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Steve Carter, Tile Series (detail), 1994. [A gray cross made from wire on a white background, with a small, red square held in the center.] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [A figure in a blue dress stands behind a white table, they slowly unfold a book as another figure in the audience stands and reaches over to read off of the paper.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with a rectangular shaped sculpture made of a wooden frame with fresnel lenses placed along the top and sides. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure plays a bell into three microphones.] -
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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Abasement #72. Performance documentation, October 7th, 2024, Artists Space. Photo: Joshua Wildman. [Two performers leaning over tables use electronic instruments. The performer in the foreground and a column behind them is bathed in orange light. A single red colored light bulb is visble on the ceiling.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large photo decal runs along the entire length of a long, horizontal wall in a light-filled gallery space with wooden floors. The photo decal depicts a to-scale, warmly-lit domestic space. A wooden chest of drawers, radiators, various shelves, and a low bed covered in a quilt fill the space. A dart board hangs on the wall, along with various paintings.] -
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Beverly Buchanan, slab works, c. 1978–1980. Cast concrete sculptures with acrylic paint. Dimensions unknown. Courtesy the Frances Mulhall Achiles Library, Artist File, Whitney Museum of American Art. [Installation view of several cast concrete blocks arranged on top of one another and leaning against each other, in two groups, standing on a wood floor.] -
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Prince Grace, Of Black, 2021. [Over a black background, “terminology / BLACK** / adj. / 1. Having the very dark color of the night sky or the eye’s pupil / 2. Of or relating to any various population groups of especially African ancestry often considered as having dark pigmentation of the skin but in fact having a wide range of skin colors / 3. Of or relating to Black people / 4. Dirty, soiled / 5. Characterized by the absence of light / 6. Served without milk or cream / 7. Indicative of condemnation or discredit / 8. Heavy / 9. Connected with or invoking the supernatural and especially the devil” is written in white text. Certain words are underlined and appear in grey.] -
The Heart of Your Mother for my Dogs. Performance view, Artists Space, 2009. [A black and white image of a three by four metal grid with plastic-covered white lights on each intersection. To the right of the grid is a figure wearing all black, with a black hat, facing to the wall.] -
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[A black and white line drawing of a person in an art gallery looking at a portrait on the wall. There is another piece on the wall of a person holding a rectangular box and blowing a bubble.] -
Twizzy, Juan Reyes, Silver Key in Photography -
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Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of an audience in a room. Some of them are seated, others in the background are standing up. A bright yellow light is pointing into the camera, creating a dramatic light flare. The wall in the background features an abstract image projection, resembling a piece of shattered glass. The atmosphere in the room is hazy, and white dots of light from a disco ball fill the room.] -
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. ] -
[Close up of the torso and legs of a figure with long hair wearing nylon tights and a blue silk jacket on their bare chest. They are illuminated by red stage lights and appear to stand on a stage in front of a drum set and speakers.] -
[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)"] -
Robert Gero, Untitled, 1989. Sandstone, salt, aluminum, 60 x 9 x 9 inches. [A rectangular column of rough, brown material is capped by a smooth cube of white stone.] -
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Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
Tony Vevers, c. 1976. Painting from Eleanor Magid, Tony Vevers, William White, Artists Space, 1976. [A black and white photograph of an abstract painting with an ovular form in the top left corner and a line on the right.] -
Film Still for Leave Her to Heaven, 1945. [A woman in a white dress with gold bracelets and red lipstick leans against a tree. Her left arms rests on a tree branch, and her right hand is on her hip.] -
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 small drum set lit by a spotlight sits underneath a demolished wall.] -
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Isabelle Frances McGuire, Death of Napoleon, 2024 [Color image of a sculpture of a human body, laying face up, placed on a concrete floor. The figure is dressed in French military apparel and their head rests on a large glittery, red bow.] -
New Red Order with Virgil B/G Taylor Progenerator, detail, 2020 – Ongoing Dibond prints with painted mural, five televisions, flag, plate, Improved Order of Red Men ephemera, and more 40 x 40 feet Image courtesy Artists Space, New York Photo: Filip Wolak [A multicolored wall with a collage of images, text, and tv monitors. A larger than life, sculpted head leans against the wall while beach balls scatter around it.] -
Untitled, Taro Quirk, City-As-School high school student, 2021, digital photograph. -
Charles Long. Installation view of Gnomons' Land, 1987. Film Installation. [A black and white photograph of two projected images emerging from darkness.] -
[William Carlos Williams' poem "For Eleanor and Bill Monahan" written in black text on a white background.] -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [Two performers are on stage, the performer on the left side plays a guitar, and the performer on the right plays a cello. The stage and wall behind it are bathed in blue light, created from projections of a geometric pattern.] -
Louisa Chase. Installation view, Louisa Chase, Ted Stamm, Meryl Vladimer, Artists Space, 1975. [A black and white installation photograph of a gallery space. Placed in a triangle formation around a column, several small objects lie on circular or rectangular mats on the floor.] -
Allora & Calzadilla, Bandage, 2011, Painted cast white metal, 3 x 3/4 x 1/16 in / 7,6 x 2 x .16 cm, Signed certificate. [A small, tan bandage lying face-down on a white background.] -
Robert Gero, Untitled, 1989. Corn, aluminum. [A cube supports an inverted pyramid, both covered in corn kernals, shown on a white background.] -
[A catalogue cover design featuring a black and white illustration of the head of a bear. Large, black serif text above the bear's head reads, "Art's Mouth," while smaller white text positioned underneath the bear's head reads, "May 16-June 29, 1991 ARTISTS SPACE"] -
Brad Kronz, Egna Spartan, 2025. Plywood, wood filler, stain. Photo: Carter Seddon [A smaller wooden panel has been inserted into a larger surrounding wooden square. The woods' grains contrast with slight color variations. ] -
Richard Prince, Oedipus Schmedipus, 1994, Screenprint on white T-shirt Stretched over canvas in white lacquer frame, 25 1/4 x 19 1/2 in (64.1 x 49.5 cm), Edition of 26, Signed & numbered. [The image shows a white t-shirt in a frame with text printed on top in a wavy text that says, "A mother is having a very tense relationship / with her fourteen year old son. Screaming and / fighting are constantly going on in the house. / She finally brings him to a psychoanalyst. After / two sessions, the doctor calls the mother into / the office. / "Your son," he tells her, "has an Oedipus / complex." / "Oedipus, Schmedipus," the woman answers. / "as long as he loves his mother."] -
Friends of Artists Space Dinner 2024. Honoree LaToya Ruby Frazier. Photo: Joshua Wildman [LaToya Ruby Frazier smiles while seated at a dinner table, holding hands with someone whose body is out of frame. She wears an orange suit jacket, a purple collared shirt, and a pocket square bearing a print of various orange flowers.] -
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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.] -
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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.] -
Flyer for Segue Reading Series featuring Hannah Black and Tongo Eisen-Martin. [Bright mint green colored background with black text in the top half of the image that reads, "Segue Reading Series / Hannah Black & Tongo Eisen-Martin / February 6 / 5-6:30pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."] -
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.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures in blue morph suits engage in an argument, standing on either side of a wooden table with a fresnel lens as the tabletop. A third figure to the right films their encounter, while audience members watch in the background.] -
Johanna Went performing at The Whiskey, Los Angeles. Photo: Ed Colver [Black and white image of a performance. The artist is shown standing in front of a microphone, but their face is completely covered in a mask with criss-crossing white stripes. Their upper body is wrapped in a large sheet of thick paper with repeating images pasted onto its surface, and a square cone hat sits at an angle on their head.] -
[Black text on a green background. The text reads: “Dec 7 / Deborah Meadows / Kamelya Omayma Youssef.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Yasunao Tone: Region of Paramedia. Installation view (Instrument and Diagram for Music for Reed Organ, 1963), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery space. In the foreground is a small reed organ, with a music stand holding a clock device behind it. In the background are vitrines holding other audio devices and ephemera. On the window to the right is a blown-up image of a man kneeling with his head to the floor. Black-and-white photographs hang on the wall.] -
Young Fluxus. Installation view, Artists Space, 1982. Frames 31-36: Installation views of Tad Savinar’s “Rock” in Room 207. [Contact sheet of photos from the exhibition.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging in a white-walled gallery space.] -
Urban Pornography. Installation view, Artists Space, 2001. [Three framed photographs installed in a gallery space with white walls and wooden flooring. Two lighter photographs of white, industrial buildings are installed one above the other on a freestanding wall on the image's left side. Visible behind and to the right of the freestanding wall is a third, color photograph of a city skyscraper rising out of an urban landscape.] -
[Black text on a light yellow background. The text reads: “May 17 / Nazareth Hassan / Karla Kelsey.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Two side-by-side magazine advertisements mounted on a white wall. On the left, a portrait-oriented multicolored image is titled, "One out of every 100 new business succeeds. Here's to those who take the odds." There is a short written blurb below. On the right, a landscape-oriented spread shows an image of a car with its doors open on the left page. On the right page, large text reads, "The Delorean. Live the dream." An additional image of a car and a single column of text is positioned to the right of this headline.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in overalls reaches up to pin a dark tarp along the length of a wall. Behind them, another figure adjusts a camera on a tripod.] -
[A moving gif of a paper diagram blowing from the wind of a computer device. The top right corner of the machine reads, "StarTech.com"] -
Young Fluxus. Installation view, Artists Space, 1982. [Small house-like wooden sculptures appear on a table with a large white image on the ground between them. A video monitor and framed images are visible in the background.] -
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.] -
Installation view, Robert Morgan. Artists Space, 1977. [A black-and-white photograph of a gallery space with multiple works, framed and unframed, on the walls.] -
Aristotelis Nikolas Mochloulis, Aristotelis Nikolas Mochloulis, 2025. Marionette. Photo: Carter Seddon. [A marionette wearing a black suit, collared shirt, and white Nike Air Force 1s is positioned laying prone on a windowsill. Red curtains cover half of the window behind the marionette. In the corner, a small stage lights is directed at the marionette. Outside of the window is an alleyway with graffiti.] -
[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)"] -
Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “April 6 / Charles Alexander / Laura Jaramillo.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)" -
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.] -
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.] -
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Traci Tullius, Some People Never Learn, 2001. [A figure with long brown hair wearing a gray sweater over a light pink and white button-down shirt closes their eyes as a thrown book flies towards their face.] -
Works by Mark Morrisroe. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [In a corner of a gallery space, a small black and white photograph hangs in a black frame on the left wall. On the right, a small white panel of black text hangs above a sign attached to a glass box that protrudes from the wall. Inside the box are what appear to be bloodied white linens, and on the sign above them the words "AM I DEAD YET" are written in blood.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Six figures each stand before a music stand in front of a seated audience. They are arranged side by side in a horizontal line, illuminated by overhead lights. A figure at the group's center is speaking. Their outstretched hand gestures towards the crowd.] -
Donna Nelson. Piles of Snow, 1983. [Figures appear on the street with street lamps and a car coming in the center back part of the image.] -
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Untitled (Performance at Galleria L'Attico), 1974 35mm slide, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [A person, clad in a white jumpsuit and blue eye makeup, lies horizontally on the ground. Their top half body is visible in the bottom left corner. Next to them floats a handwritten thought bubble, which reads, "How can a queer escape the mocking laughter of wealthy normals if they visit his very rejection-sewer home to get art."] -
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Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure peers into a computer while standing behind a table and next to a speaker.] -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black abstract painting on a white wall.] -
Louisa Chase. Installation view, Louisa Chase, Ted Stamm, Meryl Vladimer, Artists Space, 1975. [A black and white installation photograph of a sculpture. The work features two wooden rods, connected to form an obtuse angle in the center. The end of each rod has a set of wheels, and the piece rests on a sling-like piece of sturdy fabric.] -
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.] -
John Torreano. Installation view, Artists Space, 1974. [A black and white installation photograph of a gallery space. Two dark square canvasses hang on the wall, one is a large and the other small.] -
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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Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure wearing a baseball cap sits in a chair and plays the guitar, their legs crossed.] -
Lyndon Barrois Jr., Masters of Fine Arts, 2011/2022. Oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Photo: Filip Wolak. [A color photograph of an installation. In front of dark green curtains, a painting in a gold frame is illuminated. To the left, a conservator's coat hangs from an easel. Several empty frames and a studio light are visible on the right.] -
Entrance to Marble Cemetery. © Paula Court Photography, 2018. [A black metal gate with raised letters that read "New York Marble Cemetery, Incorporated 1831" with several inflatable lobsters attached to the gate.] -
Brad Kronz. Installation view, Artists Space, 2025. Photo: Carter Seddon [A transparent sheet suspends from the ceiling, framing three large white balls and a selection of drawings. Protruding from the wall is a wooden ladder. ] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [A installation wide shot of a room with five silver columns. In the foreground, there is a rectangular pool filled with water with two spouts spraying water in fountains. A second pool built from wood is visible in the background. Between the two, there are various objects including a low-hanging disco ball, a vase with flowers, strands of string lights, and more. On the back wall, the word "TIRANNY" is handwritten in block letters, partially obscured by one of the columns. The room is lit by standing colorful lights with pink and blue tones.] -
[Five book covers on a transparent background next to eachother in a line. From left to right the titles read, "The Abolition of Work," "Modern Dreams," "The Man Without Qualities," "Money," and "Power."] -
[Black text overlays a color-scheme grid background. The text reads: “Dec 2 / Anselm Berrigan / Kit 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)] -
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.] -
Ian White, Here Is Information. Mobilise (Montréal: LUX, 2016). Image courtesy of Tenderbooks. [A blue book cover with white text that reads "Here is Information. / Mobilise. / Ian White."] -
YAP (Young Artists Perform), P.S. 140, 2018 [Several students sit, looking down towards printed sheets of paper, in front of colorful silk banners with writing stating "Your dreams can become a reality," "like a cheetah in a snail's race," "bridge can just go like boom bom boom BOOM," "I see a light it's so BRIGHT -Destiny" and others.\] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a corner space in a gallery, below a staircase, that is bathed in red light. At the bottom of the stairs are a group of performers wearing conical costumes made of reflective one-way mirror film.] -
Liberalism at Large: The World According to the Economist, by Alexander Zevin, published by Verso Books, 2019. [A digital image of a red book title, overlaid several times on top of itself. A world map centered on the Atlantic ocean is visible in orange beneath the title.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [Black-and-white image of three figures standing and performing on stage. Each figure holds a microphone to their face, their eyes closed in concentration. The figure in the middle is wearing a guitar while the other two on the left and right stand behind tables full of audio equipment.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [Photographs mounted to black backgrounds are hung up in a row on a white wall.] -
[White text on a turquoise and grey ombré background. The text reads: “Feb 22 / Eszter Balint / Juliana Huxtable / Rezarta Seferi.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a performer dressed in white, kneeling on all fours. A bright light from their pelvic area shines onto the floor, as viewers stand around the figure.] -
Harris, Cheryl I, "Whiteness as Property." Harvard Law Review. Vol. 106, No. 8, June 1993. [The title and table of contents page of an essay published in the Harvard Law Review.] -
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Whitney Claflin, Hiatus, 2015. Mixed media on linen. Courtesy the artist and Real Fine Arts, New York. [An abstract mixed-media artwork featuring three yellow circles and spatterings of multicolored paint on a white canvas. Light blue text at the top of the composition reads, "dose style."] -
Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [Three musicians sit on stage together. From left to right the instruments they are playing include saxophone, violin, and guitar. There are cords around the stage and a plant behind the performers.] -
SCRAAATCH, Untitled July 4th Performance, 2022. Photo: Mo Costello. [A microphone and lights are set up in a field, with trees along the horizon line.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure stands behind a microphone, their hands placed together in front of them and looking off.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [The gallery space displays an assortment of artworks on the left wall. On the far left, closest to the viewer, is a painting of Pope Francis with a top text reading "I WOKE UP LIKE THIS" and a bottom text reading "...FLAWLESS." An assortment of art objects, shelves, framed paintings, sculptural installations, and digital media recede into the gallery space along this wall. On the right a row of columns recede into the gallery space.] -
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Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A freestanding white wall displaying a metal plaque engraved with paragraphs of text juts in front of another angled, white wall in an exhibition space. A large paragraph of wall vinyl text is displayed on the second, angled wall.] -
[The facade of a cast-iron building with three double door entrances. Real estate listings are illuminated within the windows inside each door. In red tinted transoms above the doors are the letters N, R, O in eccentric white lettering.] -
Lyndon Barrois Jr., Guardians Gate (Farfanicchio), 2022; Masters of Fine Arts, 2011/2022. Wood, latex paint, antique brass elements, cast iron, oil paint, twigs, brass, burlap, packing felt; oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Photo: Filip Wolak [A color photograph of a door with multiple nested smaller doors within the doorframe. Each individual doorway is framed with a gold outline. To the left are several empty picture frames and two studio lights. In front of dark green curtains is a painting set in a gold frame.] -
David Maljkovic, Scene for a New Heritage - New Possibilities, 2004. Mixed media on paper. Courtesy Annet Gelink Gallery, Amsterdam. [A drawing of an amorphous shape with a trail of black extending out the bottom and billowing upward. There are several lines of handwritten cursive text on the lefthand side of the drawing.] -
Served Up! R.M. Fischer. Installation view, Artists Space, 1979. [A black-and-white photograph of a long floor lamp with two protruding lampshades.] -
Cosima von Bonin
Le Chic, 2023
Enamel on wood
(Two color options: red & grey or red & white)
25 x 4 ½ x 4 ½ inches
Edition of 20 with 5 APs
Introductory price: $5,000 each -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space with two columns running across the room. On the left wall, four framed abstract drawings on black paper are displayed in a horizontal line. On the right wall, three framed abstract drawings on white paper are shown in a horizontal line.] -
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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.] -
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MS 324 group work, collaborative drawing, 2019 [Five people's hands work on a colorful, abstract drawing with the drawing at the center of the image on a wooden table.] -
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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.] -
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.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage using a microphone and an audio mixer, with the audience in the back left of the image.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image taken between two curtains of a TV affixed to a wall on the right, displaying blue-tinted video footage of the performance with a fresnel lens hanging in front of the TV display.] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [A black and white image of three people wearing winter coats and scarves, observing something to the left of the camera.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A silhouetted figure of a person speaking into a microphone. They are backlit by an image of an upside down American flag.] -
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The Library of Helen DeWitt Kitchen view, Courtesy Helen DeWitt. [Several neutral, blue toned books, propped up by a red book stand, fill the frame on the shelf they sit in.] -
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. Adobe bricks are laid out on the floor to create a small walkway.] -
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Vanalyne Green, Still from A Spy in the House That Ruth Built, 1989. 29 minutes. [A close up image of hands holding a film camera in black and white on a white background. Below the hands, a small, black silhouette of a figure walking.] -
_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. [Sheets of text hang on a white wall. Text is too small to be legible.] -
Beech Forest. Performance view, Artists Space, 2007. [A darkened gallery room with several standing lights pointing to illuminate a corner. In the corner, a figure stands, wearing a coat and a hat with her hands in her pockets, facing away from the camera. She is framed by an empty metal stand.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures hold a table with a mannequin on it.] -
[Two shirtless men doing the splits on top of large boulders outdoors.] -
[A silver, metal plaque displayed against a bright red backdrop. Text engraved on the plaque reads, "Four hours of steady work face you. You rub blindly at one wrist with the other hand and reattach the brace, molding the various input/output feeds back into their ports, the audio, visual, haptic, mouth-smell and pure reason. It was typical, routine but aggravating, setting tons of exits dark, setting properties manually on editing, the west exit of the dining car that must be unpick able, the pencils that must be broken of their lead, the rotation speed on a deck of hypercard that must be trued with the accelerating average saccade rate. Then a bunch of identical or nearly-identical descriptions to reset on every atomically-detailed manual interaction object, re-spawning every item instanced in the idiorrhythmic skate’s mini-bar, for example, or buffering every one of the phalanstery’s refractor diodes. All it goes to show is that your’e working against the software too much, Now with three upward blinks interspersed with a short series of lip tics into the facial interface meshed into your latex balaclava respawn the set of tri-fold hologrammatic welcome brochures. You could be much more productive if you had the chance, but that’s how it goes. Athos is closed-source and always has been, the massive influx of new residents with new needs notwithstanding. Idle thoughts, ancient history, better to spend it artificially deflating the calorie currency on the skate’s all-you-care-to-eat buffet, to fuck just a bit with the schismatic flesh mercantilists in Madalay District. Set chafing capacity to maximum. What joy is there in living. You yourself had kong since ceased to register hunger. When you notice it, it’s not that you’re not hungry - you could choose to feel the effects, lightheaded every time you bend down to tap a pressure gauge, blurred vision when you stand back up, the constant headaches and fatigue. But the feeling of emptiness, that the stomach is a void to be filled with raw materials from the feed-cache or a sub auricular puff of enzyme slurry, that was gone. The propriety of that sense of internal space, of endogenous and unaccountable degrees of internal freedom for desire, bent back towards its opposite. Your tasks, the purest extension of a certain kind of unfulfillable desire, await you no less for that. If you simultaneously adjust a row of damper switches to their most neutral position, use the flat edge of your palm. The idea that in times of harsh exogenous conditions, in which so many resources are bound to sheer homeostasis, the tariff that must be extracted for the use of symbiotic system of immersion actually decreases. The last switch cannot be turned off, Paradoxically, as things get worse overall, the worsening situation costs increasingly less to maintain."] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a fgure wearing a conical sheath of reflective one-way mirror film that covers their entire body. They squat down next to a viewer sitting in a wooden chair. The performer shines a bright light against their face, making their face visible from under the mirror film.] -
Installation view from Annual Selections Show, Artists Space, 1985 [A close up black and white image of multiple paintings hanging on a white wall and a sculpture occupying the gallery floor.] -
Wolfgang Tillmans exhibition at David Zwirner, 2024 -
Flyer for Book Launch of Susan Brockman: Soft Network 01. [White text on a purple background reads: "Soft Network & Soberscove Press / Book Launch / Susan Brockman: Soft Network 01 / January 7, 2025, 7-9PM / Artists Space, 11 Cortlandt Alley, NYC." A black and white photograph of a woman standing in a desolate space is featured on the bottom left corner of the flyer.] -
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.] -
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Exhibition Pamphlet (cover) -
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.] -
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.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A figure facing a microphone looks upon a computer with audio software open.] -
Lukas Duwenhögger, Restive Childhood, 2016, Archival inkjet with silkscreen on 320 gsm Hahnemühle Photorag Pearl paper, 20 ¾ x 15 ¾ inches (52,7 x 40 cm), Edition of 10 + 3 AP, Signed & Numbered. [A framed image with black text, white background, and a black & white photo in the center hangs on a wall. The photo depicts a cop on the left who reaches towards a man holding a gun and a young child on the right. Above the photo it says, "Out of the blue: / Children march on capital / demanding homo-adoption / innumerable casualties / heart-wrenching scenes." Beneath the photo, the text repeats but in Turkish.] -
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The Library Vaccine. Installation view, Artists Space, 2014. [A book shelf, of the center are four shelves, filled with books whose covers contain small printed text. In the center of the second from the bottom shelf, a book sits horizontal.] -
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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.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure wearing a conical sheath of reflective one-way mirror film. They stand in the corner of a dark room, shining a bright light against the wall behind them. Their silhouette can be vaguely seen under the mirror film.] -
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Manuel DeLanda, Raw Nerves: A Lacanian Thriller (still), 1980, 16mm-to-digital, Color, Sound, 30 minutes. [A figure wearing a trenchcoat stands in a psychadelically lit bathroom while smoking a cigarette.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a TV screen playing blue-tinted video footage of the performance with a fresnel lens placed in front of the screen, distorting the image.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Various small drawings on paper in india ink and pencil hang on a white gallery wall. The works in pencil feature a looping ornamental symbol, drawn in various orientations within the individual box units of gridded paper to form larger structures.] -
Dexter Sinister (Stuart Bailey and David Reinfurt): Cover Material, 2010 Custom archival box, 24 1/2 x 20 1/2 x 1 1/2 in / 62 x 52 x 4 cm, Wrapped in “Cialux 1580,” manufactured from direct dyes in aqueous solution by Manifattura del Seveso, Osio Sotto, Italy, Accompanied by: A List of Incorrect Things, 2010 Nick Relph Offset print 6 2/3 x 11 in / 17 x 28 cm, Signed and numbered by Stuart Bailey and David Reinfurt. [Two rectangular boxes lying next to each other on a white background, with a small shadow. The left box is black. The right is white paper, with a black border, and it has two columns of very small red text, offset to the bottom left of the page.] -
The Happy Hypocrite - Freedom Issue 6. [A magazine cover depicting a grid of international stamps.] -
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Close up color image of two performers on stage. In the center of the image a musician is sitting down playing the bass flute into a microphone. Out of focus in the background, another musician is playing the violin. The scene is tinted by yellow light.] -
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James Sheehan, Halcyon Days, 2000. [An oil painting of a colorful city crowded with buildings.] -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A person bathed in pink light bends over a table with equipment controlling projection visuals. ] -
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."] -
Flyer for Segue Reading Series featuring Holly Melgard and Trey. Saturday, January 22, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Holly Melgard and Trey (also known as Vernon Keeve III)" The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday January 22, 5pm, Zoom ID: 893 9594 7519, Suggested donation $5". The image of a 5 dollar bill is placed within the text.] -
Jerry Beck, Bird of Destruction, 1985. [A sculpted cross with two scale readings on either side of it along with bullets lined in formation on the top half and some undefinited black marks on the bottom half and two unidentified objects hanging underneath. It hangs on a white brick wall.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [Four photographs, each with a monochromatic haze and black borders, hang in a line. ] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space. A small framed photograph hangs from the far wall, perpendicular to a dark metal column next to grey metal scaffolding.] -
[Black text on a grey background. The text reads: “March 21 / Dave Morse / Manal Kara / Simone White.” 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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Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [Various figures in glittery costumes pose in front of a circus backdrop, holding out open fans.] -
James Luna, still from The History of the Luiseño People, 1993. Video, color, sound, 27 min [An image of a figure with slightly grey hair who is wearing black sunglasses. They rest their head on their hand while staring downwards.] -
[White text overlays a painting of a cityscape at night, which is predominantly black. The text reads: “Feb 10 / Bernadette Van-Huy / Richard Maxwell" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
[Four multicolored tarot cards arranged in a line on a white background. The cards read "3," "7," "21-Die Stimme," and "Rat-der Nerven." Each of the cards features a different black and white illustration or image.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall displaying eight papers. On the far left, there is a drawing of a knife with the handwritten text "Cutthroats for Hire." The seven other papers feature type, handwriting, and photos.] -
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.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of four people in period dress standing in from of an ornately carved fireplace. The people stand in two pairs, apparently engaged in conversation.] -
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 person walking down a city street, speaking into a megaphone. Behind her are several cars and a truck, and she is surrounded by loft buildings.]
