carter Seddon [A large speaker rests on a small wooden stool. To the right sit two abstracted black box-like objects. ] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery space. A free-standing wall sits in the middle of the space, holding framed CDs, a projected image of a man and a truck, and an audio device. On the floor in front of the wall sits a television monitor.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs stand on pieces of red fabric, stretching outwards toward the audience.] -
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Barbara Steinman, Of a Space, Solitary/Of a Sound, Mute, 1989. Installation view, Artists Space, 1989. [Two rectangular works are hung next to each other on a wall. The left is solid grey, the right is a photograph of an outstretched forearm against a black background.] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a corner of a gallery space. On the left wall are two black-and-white photographs, and on the right wall is a black-and-white silhouette of a figure smoking. In the corner, a television monitor sits on a shelf.] -
Social Surfaces. Installation view, Pearl River Mart, 2017. Photo: Ron Amstutz. [An opened case, with camera equipment resting inside gray foam, is displayed in the center of a room. A large black and white painting with text is hung on a wall underneath a hanging sculpture. In the background, individual papers of beer logos are displayed behind glass, stretching across two connecting walls.] -
[White text overlays a green and pink marbled background. The text reads: “April 1 / Fiel Guhit / Tianyi Sun." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Close up of an artwork that consists of a white, rectangular canvas with a black and white image of a planet with a swirling, cloudy atmosphere. Directly below, a shelf made out of worn wooden planks supports several rough, oval and square shaped 2D cutouts that are arranged next to one another. A strip of wall behind the shelf and two "leg" like shapes below it have been gouged out of the gallery wall, revealing insulation and building supports.] -
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.] -
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.] -
[Bold, black text of varying sizes arranged in a rectangular block on a white background reads, "TREAT A COMPLETE STRANGER / AS A LOVER, HUG THEM / AS GOOD FRIENDS, AS THEY ARE / OR AS 10 YEARS AGO YOU MIGHT HAVE HAD / FABULOUS SEX / WITH ABSOLUTE ABANDON / WITH THE SAME STRANGER. / NOW LIFE IS RAVAGED / AND WE OFFER LOVE FROM THE SAME ROOT OF BOUNDLESS / COMPASSION."] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Four abstract sculptures constructed from neutral-toned materials are displayed atop white virtrines. Three more sculptures are hung in a row against a white wall.] -
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Friends of Artists Space Annual Dinner, 2017. [A photo of a room full of people seated at three long, rectangular tables. Each table has numerous glasses of wine, sparkling water, candles, and empty plates of food. In the foreground, people are talking to each other and smiling.] -
Wade Guyton, Kathy Halbreich, Andy Robert, Joan Jonas. Photo: Joshua Wildman [A group of people sit around a circular dining table. Wade Guyton and Kathy Halbreich are on the far left side of the frame. Andy Robert and Joan Jonas face each other and are mid-conversation. Robert wears a diamond-patterned sweater, black jacket, and black, red, and yellow striped beanie. Jonas wears a black jacket over a blue blouse with small red polka dots and scalloped edges, and her hair is held out of her face with a decorative clip.] -
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Performance at Artists Space, 1980s [Five people dressed in white, carefully looking down and stepping around an otherwise empty room.] -
Jenny Snider. It's a Sin to Tell a Lie, 1985. [A painting of two figures, one in the foreground and the other in the background. Towards the top of the painting reads, "IT'S A SIN TO TELL A LIE".] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure in an orange and white-lit space, leaning forward slightly to adjust a dial on a piece of audio equipment.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Close up of an illuminated white curtain, which reveals small, delicate embroidery of various flowers and herbs.] -
Nuestro Reflejo, Threads of History exhibition, Morris Jumel Mansion, March, 2025 -
Theresa Hak Kyung Cha, Exileé, 1980. [Black-and-white photograph of a projected image of shadows against a wall. In the center of the wall a bright light shines through a rectangular cut-out.] -
Wesley Kimler. Funeral Party II, 1985. [An abstract painting with the appearance of two faint human faces emerging from the imagery.] -
Flyer for Segue Reading Series featuring Lila Zemborain and Justin Allen. Saturday, December 4, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Lila Zemborain & Justin Allen." The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday December 4 - 5pm, 11 Cortland Alley + Zoom". The image of a 5 dollar bill is placed within the text.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement with various sculptures made of wood and fresnel lenses placed around the space. Contact microphones are attached to the fresnel lenses and audio wires wrap around the floor. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
John Salvest, Cipher, 1989. Wood, brass, plexiglass, alphabet noodles, 80 x 24 x 6 inches. [A narrow, white door with the number "0" on it is partially open against a white wall, obscuring what is behind it.] -
Art Day at P.S. 140, What is the Sound of Water? Community reception, June 17, 2022 -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A group of figures dressed as firefighters spread out a tarp. Behind them is a cardboard set illustrated to look like a fire.] -
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.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of the Hamdan vs. Rumsfield Supreme Court Case.] -
Nandi Loaf, WÜNDERBAR, 2025. Artifical tree (monument), custom 4-4-0 model locomotive + semi-autonomous rail system, re-routed grid hardware, ornaments, site-specific electrical circulation. Photo: Carter Seddon [A black Christmas tree stands in the room, adorned with white twinkling lights. A black toy train circulates around the shiny black base of the tree.] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [Color image of two performers sitting on a stage, with a variety of musical gear between them. The backs of heads from audience members observing the performers can be seen at the bottom of the image. A pinkish-red spotlight illuminates the dark performance space and the individuals on the stage.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage. The stage and wall behind it are bathed in blue, patterned lights.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A red, glowing neon light installed on a gallery wall just above eye-level is visible through a doorway opening in a white-walled space. To the left of the opening is a block of faint text on the gallery wall.] -
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.] -
Portrait of Milford Graves, New York, c. 1987. Photo: Lona Foote. Courtesy the Photo Estate of Lona Foote [A black-and-white image of a man sitting on his knees with two African drums placed in front of him. His head looks downward while his left-hand hovers above the drums. His right hand firmly holds the side of a shaker instrument.] -
Shala Miller performs Genesis: Medley. Performance documentation, May 11, 2023, Artists Space. Photo: Roy Baizan. [Black & white photograph of one side and the entrance into a gallery room. The walls are painted black, and at the corner of the entrance stands a performer singing into a microphone stand. Around him and along the wall audience members sit on the floor or stand.] -
Adjua Gargi Nzinga Greaves, Autotelemachy, 2017. Collage, 59 x 68 inches. Photo: Filip Wolak [A collage of eucalyptus sprigs, other plants, and human figures attached to a framed map.] -
Tiffany Sia, In Plain Sight (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with eight photographs and print-outs hung on the walls next to a wooden bench. In the foreground, there is an orange LED light on the floor.] -
Carolyn Lazard: Two-way. Installation view, Artists Space, 2025. Photo: Greg Carideo. [An exterior view of a gallery with white neoclassical columns and a row of three glass doors. Inside the gallery is a bright red wall with large white text: the text is partially obscured by the building’s columns and doorways.] -
Jenny Holzer. Poster, 1982. [Pickle green background with black text that reads, "CHANGE IS THE BASIS OF HISTORY, THE PROOF OF VIGOR. THE OLD IS SOILED AND DISGUSTING BY NATURE. STALE FOOD IS REPELLENT, MONOGAMOUS LOVE BREEDS CONTEMPT, SENILITY CRIPPLES THE GOVERNMENT THAT IS TOO POWERFUL TOO LONG. UPHEAVAL IS DESIRABLE BECAUSE FRESH, UNTAINTED GROUPS SEIZE OPPORTUNITY. VIOLENT OVERTHROW IS NICE IF THE SITUATION IS INTOLERABLE. SLOW MODIFICATION IS EFFECTIVE BECAUSE PEOPLE ARE TRANSFORMED BEFORE THEY NOTICE AND RESIST. THE DECADENT AND THE POWERFUL CHAMPION CONTINUITY. "NOTHING ESSENTIAL CHANGES." THAT IS A MYTH. IT WILL BE REFUTED. THE NECESSARY BIRTH CONVULSIONS WILL BE TRIGGERED. ACTION WILL BRING THE EVIDENCE TO YOUR DOORSTEP."] -
Min Joong Art. Installation view, Artists Space, 1988. [An image of an exhibition space with multiple walls in the foreground and background displaying art work.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Three screens and a metallic sculpture are installed in a gallery space with wooden floors. The three screens are arranged next to each other, with the screen closest to the viewer displaying a series of figures with three bright forms attached to their torsos. The other two screens show increasingly blurry renderings of the same image. To the right of the screens, a tall, shiny and metallic sculpture sits on the gallery floor. A pocket-sized image of a figure is pasted to the sculpture's left sides.] -
The Library of Helen DeWitt Kitchen view, Courtesy Helen DeWitt. [Several books of different sizes and colors rest on the floor. The floor molding is visible in the bottom right frame.] -
[Red background with white text and border which reads: "DUMP THE FINE ART OF GENTRIFICATION," with the Decolonize This Place logo positioned underneath.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of two men sitting at a worktable that holds various musical and electronic equipment. In the background, various audience members sit and observe the performers within a dimly lit space. Yellow projections shine on the wall behind the performers along with blue and pink spotted lights.] -
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Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An image of a hand holding a yellow golf ball projected onto the wall of a dimly-lit gallery space. Several square holes have been removed from several spots on the gallery wall, through which a space on the other side of the wall is visible.] -
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Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays the violin on stage. The stage and the wall behind it are bathed in orange light. ] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure kneels down on all fours on the stage, setting up audio equipment. Blue and red lights are cast onto them.] -
[Black text overlays a color-scheme grid background. The text reads: “Jan 20 / Bahaar Ahsan / Uche Nduka." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs gaze into the distance.] -
Friends of Artists Space Annual Dinner, 2018. [Three people posing and smiling for the camera in front of a small crowd.] -
Friends of Artists Space Dinner 2024. Wade Guyton, Kathy Halbreich, Andy Robert, Joan Jonas. Photo: Joshua Wildman [A group of people sit around a circular dining table. Wade Guyton and Kathy Halbreich are on the far left side of the frame. Andy Robert and Joan Jonas face each other and are mid-conversation. Robert wears a diamond-patterned sweater, black jacket, and black, red, and yellow striped beanie. Jonas wears a black jacket over a blue blouse with small red polka dots and scalloped edges, and her hair is held out of her face with a decorative clip.] -
[Black text listing the collection's featured. From top to bottom, it reads, "The Defaced Library Books of Kenneth Halliwell and Joe Orton," "edition hansjörg mayer," "Vigilance: An Exhibition Of Artist’s Books Exploring Strategies for Social Concern After an exhibition curated by Mike Grier and Lucy R. Lippard," "The Colin De Land Library," "Everything is About to Happen: An ongoing archive of artists’ books selected by Gregorio Magnani," and "The Library of Helen DeWitt."] -
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.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of three figures dressed in white, embracing each other as they run across an empty basement.] -
Friends of Artists Space Dinner 2024. Executive Director & Chief Curator Jay Sanders. Photo: Jenna Bascom -
Flyer for Segue Reading Series featuring Samiya Bashir and Jasmine Gibson. October 22, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Samiya Bashir & Jasmine Gibson / October 22, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519."] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands facing a black tarp tacked to the wall. A second figure holds a camera, photographing the tarp. An image is projected on the back wall.] -
Theresa Hak Kyung Cha, Mot Caché, 1978. Rubber stamp and stamped ink on postcard, 4 x 5 x 4 in. and 3 ½ x 5 ½ in. Photo: Chris Grunder and Benjamin Blackwell. [A rubber stamp sits to the right of a postcard, against a white background. The design on the rubber stamp reads "mot / caché" in the center, and various other words run along the edges of the stamp. The postcard bears a mirrored version of the stamp's design.] -
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Neraldo de la Paz, Angel, 1982. [A figurine human head and hands appear from an amalgamation of various objections and materials hanging on a white wall.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1981. [Dark photograph of a plywood sculpture in a gallery space.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, 2019. Photo: Daniel Pérez. [Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.] -
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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.] -
Cover of Miyoko Ito: Heart of Hearts, Pre-Echo Press. (Miyoko Ito, Island in the Sun, 1978) [Color image of a book cover, placed against a flat white background. The cover features an oil painting with gradients of red and green that make up geometric shapes which are stacked and placed in varying configurations.] -
Eva Buchmüller selects Bern Nix and his trio. Performance documentation, May 7, 1996, Squat Café at Artists Space. [A man with a bald head wearing wire frame glasses strums an electric guitar by a set of microphones. A potted plant and a large sculpture of a baby with glowing, blue eyes are situated behind him.] -
[A trash can is filled to the brim with various objects including a binder, a circuit board, a film strip, a CD, and stacks of paper forms. Yellow text on a black background reads "Your Trash... / Coul be an Adversary's / Treasure! / Remember / OPSEC / Operations Security."] -
Friends of Artists Space Annual Dinner, 2022. [A color photo of several individuals engaged in festivities and banter within a large reception space. Light and dark red overhead lights shine onto the guests in the event.] -
Executive Director & Chief Curator Jay Sanders. Photo: Jenna Bascom [Jay Sanders stands at a podium in front of a microphone, smiling while mid-speech. Various gala attendees clap from their seats at circular tables arranged around the podium.] -
Catalina Parra, FOSA, 2001. Installation at Mercosul Biennial, Porto Alegre, Brazil. Courtesy Archive, Catalina Parra, New York. [A rectangular pit resembling a mass grave is shown lined with bags of excavated sand. Barbed wire stretches across the pit and a shovel lays to one side. The site of the pit appears to be recreational, with a lake and picnic benches visible in the background.]
