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Group Material: Primer (for Raymond Williams). Artists Space, 1982. [Sculptural white lettering appears on a shelf starting with 'b', but then a figure's torso appears and then the letters "n" and "t". Next to this shelf is a photograph on a wall of a figure touching another person's back. There is an indistinguishable object under the shelf.] -
Theresa Hak Kyung Cha, Other Things Seen, Other Things Heard (Ailleurs), 1978. Documentation of performance at San Francisco Museum of Modern Art. Photo: James H. Cha [Black-and-white photograph of a wall with a large projection of a woman's face on it. To the left of the projection, a woman with dark hair kneels on the floor facing the projection.] -
[A text banner with a warm pastel yellow and green border, which reads "IT CLOSES AT SUNSET", in a rounded-word Art style font. The shadows behind each letter are visible.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. -
[Black text on a grey background. The text reads: “March 7 / Forrest Gander / with Eiko Otake / Jennifer Scappettone.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a glass vitrine containing various archival time-banking ephemera.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [Five projections playing on a wall at different heights. Two are completely visible and three are partially visible. In the center of the image is a black and white projection of a gallery, with a painting placed in between the entrance of a hallway. To its right is a projection of a Jonas Mekas facing left, his face slightly golden in tone, wearing a fedora. A projection to its right partially shows four dark skinned people, nude and posing.] -
Amy Westpfhal, still from The Informational Cookie Project, 2006. [A figure in a white military uniform shirt approaches a group of women on a city street. She holds out a platter of small cookies wrapped in small plastic wrappers to one of the figures, who has taken the cookie, unwrapped it, and reads a small note attached to it.] -
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[White text overlays a color-scheme grid background. The text reads: “Nov 18 / Eileen Myles / Jackie Wang." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
The Library Vaccine. Installation view, Artists Space, 2014. [A seven shelf, white, book case is housed full of various colorful and sized books.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs stand across from each other, with a table with a mannequin on it in the middle.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit stands, their hands on their waist, and looks to the left. A figure behind them films them. Blue video footage is projected onto the back wall.] -
Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A black and white installation photograph of two figures in front of a curved white wall in a gallery space.] -
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Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure stands in front of an orange and blue projection and performs with audio equipment.] -
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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.] -
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[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “April 27 / Stephon Lawrence / Manuel Paul López.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging in a white-walled gallery space.] -
Aristotelis Nikolas Mochloulis, Frog Man & Baby Frog, 2025. Michigan J. Frog plushies, miniature directors chairs, ARRI 150 Junior light, Manfrotto Nano light stand, speakers, audio excerpts from movies. Photo: Carter Seddon. [Two pieces of wood are joined to create a miniature stage set. In the center, sitting in a miniature director's chair are two cartoon frog plushies wearing black top hats. The larger frog plushy cradles the smaller frog in it's arms. Two more director's chairs are positioned facing the plushies, along with a miniature stage light and stand that shines a spotlight on the plushies.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of the enterance into the exhibition. A sign reading: "J.D. Grocery" is placed above a doorway. A wooden awning meant to look like a roof of a building goes across the width of the partition wall. The doorway is flanked by a cardboard fire hydrant and a box television on a small wooden chair. Through the doorway, three bar stools and a bookshelf with books and home goods are visable.] -
New Art Auction and Exhibition. Installation view, Artists Space, 1977. [A black and white installation view of a gallery space with windows and a doorframe. Several artworks hang from the walls.] -
Flyer by Joe Frivaldi. [Magazine cutouts and printed images overlay a colorful background with red, white, blue and yellow pieces collaged together. A cutout of an eye is placed in the center, and to the right of it is text that reads "ABASEMENT 66." Along the bottom right is a cutout of yellow paper has handwritten text in red ink, listing the performers and date of the performance.] -
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.] -
Still from Werner Schroeter, Maria Callas Portrait, 1968 [A black-and-white photo of a woman wearing a large black hat, holding her hand loosely to her neck, against a black background.] -
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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 on the floor of a dark room. The figure has one leg raised in the air, shining a light from their pelvic area onto the floor and wall across from them. A small TV monitor sits in the corner.] -
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Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls as guests enjoy the exhibition opening.] -
[Pink cursive text at an ascending angle which reads "Undoolay," with horizontal green text underneath that reads "Lucas Duwenhogger."] -
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.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure in a red sweater stands on stage, with three microphones placed around them. They hold a white conch shell in their hands, their mouth is open.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [A large gallery space houses a variety of plinths made of MDF atop of which are placed various archival documents and objects, such as exhibition pamphlets and art historical journals. ] -
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David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [In an open gallery space, three vitirnes stand surrounded by walls displaying large color photographs with thick black borders. The inner display of a vitrine reveals smaller color photographs.] -
Allan Berliner, still from Intimate Stranger, 1991. [Black and white image of four men resting near a large, rigged tarp providing shade on a beach. Three of the men sit and recline on the sand, wearing white button-down shirts and trousers. The fourth man wears a hat and stands behind the men.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Two glass display cases holding ephemera sit on either side of a tv monitor, on the wall are four black and white contact sheets.] -
Attention Line. Installation view (masks, scripts, and videos by Tom Murrin, c. late 1970s-2000s), Artists Space, June 11, 2022 - August 20, 2022. Photo: Filip Wolak [An image of a wall mounted with various colorful masks and cardboard paintings. Below them is a glass display case.] -
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[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “April 13 / Alexis Almeida / makalani bandele.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A line of people marching forward hold up signs reading "replace frony" and "Keep 1st amendment, stop helms," among other phrases.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A group of figures dressed as firefighters spread out a tarp. Behind them is a cardboard set illustrated to look like a fire.] -
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[A sculpture of a man holding a book, right leg crossed over left, standing, against a white background. He is wearing a purple shirt, patterned blue shorts, and white sneakers.] -
Marvin Torffield. Sesondo, 1974. Three coat plaster on wire lathe with nova ply and Masonite. Installation view, Artists Space, 1974. Credit: Marvin Torffield. [A color installation photograph of a figure in front of a curved white wall in a gallery space.] -
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Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of small photographs with wide white matting, affixed in a grid formation on a wall in a gallery.] -
Abstruction. Installation view, Artists Space, 2003. [Several artworks installed in a large gallery space with white walls and wooden flooring. A television monitor rests on a low acrylic box on the floor to the room's right side. A warped purple and pink image resembling a kaleidoscopic star shape is displayed on its screen. There are white columns to the left of the monitor. Hanging on a gallery wall on the image's far left side is a large piece of translucent, white cloth embroidered with amorphous red and blue linework. The far gallery wall behind the twinned columns has been painted with slanted, striped areas of peach, yellow, and ochre color.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two screens are mounted, one above the other, on two metal poles. They show a single image split across the two screens of a black fabric with white dots, zigzags, and lines. In the background, there are two more screens mounted vertically on two metal poles. They show a black image with white light spots.] -
Kelly Poe, Untitled (Chaemaea fasciata, Wrentit caught in mist net. Monitoring Avian Productivity Survivorship, Canada Gobernadora, Rancho Mission Viejo, California), 2003. Courtesy the artist and Anna Helwing Gallery, Los Angeles. [A small grey bird with its head and feet caught in a net.] -
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Jutta Koether, xxapollo. Performance documentation, Artists Space, January 5, 2020. Photo © Paula Court. [A person dressed in all pink grips a heart-shaped canvas in front of her, while her eyes look past the camera. She is surrounded by rapt audience members behind her. There are light spots reflected at even intervals patterning the room.] -
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.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A dimly lit, empty room filled with several low chairs. A projection illuminates a dark wall opposite the chairs. The projection displays an image of a figure, their index finger blotted purple, inserting a document written in Arabic into a machine.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Doll sculptural objects appear with text in the background while cases can be visible in the foreground with items behind glass in a white-walled gallery space.] -
Sarah Morris, still from Strange Magic, 2014. REDCODE HD digital video, 45 min 8 sec. Courtesy the artist. [Close-up of a bottle of golden Dior perfume decorated with a black bow resting on a white surface.] -
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='1500' height='1057'%3E%3C/svg%3E)
Amy Sillman, Turtlenecks, 2007, Archival ink jet on Somerset Paper, 11 1/4 x 17 1/2 inches (28.6 x 44.5 cm), Edition of 17, 10 AP, 1 BAT, Courtesy the artist and Sikkema Jenkins & Co., Printed by Jean-Yves Noblet Contemporary Prints. [The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left] "When did you get here?" [below figure on right] "Are you going to Basel?" At the bottom, center of the page is written "Turtlenecks."] -
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.] -
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 black and white, portrait photograph of a woman at the beach. She wears sunglasses and has short, curled hair.] -
Installation view at Kaiserstraße 31A, Düsseldorf May 11, 1963 Courtesy Archiv Kuttner, Erkrath Photo: Manfred Kuttner [A black and white image of the back of a chair in front of a man in front of a train car, in which a man exits the door.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two white walls forming a corner in an exhibition space. Displayed on the left wall is a large a photograph of an eye visible through a round hole in a white fabric hood. Displayed on the right wall is a photograph of a figure in a green KKK hood against a black background.] -
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[A red background with white text which reads: "WE ARE NOT TOOLS FOR WHITE-WASHING OCCUPATION", followed by the Decolonize This Place Logo.] -
Show and Tell: A Chronicle. of Group Material. Doug Ashford, Julie Ault, Sabrina Locks. Four Corners Books, 2010. Hardcover, 272 pages. $35 . $120 Signed. at the Artists Space Bookstore [A red room containing a pile of miscellaneous items. Yellow text that reads, "Show and Tell: A Chronical of Group Material, Edited by Julie Ault."] -
Sonic Godiva Music Fest. Performance documentation, November 19, 2005, Artists Space. [An aerial view of a naked woman with long, brown hair riding on a saddled brown and white horse down a cobbled urban street. There are parked cars on either side of her, a single lampost, and a few pedestrians looking on. She casts a long shadow onto the cobbled street.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017); edited by Nina Felshin, But Is It Art?: The Spirit of Art as Activism (Toronto: Bay Press, 1995). [A collage of images including book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," displayed alongside images of protestors holding up banners reading "Decolonize This Place" and a large banner draped across a clocktower that reads, "Free Education to All."] -
Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [A black and white image of three figures. All three of them attentively look to the right of the image, towards the same direction. The figure in the center, holds a ladder, which has a projector taped to the top, with their right hand.] -
Elephant Cemetery. Installation view, Artists Space, 2007. [A wide wooden worktable sits in a gallery space with various models, books, and papers displayed on its surface. One of the models located closest to the viewer is yellow and has an amorphous shape. A series of black and white photographs of buildings hang on the wall to the right of the table.] -
SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [In front of a large colorful projection, a figure wearing headphones around their neck leans down over musical technology.] -
Flyer for Segue Reading Series featuring Julian Louis Phillips and LA Warman. February 26, 2022, Artists Space. [Black text overlays a blue background. The top left corner reads: Julian Louis Phillips / LA Warman. The middle reads: Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “Saturday, February 26, 5pm / Zoom ID: 893 9594 7519 / Suggested donation $5."] -
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.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A bedroom scene set up in the middle of an open room. There is a beige rug, with a chrome lamp and matching bed frame. The bed has blue sheets with a dark blue comforter cover and a red blanket. There is a wooden chair facing in, and a brown table with assorted bottles on top. On the far side of the bed is a coffee machine, microwave, and television. In the background, various framed images are hung on white gallery walls.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color installation view of a gallery space. On the left wall are six black and white photographs and a television monitor positioned on the floor. In the background, another wall-mounted television monitor is visible along with a large wall hanging and two sculptures. The space is bisected by three dark columns.] -
Drake Carr: Housecalls. Performance documentation, September 9, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. [A color image of a white wall with two windows with black and white curtains with pink flowers. Through the right window, a figure is seen sitting on a chair. Through the left window, a figure is seen standing in front of an easel with a canvas, holding a color pencil.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of a gallery space with a painted drum set, a hanging gong. A television monitor is placed on the floor to the right with several LP covers hanging above.] -
["We (not I)" typed in red, black, and blue serif font.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Kaiserstraße 31A (1963),” Artists Space, 2014. [A wall-sized, black and white photograph of chair and man in front of a train car is adjacent to an angled wall displaying photographs and documents behind glass. In the right hand foreground is a 35mm projector.] -
Constantina Zavitsanos, Ace of Spades (detail), 2024. Z interferometer: two aluminized 6" diameter spherical mirrors, LED illumination source, knife edge on mounts; soldering iron, fan, infrared light, steel tables. Dimensions variable. -
[White text on a bright fuchsia background. The text reads: “Oct 11 / Mónica de la Torre / Rodrigo Toscano.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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.] -
Shani Strand, R.I.P. He Deserves It, 2026, 10 min 32 seconds, Video and sound. [A figure in clown makeup, a black leotard, and polka dot tights jumps through the air against a dark background from which a few lights emerge.] -
Group Exhibition. Installation view, Artists Space, 1981. Photo credit: Anne Turyn. [Three figurative paintings hang side-by-side in a white-walled gallery space.] -
Enough Tiranny. Installation view, Serpentine Gallery, 1972. [A black and white photograph showing a room filled with various standing lights and assorted objects sitting on the floor. Two people are standing, their outlines casting shadows on a white wall with the word "TIRANNY" handwritten in large, block letters.] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
Michael Kalil, an analytical study for Osmotic Membrane (detail), 1986. [Drawing of a globe figure bisected with long vertical rectangle, overlaid with line grid.] -
Abasement #83. Performance documentation, January 5th, 2026, Artists Space. Photo: Joshua Wildman. [An audience observes two performers playing a keyboard and a bass on stage. The performers are seated at an angle towards each other, and the stage is bathed in orange light and blue cloud-like patterns. ] -
The Oath. Dir. Laura Poitras. 2010. Courtesy Zeitgeist Films. [Foregrounded military tents with a pink sky in the background.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Two TV monitors installed in a gallery space with wooden flooring. One monitor is installed in the image's foreground on a white plinth and displays an image of a figure walking along a sidewalk. The other monitor can be seen through a hallway at the image's center and is installed on the gallery wall. A third video plays on a gallery wall on the image's right side, showing an image of two hands.] -
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.] -
Cave of Animals, Listening Room project, May 2024 -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement window that has been tinted with blue paint, streaming in blue light.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A man holds a photograph up to his face with a microphone directly in front of him.] -
Duane Zaloudek. Untitled, 1983. [An image of a wooden chair next to a wooden desk with a frame being prepared on top of it. They are placed on a wooden floor against a white wall.] -
Charles Harbutt. East Liverpool, Ohio, 1984. [An image of a town setting with advertising on a building that reads, "Crook's Easy Terms of Credit" in white letters on black background on the left and "Crook" in large white letters with white background on the right. Telephone poles and lines can be seen in the image as well. Store names "Pietche's Print & Paper Place" and "Tile Town" can be identified on the two building adjacent to one another.] -
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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.] -
Jael, Pizza, 2022, acrylic on paper -
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The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A clay sculpture of a person, outstretched on a sofa, with miscellaneous items around them, is displayed on a wooden floor.] -
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Jim Pavlicovic. Installation view featuring Jim Pavlicovic, from Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white photograph of a figure standing in a gallery space, looking towards the camera. On the wall behind them, several canvases with no discernable markings hang.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures holding a mannequin look at a projection on the wall.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [Color image of a darkened gallery space with three sculptures. On the left, a pinhole projector wrapped in foam and bound with red string sits on a pedestal. It projects an image of an ornamental golden metal pin and four small pink and green strawberries onto the left wall. A golden egg sculpture sits on the floor in the corner of the gallery. To the right, another pinhole projector inside a plaid vinyl bag with straps sits on a pedestal. On the right wall, an image of a green square with a small crenellated metal opening to the upper left, is projected.] -
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".] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A detail shot of a larger photo collage work featuring 20 identical images in a grid that have been altered with black, yellow, or white paint to vary the scene presented of a man opening up the hood of a car.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two portrait-oriented screens are each mounted on two floor to ceiling metal poles. The screens face outward at a 90-degree angle to each other and show abstract images.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in all white, dancing in a corridor bathed in red light.] -
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.] -
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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.] -
Installation view from Six Sculptors, Artists Space, January 25, 1986 - February 22, 1986. [In the foreground lies a silver sculpture with varying levels and in the background is a table with a checkered design on top. An image stands on that table and a stool can be seen behind it.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A wide shot of a gallery space with wood floors and large windows. In the foreground is a screen mounted on two metal poles on a wheeled base. In the midground, there are two screens mounted on floor to ceiling metal poles arranged at a 90-degree angle to each other. In the background, there is another screen just visible from behind a white column.] -
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Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A transparent cone-shaped structure set in a bare room with wooden floors. There is a small hole in the wall just behind the structure.] -
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Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on stage. The musician on the left is in profile, standing up, while playing the guitar. On the right side of the frame a musician is sitting down, out of focus, playing the drums.] -
[A book cover opened so the front and back are visible. There is a black rectangle with white text reading, "Whose Choice" with a handprint and an illustration of internal organs. Small text at the bottom of the image reads, "...prior to quickening..." / "...suffer imprisonment..." / "...right to privacy..."] -
Welcome to My World. Installation view, Artists Space, 2014. [Five framed drawings hang on white panel, suspended on a wooden frame that extends into and across the room.] -
Salad Days. Installation view, Artists Space, 2004. [A black converse shoe with a white sock. Extending out of the shoe is a white plastic false shin with a metal bone coming out of the top.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure seated behind a white desk. They are using a laptop, open to a computer program page.] -
Konrad Lueg Boxer , 1964 (Boxers) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Daniela Steinfeld [A painting of two boxers engaged in a match. The bodies of both figures are depicted in grey monochrome with colorful attire. The figure on the left wears orange shorts with blue piping while the one on the right wears green shorts with yellow trim. Both are wearing red and white boxing gloves.] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A large, black and white illustration of a hand displayed on a freestanding gallery wall. The hand extends upwards, palm facing the viewer, with tentacle like creatures escaping a slit on its wrist. The illustration extends across the full height of the wall.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[A brown object with a processing chip imbedded in its front sits on a white base. On top of the object, a small potato sits with two wires attached.] -
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 two black leather stools in front of an LED sign crawl of a text.] -
Richard Hollis. Installation view, Artists Space, 2013. [A view of a book stand perpendicular to a wall in which staggered posters are hung. The book stand displays various documents and materials.] -
Oto Gillen, Daisy (Perry Street), March 19, 2023, 2023. Photo: Filip Wolak. [Color image of a large print of a close-up photograph of a fake daisy, with white woven petals and a yellow center.] -
Abasement #79. Performance documentation, August 11th, 2025, Artists Space. Photo: Joshua Wildman. [Two performers are on a stage, batehd in purple light. On the left, a performer plays the guitar and on the right, someone else plays the drums.] -
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[Long metal poles extend downward with several meathooks attached to their bottom ends. Behind the poles is a brick wall painted blue. Capital white letters painted across the wall read, "MEAT."] -
Gary Burnley, Martin Cohen, Candace Hill-Montgomery, Louis Stein, and Haim Steinbach. Contact sheet of photos from exhibition opening, Artists Space, 1979. Photos by Gary Burnley. [Contact sheet of installation images taken during exhibition opening.] -
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The New Normal. Installation view, Artists Space, 2008. [An image of an exhibition space consisting of a mock up bedroom, a bed, table, chair, lamp, television, microwave, and coffee maker sit on a large beige rug.] -
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.] -
[Black text overlays a light gray background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Winter 2025-26 Season / December/January 2025-26 curated by Roof Books: / Lonely Christopher & James Sherry / Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
Nandi Loaf, +, 2025 [On a white gallery wall, a vinyl cut out of a black cross or "plus-sign" sits perfectly in the center.] -
[White text on a bright fuchsia background. The text reads: “Nov 1 / Terrence Arjoon / Laura Henriksen.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Portraits of Peter Osborne and Brendan Harvey. [Portraits of two figures are arranged side-by-side. On the left, a figure wearing a white shirt sits at a table with different objects spread out on its surface, speaking into a microphone. On the right, a black and white photo of a figures bust sits inside a larger black square.] -
[Black text on a light green background. The text reads: “May 2 / Darcie Dennigan / Tess Brown-Lavoie.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
[A graph showing a typical stock price increasing in value, digitally manipulated to show it going back in time and continuing to increase, once above a certain threshold.] -
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.] -
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Tim Doud, 2001. [A painting of a bald man with glasses looking off to the side. He wears a red Lacoste polo shirt.] -
Susan Eder, c. 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A black and white photograph of a figure with long hair. They raise their left hand up to brush away their hair from their face.] -
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.] -
[Black text on a green background. The text reads: “Jan 11 / Charles Bernstein / Sol Cabrini.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Matthew Langan-Peck. Installation view, Au feu rouge, Edouard Montassut, 2024 [Color image of a white gallery space, with three large boxes placed throughout. On the left, one side of a box is shown with a painted landscape of green hills against a blue sky, and a black fence in front of it. In the background, another wooden box is painted with a dark finish, and a pair of headphones are hung on the box. In the foreground, to the right of the room, sits a beige box.] -
Shirley Jaffe. White Begonia, 1986. Oil on canvas, 86x70 inches. [A geometric composition of red, purple, black, yellow, blue, and green flat shapes on a white background.] -
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Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [Close-up color image of a figure with a violin bow on their left hand. A thin, long piece of wood hangs from the ceiling, and the figure is using the bow to play it like a intrument string. The bow and the wood make a cross, which falls exactly in front of the face of a second figure. Also a performer, they are holding a white object in their hands. In the background, audience members. The space is illuminated by red light.] -
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.] -
Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in the corner of a gallery space with white walls and wooden flooring. Two darker, square photographs with large white frames are installed on the corner's left wall, while a lighter photograph of a gate-like structure is installed in a slim black frame on the corner's right wall.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A brick on the bround with black text on it that reads, "No heat." Above this brick in black lettering on the wall is text that reads from left to right, "born brick burn."] -
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Purgatory, Alexander Karpman, Silver Key in Photography -
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Gedi Sibony Animal Scramble, 2013, Archival inkjet print, 14 1/4 x 13 1/2 in / 36,2 x 34,3 cm (image size), 24 x 20 in / 61 x 51 cm (paper size), Signed and Numbered. [Assorted animals, including tropical fish, birds, reptiles, a cat, dog, and rabbit are drawn in black marker on yellow paper.] -
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Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. [Eleven musicians using electronic instruments sit at tables behind a stage. The room is dimly lit with blue lights on the wall. A performer stands on stage facing the musicians with a finger up in the air. In the foreground there are audience members.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation photograph of two sculptures in a gallery space. The sculpture closer to the camera is composed of a human skeleton, and anatomical models of human heads, a brain, and a spine. The sculpture in the background features several monitors, and is topped by a sculpture of an eagle in mid-flight.] -
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. ] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the keyboard in front of a microphone.] -
[Dark blue text overlays red-pink background. The text reads: “March 25 / Ralph Lemon / Tracie Morris." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [A kite hangs from the ceiling of an exhibition space in front of a white gallery wall. Three yellow-toned paintings are displayed at eye level on the wall behind the kite. Three identical paintings depicting an image of a white, tent-like tarp sit at an angle on the gallery floor to the left of the yellow paintings.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A long, cubic rectangle made from suspension wires with a silver, reflective base on a weathered wooden floor.] -
Lee Gordon, Father Reading to Son, 1987. Oil on white lead on canvas, 32 x 40 inches. [An adult sits in a chair and reads a book to a child seated on their lap and holding a doll. The adult wears wears a white, pointed, Klu Klux Klan-style hood.] -
Flipside: Symposium. Program view, Artists Space, 2005. [A circle of people sitting in chairs in discussion. Facing towards them are additional rows of chairs filled with an audience. To the left of the audience, there is a white plinth with a glass top housing several porcelin objects on a red fabric. On the wall behind the circle of speakers, there is a plaid composition featuring red, green, and peach colors.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing behind audio mixing equipment and a microphone in front of an orange background.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging in a white-walled gallery space with a spotlight in center of the image.] -
Heist Divination (fwiw remix). Performance documentation, October 25th, 2024, Artists Space. Photo: Destiny Mata. [Audience members sit and stand alongside a ramp in a gallery. They are facing a performer who is framed in between columns to the left of the image. The audience members are bathed in red light, with a bright blue light coming from under a platform on the floor. The performer is lit with green light and the background is blue-tinted.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [Two performers play stringed instruments on stage while bathed in pink light. The performer closest plays an electric bass. ] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A brown and gold object stands on a white base. On the flat surface of the object sit an onion and a lemon, each connected to a wire. In the base of the object a processing chip is embedded. Under the lemon, a gold earring hangs down.] -
[Eight pieces of paper with text in various languages arranged in a grid.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [Three glass vitrines displaying books, photographs, and other paper ephemera in the center of a gallery space. A film is being projected on the back wall of the exhibition space.] -
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res-168x.jpg)
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res.jpg)
