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Individual self-portraits, Untitled, 2021, collage and sequins on paper -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage, standing behind a microphone with a shocked expression and their hands up.] -
Installation view from Cameron Rowland, 91020000, Artists Space, New York, 2016.
Photo: Adam Reich -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers on standing on stage. The performer in the foreground is lit with pink light. They are holding their arm out touching a cymbal with a red drum stock in hand. They are looking down with their eyes closed. The performer in the background is out of focus, they are bathed in blue light. Drums surround the stage. A seated audience is out of focus in the background. The back wall features two projections, one is an abstract arrangement of shades of blue. The other has sharp geometric shapes in red, green, and yellow.] -
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.] -
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 that covers most of their body. They lay on the floor and spread one arm out from under the mirror film. A bright light shines from under the film.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Photograph of Arthur Russell. Photo courtesy of Audika. [A vintage photograph of a man wearing black headphones, sitting behind a table in a cluttered room full of music equipment. A keyboard leans against the table, which is covered in AV equipment and snaking wires.] -
Sistema Sandinista de Television. Still from Golpes de la Corazon (Blows of the Heart), 1983. Video (sound, black and white). Spanish with English subtitles. [One figure stands in a small square construction waist high and a nearby child stands inside another square construction with their head peeking out at the other figure. A figure stands behind them by a washbasin with clothes hanging from a clothesline in front of them. Bushes and trees appear behind them along with another edifice in the background. Video scan lines and black edges of CRT monitor are visible.] -
Spretnjak not sure name of work -
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Friends of Artists Space Annual Dinner, 2018. [A color photo of three individuals smiling and posing together in an embrace for the camera. Other individuals engage with each other in the background of a dimly lit space.] -
Jayline Quiles, Landscape, 2018 [A colorful painting of a landscape, with a river running through the center of the image, a mountain across the river and a cloudy sky] -
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Wolfgang Tillmans, Speedmaster #2, 2011, Offset print on paper, 47 1/4 x 48 3/8 in / 120 x 122,9 cm, Hung with two metal brackets, Edition of 170, Signed and numbered, Printed on LuxoArt Velvet 200 gsm paper with Speedmaster XL by Dr. Cantz’sche Printshop, Ostfildern [A large, square, sheet of paper, which has been folded into a 4x4 grid, unfolded, and hung on a white wall, leaving the creases. It is covered in a four-color gradient, from dark red, green, blue, to black, left to right, roughly not overlapping with the creases.] -
Yasunao Tone: Region of Paramedia. Installation view (ephemera c. 1960s), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine from above. Various ephemera including magazines and fliers are placed inside.] -
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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Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work. A large, paper-mache sculpture of a cow-like creature stands next to a crocheted blanket laid on the floor. On top of the blanket there is a red thermos with two red mugs and a miniature white couch. On the back wall behind the paper-mache sculpture and blanket is a round mirror. The mirror contains a reflection of a large box TV with a static screen. On the left-side background, behind the paper-mache sculpture, two blow-dryers hang from a freestanding metal fixture.] -
Nandi Loaf, Aristotelis Nikolas Mochloulis, rio nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [A free-standing wall with paintings on it is placed in the middle of a gallery. Iron columns run down the center of the gallery, and in the background past the wall is a christmas tree decorated with lights.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A figure in a black hoodie and an LED light stapped on their chest performs on a stage, behind a table full of audio equipment. A green light projection is cast onto the stage.] -
Silvia Kolbowski. Installation view, Artists Space, 1980. [Photographs hanging on a wall above a photograph on a wall shelf.] -
Yasunao Tone, Molecular Music, 1984-85 [Color image of a bird sculpture placed in an ornately decorated room.] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [Color image of a dark room, illuminated only by a projection of blue and orange amorphous shapes on a wall. The shadow of a table with dj equipment and gear is cast against the colorful projected image.] -
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Nandi Loaf, Aristotelis Nikolas Mochloulis, rio nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [Three steel structures sit in the space, lit from a singular overhead white LED strip light. On the left sits a trough, fed liquid through the belly button of a torso-like sculpture. In the middle sits a human-sized metal box. A clear tube connects the box to the structure standing on the right, which includes metal rails that hold and pitch the tube upright.] -
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Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large, shiny black structure consisting of three columns supporting a large, irregularly shaped flat plane installed in a gallery space. A black-and-white image wraps around the rightmost, cylindrical column of the structure. The image depicts a person dressing a mannequin in an office.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A large taxidermied eagle hangs upside down from the ceiling holding line tape that repeats "A GOVERNMENT FOR THE RICH BY THE RICH". Posters and drawings on the wall are visible around the eagle.] -
Yasunao Tone: Region of Paramedia. Installation view (Peter Moore, Concert at The Kitchen, 1979; Paramedia Music, 1990), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery wall. On the left, four black-and-white photographs are hung vertically, and on the right is a shelf with a television monitor placed on it.] -
Still from The Last Days of Jack Sheppard (2009). [Two men in powdered wigs and colonial dress, surrounded by pieces of paper fluttering in the air and on the ground.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Two large, orange slug sculptures forming circular ring shapes around cast-iron columns suspended by elastic cords are visible inside a white-walled gallery space along with square paintings on walls in the background.] -
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[Text reading “'We Cover for You. / – NRO” is overlaid on an image of a plastic gloved hand that applies blue plaster with a wooden stick.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement. Along the back wall, on the left, a shadow of a figure in profile is cast onto a blue and purple projected screen.] -
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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.] -
Les LeVeque, The Rain Forest is on Fire, 1990. Mixed media, 65 x 126 x 26 inches. Photograph c/o Peter McClennan. [A large log spans the length of a table, held down with straps and with eight machetes affixed to the table alongside it. On either end of the log are two televisions, and the one facing the camera displays static.] -
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.] -
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Edited by Sophie Collins, Currency & Emotion: Translations (Test Centre, 2016). [A brown and white book cover depicting several forearms and hands wrapped around each other against a dark background.] -
Log Cabin. Installation view, Artists Space, 2005. [Several sculptures, video works, and other artworks installed in a gallery space with wooden flooring. A large sculpture on the image's right side is composed of a series of wooden rifles gathered to form two, pole-like structures, between which a quilt-like blanket is wrapped around a supporting pole. To the left of this sculpture, a second, long structure composed of a series of white tiles runs diagonally across the gallery floor, forming a long line. Several TV monitors and 2D works are installed on the gallery walls behind the two sculptures.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement. Along the back wall, on the left, a shadow of a figure in profile is cast onto a blue and purple projected screen.] -
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We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A painting hanging next to a bag behind a cross with light shining on it. A lighted ball is seen in one corner and lighted bottles in a box are seen in another corner.] -
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[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “May 4 / Nature Theater of Oklahoma / Violet Spurlock.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Anicka Yi, Flirting Is An Algorithm, 2015, Silkscreen on archival box, 24½ x 20½ x 1½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A spotted pattern against a white ground, with each spot having a unique stain, splatter, or drops of ink.] -
Charles Long. Installation view of Gnomons' Land, 1987. Film Installation. [A black and white photograph of two projected images emerging from darkness.] -
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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 down on a window ledge facing the street. They raise on arm up and a white light shines from their pelvic area.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [A wall of pornographic illustrations displayed in frames at eye level.] -
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 is a shelf holding a machine, speakers, and a light sensors. A black-and-white photograph also hangs on the wall. In front of the right wall is a standing vitrine containg various ephemera.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Various paintings hang on the walls as guests enjoy the exhibition opening.] -
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Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white photograph of two figures standing in front of a wall of framed silhouettes.] -
Porcelain Lenin figures from DADALENIN Limited Special Edition, 2013. [Black busts of Vladimir Lenin arranged in a grid formation on a table.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Various figures stand around a table with a mannequin on it. The mannequin is obscured by foliage and flowers.] -
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Poster from Polly II - A Plan for a Revolution in Docklands (2006). [A city skyline on fire behind black and white waves. Above that are four circular portraits of people and a title decal with the words "POLLY II: Plan for a Revolution in Docklands."] -
[White text overlays a color-scheme grid background. The text reads: “Nov 11 / Dior J. Stephens / Dawn Lundy Martin." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Joseph Marioni pictured with his work. Installation view, Joseph Marioni, Andrew Ginzel, Barbara Schwartz, Artists Space, 1975. [A figure standing in front of a black square canvas in a gallery space.] -
Marina Cappelletto. Still Life with Three Eggs, 1987. [House-like form with three egg-shaped objects surrounding it with some shadowing visible.] -
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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.] -
Alaa, Nature Dress, 2022, acrylic on paper -
Abasement #87. Performance documentation, June 15th, 2026, Artists Space. Photo: Joshua Wildman. [The left side of a performer wearing a baseball cap is bathed in red light as they adjust knobs on a mixing board. An illuminated laptop screen sits to their right.] -
Book spreads from Exhibitionism, Verlag der Buchhandlung Walther König, 2025. [Carousel of spreads from an artist's book, featuring text and reproductions of colorful paintings and drawings.] -
P.S. 140 students recording sounds at Tompkins Square Park, 2019 [A cropped image of a group of students smiling for the camera in Tompkins Square Park. One holds a recording device, which has been overlaid with an opaque orange image of a lampshade. Green digital circles emanate out from it, as if to simulate a doppler-effected sound] -
Folio Series: Intangible Economies, 2012. [A white book cover depicting silver coins with the text "♥good for all night♥".] -
Photo Wall at P.S. 140, Nathan Straus, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A large black bowl, painted with colorful faces, is filled to the brim with vibrant beaded jewelry. The bowl is placed on a tall black rectangular platform, covered with a beige woven blanket with long tassels and a white pattern along its border. Beaded jewelry from the bowl dangles down to the floor, intertwined and curled amongst themselves.] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [A display case exhibits a variety of objects, including drawings, collages, found objects, and plastic pouches filled with various substances.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two half-circle canvases, positioned together to create a full circular shape, displayed on a light mauve wall. The canvases are filled with neutral blue and pale pink colors as well as sweeping, black line illustrations. At the center of the composition, the canvases stretch outward in mirrored c-curve shapes.] -
Young Fluxus. Installation view, Artists Space, 1982. [Contact sheet of photos from the exhibition.] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [View from right of 5 musicians, with lights from a disco ball visible along the walls behind them. From left, musician playing a clarinet, behind which is a musician playing a vibraphone. In the center a musician playing a trumpet into a microphone. In the foreground are pictured musicians playing a cello and a violin. ] -
Young Fluxus. Installation view, Artists Space, 1982. [Wide view of a white-walled gallery space with various artworks visible on the walls.] -
Spread from Harun Farocki Diagrams. Images from Ten Films, stills from Images of the World and the Inscription of War, 1988. [Fifteen images arranged in a grid, depicting close-ups of human faces and arial views of war.] -
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."] -
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Metaphysical Visions. Installation view, Artists Space, 1989. [Three abstract sculptures in the foreground of a white-walled gallery space with white columns. In the background, there are other gallery spaces with artworks hanging on the walls.] -
Holly Morse, Bringing Home the Bacon, 1989. Oil on linen, 24 x 24 inches. [A slice of bacon on a red background, with the words "bringing home the B." spiraling on top of it in black text.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [A painting of the basin of a dam. The water is surrounded by rock formations, with people standing scattered around on rocks.] -
Whatever Happened to Sex in Scandinavia (2011). Knut Ove Arntzen, Stan Brakhage, Marta Kuzma and Pablo LaFuente. [A grayscale image of two naked people, kneeling on the ground of an untidy room. They are embracing, with their foreheads pressed together. Behind them there is a window and a typewriter on a stand.] -
[A metal statue is being lifted from its platform by a crane via ropes around its neck and feet. A large building is visible behind it.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21 – January 30, 2021. Photo: Filip Wolak [A view of a small store display shelf stuffed with Gap clothing store bags and a small palm tree. On the wall, a blue band wraps around to the adjacent wall with text that reads "Every customer will have their needs determined and merchandise suggested to meet those needs." A group of life like cutouts of individuals dressed in animal costumes are clustered together near the gallery wall.] -
Nuestro Reflejo, Threads of History exhibition, Morris Jumel Mansion, March, 2025 -
Image courtesy Anne Gillis and Blank Forms. [Photo of a woman partially obscured by a white umbrella. A light shining on the umbrella casts a large shadow of the woman's hand on its curved surface.] -
Model Modernisms. Installation view, Artists Space, 2005. [Several small, model-like black sculptural forms displayed on low wooden supports in the center of a large gallery space with wooden flooring. A large wall decal featuring eye-like forms and swirling, dripping stripes of color covers the wall to the left of the sculptures. Additionally, several framed 2D works hang on the back gallery walls behind the displayed sculptures.] -
Drake Carr: Housecalls. Installation view, Artists Space at the Armory Show, 2023. Photo: Filip Wolak. [Color image of front view of a booth inside an art fair. On the right wall hangs a colorful drawing. At the center of the booth, an installation shows the corner of a domestic space, with a window on each side and black and white curtains with pink flowers. Through the windows, the leg of a chair, a lamp, an easel, and some drawings can be seen.] -
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Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of one wall of a gallery space, shot head-on. The wall is painted black, and six colorful, and intimate paintings of Black Queer figures are arranged across it. White and yellow drawings are pained onto the wall, complementing and placed around the artworks.] -
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. A white light shines down on them from the left.] -
Still from Fiction Contract, 2025. [A small control room looks into an adjoining hospital patient room via an interior window. Inside the room a person sits in front of multiple display screens and observes the activity in the patient room.] -
SLIDEFEST, City-As-School and Artists Space BRIDGE presentations, May 2024 -
Andy Robert, The Terrain, 2021. Photo: Filip Wolak. [Color image of a framed piece of notebook graph paper, with a pen and ink drawing of a rectangle with various lines and dots. In the bottom-center of the paper is the word "TERRAIN."] -
Students create cyanotypes from gathered and found materials, 2022 -
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Danica Barboza, Anima of a Relationship [The ‘SV’ Edition] (Section B), 2019 (detail view), hand-modeled clay, white acrylic paint, textured paint, paper, metal, newspaper, Rooibos tea bags, gloss, wooden blocks, Mac computer. Photo: Daniel Pérez [On a black platform, assorted pieces of wood, cardboard, and wire prop up a disembodied humanoid head. The figure’s head is misshapen, as if melting, obscuring the eyes but leaving the nose and open mouth visible.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [Various objects sit on a concrete floor, including a miniature disco ball, a painted heart-shaped canvas, and a tangle of cords.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs on stage, speaking into a microphone and holding papers in their hands.] -
William E. Jones. Still from v.o., 2006. [A man, looking toward the camera, in the midst of pulling his shirt off exposing his torso. A subtitle typed in white at the bottom reads "No, I wasn't talking about death."] -
Brittany, Plant observation, watercolor painting, 2025 -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space. On the left, a large piece of grey and white vinyl hangs from the wall. A row of dark metal columns occupies the center of the space, extending back to a perpendicular section of grey metal scaffolding. On the right of the space there is a large grey table with four red chairs. The table holds a stack of yellow posters and two smaller stacks of grey handouts. The wall on the right has a large window and a blue poster.] -
[Black and white line drawing of a bucket with handle.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A figure in a white graphic T-shirt has their eyes closed, while they stand and hold two cymbals over their head. Yellow and blue projections are cast onto them on stage.] -
Those Lost Trees by Viola Yesiltac (2005). [A woman stands, facing away from the camera. She is standing on a photo backdrop of trees in a forest, which covers part of the floor and is raised into the air by stand. Studio lights surround her, casting a slight glare off the backdrop.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [A glass vitrine displaying a series of images, pages of text, and two large rat skulls.] -
[Black text overlays a pixelated gradient pattern in various hues of pink and yellow. The text reads: “Segue Reading Series & ARTISTS SPACE / Winter/Spring 2024 Season / April/May Curated by Futurepoem” Text in the bottom left corner reads: “Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
New Red Order, Informants Get Paid! Performance documentation, Artists Space, January 23, 2020. Photo © Paula Court. [A figure stands in front of a music stand speaking into a microphone. They are backlit by an image of a rippling upside down American flag.] -
[Two people on a city street in front of a graffitied brick wall. One faces the camera, holding a megaphone and a piece of paper at his sides. The other is walking, facing the side, and speaking into her megaphone and reading off a sheet of paper.] -
Heist Divination (fwiw remix). Performance documentation, October 25th, 2024, Artists Space. Photo: Destiny Mata. [Photograph of a performer standing behind a small desk that holds audio equipment. The performer stands upright with their hands held together in front of their face. To the performer's right a music stand holds a score. The background is bathed in blue and red light. ] -
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Seven vertical light blue panels, positioned side-by-side, displayed on a light mauve wall. Each panel contains a white circle positioned near its vertical center. Within each circle, the panel's canvas is stretched outward by a dowel.] -
Teaching Artist Stephanie Costello with 8th grade Portfolio student from P.S. 140, 2021 -
Show and Tell: A Chronicle of Group Material, edited by Julie Ault, published by Four Corners Books, 2010. [Book cover design featuring an image of a large room with red walls. A banner of colorful flags hangs from the ceiling. A large collection of objects is scattered on the floor, including coca-cola bottles, posters, chip bags, paint cans, detergent bottles, and other assorted items.] -
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.] -
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.] -
Elephant Cemetery. Installation view, Artists Space, 2007. [A hallway lined on both walls with abstract amber photographs arranged in a grid.] -
Brad Kronz, The Grateful Deed, 2025. Wood, stain, screws, carpet, fabric, board. Photo: Carter Seddon [An overhead shot depicts the interior of a wooden box-like structure. The floor of the object is lined with dark carpet, and the walls of the structure bear a cream geometric pattern. ] -
[White text on a grey ombré background. The text reads: “March 29 / Mei-Mei Berssenbrugge / James Sherry.” 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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[A cartoon drawing of men at a table with text underneath reading, "Everybody sees right through your damned transparency."] -
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Carmen Armengual, Before my, your her, his, our, your, their faces Delante de mis, tus, sus, nuestros, vuestros, sus rostros (work in progress), 2022. Digital video, sound, text, 13:40 minutes. Photo: Steven Cottingham. [An image of a video work with three vertical wall-mounted monitors, each with differently shaped kettles on them.] -
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.] -
[Black text on a light green background. The text reads: “May 23 / Kathryn Cowles / Brandon Downing.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Eniya Alonzia, The Sky, 2018. [A skewed black-and-white image looking up at the façade of a building and the sky. An LED sign spelling "DINER" hangs from the left side of the building.] -
Bonnie Rycheck. Elegantly Contained, 1986. [A black and white photograph of gray benches with black on top, the front one with legs the back one without. Tape appears on the top of the image.] -
Activated Walls. Installation view, Artists Space, 1993. [A person sits in a chair with a ladder next to them, bent over and painting on the bottom of a wall. The wall is painted top to bottom with a large black cross and several figures. Hand-painted text at the top of the wall reads, "WHAT THE CHURCH OFFERS."] -
Laura Cottingham & The Anita Pallenberg Story. Installation view, Artists Space, 2017. Photo: Daniel Pérez. [A photo taken on a diagonal of two people sitting on black chairs in a dimly lit room with a projection on the wall. The projection features a person with red hair looking at themself in a vanity mirror.] -
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.] -
Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [Color image of a performance space illuminnated with blue and red light. On the left, a figure on a stage plays the double bass, there is a large black speaker to their right. Abstract images are projected onto the wall. Below the projections, audience members sit on chairs.] -
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. Installation view, Artists Space, 2022. 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.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [An image of a shoreline is projected on a trifold screen.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view, Artists Space, 2014. [Three large prints rest on the floor against a windowed wall. Two on the left are black and white, of an interior room. On the right is a colorful illustration of two women.] -
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Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [Three yellow-toned paintings hang at eye level, adjacent to four black viewing boxes installed on a gallery wall to the right of the canvases. A kite hangs from the ceiling in the middle of the exhibition space, its tail touching the floor.] -
Photo: Ben Tran -
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.] -
Jeremy Deller, Together 4 Ever, 1995. Silkscreen on paper, 27 x 19 inches. Edition of 4. 2 of 4 AP. Courtesy the artist and Gavin Brown's Enterprise, New York. [A rainbow-hued poster of the Queen. Black serif text positioned above and below her image reads, "Together 4 Ever".] -
Film Still from Gaslight, 1944. [A black and white image of a man and woman. The woman is pressed against a wall, looking with fear at the man who is grabbing her wrist. He is looking back at her sternly.] -
P.S. 140 student workshopping poems, 2019 [Two people stand at the front of a full classroom in front of a projector screen that says, "Poetry workshop / Ms. Rebecca / Today's task: create headline poems." One reads from a notebook, the other listens on.] -
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Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a basement gallery space with various multimedia works on display. In the center is a large wooden platform that reads along one side "Imagine/ Without Fear/ What is tomorrow?", to the left is a wooden bench painted blue on the surface sitting next to a woven hanging piece. Along the walls are various projected videos.] -
Heji Shin, Camp Habibi II, 2013, C-print, 20 x 16 inches, Signed edition of 100, 5APs, Courtesy of the artist. [Detail view of a camel's head against a palm tree and blue sky.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view (William Pope.L's boots, 2003), Artists Space, 2025. Photo: Carter Seddon [At the bottom of the gallery wall sits a small shelf housing a pair of construction boots that are extremely worn in and covered in white paint.] -
Aisha Rodriguez, Click, 2013. [A person with pink nail polish hold up a Canon AE-1 film camera.] -
“Decolonize This Museum” protest outside the American Museum of Natural History, October 10, 2016. Photo: Andrés Rodriguez [Two children holding up black signs with white text in front of a building covered by an opaque plastic material, one sign reads "WAKE" and the other reads "Remember."] -
Installation View from Recent Art From Chicago, Artists Space, March 8, 1986 - April 5, 1986. [Cutouts seen placed in front of drawing on wall. Paintings and sculptures can be seen in the area around it in a gallery setting.] -
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Maltz, Russell. 1979. [A drained inground swimming pool surrounded by greenery.] -
Drake Carr, Mel Ottenberg, 2023. Colored pencil on paper. 26 x 21 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color image of an unframed colorful drawing of a male-presenting figure. The figure is crossed-arm and sitting back in whats seems like a sofa. A cup of coffee sits on his right, and a potted plant and a vintage-looking radio are on his left.] -
Laurie Hawkinson, CineTrain, 1986. [A black and white photograph of a linear model consisting of many elements.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the saxophone into a microphone. Red and purple light are cast onto them.] -
[Black text on a grey background. The text reads: “Jan 10 / Erica Hunt / Aditi Machado.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A performer on stage leaning over a table with electronic instruments, holding a mic close to their mouth. They are bathed in yellow abstract projections, which also cover the wall.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A woman wearing headphones stands in front of a horizontal monitor displaying an image of two illustrated eyes and a nose. Behind the monitor, several framed photographs lean against a wall. A long, red carpet runs across the floor underneath the photographs.] -
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Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [Two identical plinths made of MDF sit side by side in a gallery. Each plinth displays a red and black store-bought checkerboard, with a set of checkers layed out. The checkers on the left are made of steel and plated with a chrome and black-oxide finish. The checkers on the right are made of powder-coated aluminum.] -
[Poster with a red-filtered image of a colonialist painting. In green and yellow font at the top of the image it reads, "Land Mass / 18 December 2017 7pm" and at the bottom in the same font, "Natalie Diaz / Demian Dineyazhi / Sonia Guinansaca / Artists Space 55 Walker Street New York, NY 10013.] -
Flyer for Segue Reading Series featuring Kyle Dacuyan and Judith Goldman. January 7, 2023, Artists Space. [Red and blue text overlay a yellow background with abstract lines and a drawing of a male face in side profile. The text in the middle reads "Kyle Dacuyan / Segue Reading Series / Judith Goldman."] -
“Decolonize This Place” sticker outside of The White House [A person's hand holding up a Decolonize This Place sticker in front of the White House, with a security guard visible in the background.] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of three performers on stage. In the left foreground, a blurred figure in a black polo leans over, their arms stretched out, presumably towards an instrument placed on a table. In the midground, a tall performer dressed in all black with shaggy silver head and sunglasses is caught mid-motion with a pair of macarenas in their left hand. Behind the silver-haired performer, we catch a glimpse of a drummer in a black hat, their face turned down towards the cymbal they are about to strike. Behind all three performers, the back wall is illuminated in a white light. ] -
Adrienne Kennedy, Funnyhouse of a Negro, 1964 (East End Theater, New York, directed by Michael Kahn, produced by Barr, WIlder, and Albee). Pictured: Ellen Holly and Cynthia Belgrave. Photo: Frederick Eberstadt. [Two people in white face paint and fanciful dresses crowd around a crudely constructed wooden desk that sits off-kilter. One sits at the desk and applies makeup while the other stands to their left, gazing beyond the image.] -
AIDS Forum: John Giorno - FABULOUS SEX/COMPASSION. Installation view, Artists Space, 1993. [Several paintings and sculptures installed on two walls that form a corner in a gallery space. A square painting featuring large, bold yellow text that reads, "LIFE IS A KILLER" hangs on the right wall. On the left wall, a block of large black text has been painted on the wall, from ceiling to floor. It reads, "THE WORLD IS GETTING EMPTY OF / EVERYONE I KNOW / ONE BY ONE / IN EVERY DIRECTION / THEY ARE LEAVING / THIS WORLD / FOR SOME PEOPLE / EVERYONE THEY KNOW HAS DIED."] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of multiple works including CRT monitors, a vending machine, a tulip chair against a seafoam colored wall, and a glass display table backed by tiled photographs.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays the theremin on stage, bathed in pink and blue light. ] -
Flyer by Bill Hayden. [A woman vaping in profile against a black background. An image of another woman and a child are visible in her exhaled smoke.] -
[An orange flyer features black sans serif text that reads: "Artists for ARTISTS SPACE / a benefit exhibition / April 27–May 13, 2023." Underneath is the list of participating artists: "Richard Aldrich, Ei Arakawa, Oto Gillen, Renee Gladman, Robert Gober, Richard Hawkins, G. Peter Jemison, Sanya Kantarovsky, Danny McDonald, Julie Mehretu, Jill Mulleady, Ulrike Müller, Yoshitomo Nara, Elizabeth Peyton, Pope.L, Andy Robert, Julia Rommel, Cosima von Bonin."] -
Bernadette Corporation with Benjamin Alexander Huseby, BC Reloaded, 2012. [A photograph of a woman looking into the camera with one hand raised to her cheek. She wears a striped white Adidas soccer jersey with the "bc" logo in one corner, and her eyeshadow stops abruptly in the middle of her right eyelid, creating an artificial crease down her face.] -
[William Carlos Williams' poem "For Eleanor and Bill Monahan" written in black text on a white background.] -
Charles Harbutt. Calle 59, Merida, Yucatan, 1982. [A city street is visible with a items and people driving by and a motorcyclist. On the sidewalk are people walking toward the camera, but looking in different directions. On the building behind the road is writing that reads, "Estufas Peninsulares, S.A.".] -
Anne Walsh + Chris Kubick, Room Tone, 2007. Sound Installation. Courtesy the artists. Photo: Bill Orcutt. [A carpeted gallery with two benches. One wall is painted dark gray and on it are two audio speakers mounted on either side. Between them are eighteen sheets of paper attached to the wall and lit with a spotlight.]
