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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.] -
Yasunao Tone: Region of Paramedia. Installation view (ephemera, c. 1980s), Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a vitrine from above. Various ephemera including press releases, photographs, and notes are placed inside.] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [Color image of an individual seated and intently looking into a computer screen. The bright glow from the computer illuminates the performer's face and the electronic gear on the worktable before him.] -
Hani Rashid, Certain First Principles, 1985. Mixed media with ink, old paint, acids, chalks, 33 x 24 inches. [Drawing of a curving tower with accentuated imagery spilling into the white surrounding areas.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A white cloth banner hangs vertically from the ceiling, with text which reads "KARA-KUM, area 350000, disposed in Middle Asia." Below the text are drawings resembling Turkish architecture. To the right of the banner, a slide projector sits on a short wooden bench, projecting a small image onto a white wall.] -
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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.] -
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[Three dark-colored objects are arranged on a wooden surface. The solid, organic forms curl and fold up towards their portruding tops.] -
Replica of a Lost Original. Installation view, Artists Space, 2007. Photo: Bill Orcutt. [A gray television sits on a rectangular wooden board. There is a mass of wires next to it. In the background, a white paper with black text hangs on a white wall.] -
[Collaged atop a purple, pink, and orange field is a series of abstract graphic and typewritten elements, including a man's face with a bandana covering his mouth. In the bottom left corner an upside down text reads "ABASEMENT 61." Smaller text above lists the participating musicians and artists.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A dimly lit, empty room filled with low chairs. A projection illuminates a dark wall opposite the chairs and displays an image of a man with tan skin and facial hair, wearing a keffiyeh.] -
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. ] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a display case. Several mugs are stacked on top of each other on the left side of the case, while five others are placed haphazardly across its surface. Each white mug is decorated with black text that reads, *STANCHION*. Several photos of a nude woman are arranged across the surface of the case.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures in blue morph suits face off, with one figure sitting down on a wooden box looking up at the other figure who stands above them wearing wings made of fresnel lenses. All the way on the right a figure takes video footage of the scene.] -
Log Cabin. Installation view, Artists Space, 2005. [Several photographs and TV monitors installed along the length of a white wall in a gallery space. Black vinyl text on the wall's far right side reads, "LOG CABIN" and lists a series of artists. Six photographs are installed to the left of the wall vinyl and depict portraits of clothed and nude figures. A yellow composition on a wooden panel is installed directly above the line of photographs. Three TV monitors are installed on the wall to the left of the photograhs.] -
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Audrey Glassman, Untitled. Cibachrome, 28 x 42 inches. [An opened gate is visible on the right with tables and chairs set up on a cement floor and decorative steel windows visible at the top.] -
Portrait of Dorothy E. Roberts. [A black woman stands, smiling, with her arms crossed in front of her. Behind her is a small fountain inside a courtyard.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A small device with a screen and cables is stuck to a closed door with a glass window and safety guard. The screen displays a blurred close up image of two hands grazing one another.] -
[A crowd of people standing outside a brick building, mingling and talking.] -
Viv Latta, Fresh Air, digital photograph, 2020 [Black and white photograph of a city street: a man stands, holding a lit cigarette in his mouth. He is flanked on one side by a staircase and on the other by a portable toilet. A large truck is parked behind him with its headlights on.] -
Isabelle Frances McGuire, The Death of a Giant, 2024. Photo: Carter Seddon. [A life-size off-white foam sculpture of a naked human form, in the likeness of Abraham Lincoln, rests supine on a low white platform.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two square paintings adjacent to each other, the left one depicting a lush mountain view in hues of burgundy, green, and blue, and the right one depicting a vertical slit in the ground, slightly parted, revealing a light brown interior crust surrounded by a dark, rippled exterior.] -
Abasement #74. Performance documentation, December 2nd, 2024, Artists Space. Photo: Joshua Wildman. [A performer sitting down playing the guitar is bathed in colorful light. They are wearing a geometric print shirt and a blue, green, and white projected pattern covers their face and the wall behind. There are two mic stands to their right.] -
[An abstract pixelated artwork in pastel tones.] -
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.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [An image of a man with black material painted around his eyes projected onto a black gallery wall. A portion of a red Coca-Cola sign reading "Trink Coca-Cola" is superimposed over the man's image. To the right of the video projection, an amorphous black sculpture with red feathers is displayed on a small shelf.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer sings into microphones illuminated in colorful, patterned lights. ] -
Flyer for Segue Reading Series featuring Sheila Maldonado & Rick Snyder. April 9, 2022, Artists Space. [Black text overlays a white background with a blue bunch of flowers in the lower right corner. The top left corner reads: “Sheila Maldonado / & Rick Snyder / April 9, 5pm.” The middle reads: “Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519.”] -
Social Surfaces. Installation view, Alexander and Bonin, 2017. Photo: Ron Amstutz. [A wide blue mop with a yellow handle is tethered to a white pillar by a black cord, and is stretched with the handle angled forward. Resting against the pillar is a tv, angled and facing slightly leftwards, displaying a sculpture in a parking lot.] -
Adjua Gargi Nzinga Greaves, Better homes and gardens back by popular demand, 2021. Magazine, artists tape, overall dimensions variable. Courtesy Artists Space, New York. Photo: Filip Wolak [Magazine pages are arranged in several rows on a white gallery wall. Below the pages is a row of sketches on yellow paper.] -
Flyer for Segue Reading Series featuring Sue Landers and Monica de la Torre. December 17, 2022, Artists Space. [Light blue and teal text overlay a purple background with abstract lines and an upside-down drawing of a male bust in the top right corner. The text in the middle reads "Sue Landers / Segue Reading Series / Monica de la Torre."] -
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Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [A black and white photograph of an artwork. A gainst a black background, 35 circles are drawn. Inside of each sphere is a miniature scene, either featuring people, planes, or household interiors.] -
El Bosque Luminoso Baja El Mar, Threads of History Presentations at M.S. 324, May 23, 2022 -
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Abasement #75. Performance documentation, February 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a fabric tent with an image of the moon projected on the top. The top of the tent is decorated with multicolored stars. The tent and the wall behind it are bathed in pale pink light, with small speckles of white light.] -
LaToya Ruby Frazier, A Message In Nestle Water Bottles from Shea Cobb and Amber Hasan at Sussex Drive and West Pierson Road, Flint, MI, 2017/2023, set of three archival pigment prints on Canson Platine Fibre Rag, 16 x 24 inches (40.6 x 61 cm) -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image a soldier interacting with civilians. The caption reads, "We thought you'd shoot us", and someone responds, "No, no, no..."] -
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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.] -
Listening Room, recorded compositions, collage and ceramics 2025 -
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Thomas Bayrle, Woody Allen: f ilms fi lms fil ms film s fil ms fi lms f ilms, 2011, Bespoke archival box wrapped in silkscreened cotton book cloth, 24 1/2 x 20 1/2 x 1 1/2 in / 62 x 52 x 4 cm, Signed and numbered certificate. [A black-and-white image, tiled across with tiny, interlocking patterns, similar to a Pacman level. The pattern is skewed - made more or less dense - to form the curvature of a face with dark glasses.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans their arms on top of a rolling table made of wood and fresnel lenses, pushing it toward another figure that stands in front of them filming them. In the background a third figure in a blue morph suit sits and leans down on top of a rectangular wooden frame. Blue footage is projected onto the back wall.] -
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Tom of Finland Untitled , 1967 Graphite on paper Tom of Finland Foundation, Permanent Collection [A man wearing only a leather jacket thrusts his pelvis forward as he ejaculates in front of seven enthusiastic men.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Two illustrations framed on a wall. On the left, two men, dressed in suits, engage in intercource behind a women sat in a chair. On the right, a half naked man sits on a bench in a cell above a man licking his leg, and an exposed butt that is plugged.] -
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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.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of a woman captured with her eyes closed, standing before a pair of microphones in a darkened performance space. Blue spotted lights and the reddish glow from a different light source shine onto the performer.] -
[White text on a grey and blue ombré background. The text reads: “March 8 / Farnoosh Fathi / A. B. Spellman.” 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.] -
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Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands next to a fold-out table in a dimly lit space. They look down at their feet while their hand rests at their hip.] -
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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.] -
Till They Listen: Bill Gunn Directs America. Installation view, c. 1973, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [An image of a projection in a dark room above a glass display case holding ephemera.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Partial view of two large orange slug sculptures forming a circular ring shape around cast-iron columns suspended by black elastic cords and two square paintings of the human form are on adjacent walls in a white-walled gallery space.] -
Perspective: The State of Existing in Space Before the Eye. Installation view, Artists Space, 1989. [On a black background, a charcoal drawing of a foot overlaps a scrap of an architectural diagram.] -
Conrad Bakker, Untitled Project: Projection [ARTISTS SPACE], 2007. Painted wood and mixed media. Courtesy the artist. Photo: Bill Orcutt [On a wooden floor in a white room are a pile of objects which emulate video projectors plugged into a power strip nearby. There is a remote control on the pile. On the otherwise empty facing white wall, "EPSON" is written in green letters.] -
William S. Burroughs. Target #5 (July 29, 1997), 1997 Courtesy John Giorno. . Photo: Adam Reich -
Friends of Artists Space Dinner, 2023. Photo: Destiny Mata. [Color image of four individuals holding hands and dancing in a circle energetically. The background depicts a dimly lit venue with a glowing discoball and a variety of guests.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [One red photograph is mounted at an angle on a white gallery wall.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of yellow, pink, and orange paper. Pieces of paper with typewritten text listing the performers and event details are scattered around the flyer.] -
Charles Simonds. Still from Mythologies, 1974. From Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A black and white still of a hand delicately reaching out to touch a stone surface.] -
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.] -
"Identity". Installation View, Artists Space, 2011. Photo: Daniel Pérez. [In a dimly lit room with light wood flooring and white pillars, three illuminated panels are suspended from the ceiling in the distance. The panels each display a single word—"tri", "angu", and "late"—in a cursive font.] -
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.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large room with a wooden table in the foreground. A standing screen is centered between two white poles, showing a projected image of a white sign with handwritten text reading "DELOREAN DREAM WORKERS NIGHTMARE."] -
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Art Day, Photo Club exhibition, PS 140, 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"] -
Milford Graves, Bikongo-Ifá: Spirit of the Being, 2020. Wood, tabla, acupuncture model, bata drum, Nkondi figure, George Washington Carverbust, compass, glass, peanuts, LabVIEW animation, monitors, bells, plasma, lamp, globe, eagle figurine, alarm clock, collaged paper, printouts, copper wire, paint marker, metal fasteners, casters. Dimensions Variable. Photo: Filip Wolak. [A color photograph of a sculpture composed of three monitors, drums, a human figure sculpture, and topped by a small sculpture of an eagle in mid-flight.] -
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Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An image of a hand holding a yellow golf ball projected onto the wall of a dimly-lit gallery space. Several square holes have been removed from several spots on the gallery wall, through which a space on the other side of the wall is visible.] -
Still from Polly II - A Plan for a Revolution in Docklands (2006). [A woman with a hood looks diagonally upward, away from the camera. Behind her, a large building is on fire and the sky is dark.] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [figure in a blue dress sits behind a white table, facing an audience. On the wall behind the presenter is a projected video that depicts an array of dried coral pieces on the left, and next to them a hand places a paper with illustrations of coral and a chart with notes underneath.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of two people in period dress engaged in conversation at the far end of an ornate allway lit by candlelight. In the foreground, a person in a maid's costume peeks around one end of a colonnade, observing.] -
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Gerry Morehead. Installation view from Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white image of a black circle with a fish painted on it.] -
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Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Close-up color image of two performers. Occupying most of the image is a performer in a red robe with only one button buttoned so the middle of their chest is exposed. A necklace with chunky white beads and a silver pendant with a black tassel hangs around their neck and down their bare chest. The performer's right hand is raised up, their head turned down, looking over their left shoulder to the second performer who stands behind them. The performer dressed in red with a bald head holds a microphone in their left hand. On the red-dressed performer's left shoulder, another performer, wearing a bald cap looks up at them. Their right hand is raised, touching the red performer's forearm. Their faces and the wall behind them is illuminated by the bright white light of the projected image. --] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A poster showing a silver car driving through a selection of press clippings from newspapers on a blue background. At the top of the image, there is white text that reads, "PRESENTING AMERICA'S MOST TALKED ABOUT CAR!" At the bottom, white text reads, "DELOREAN."] -
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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Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [View of two white gallery walls featuring small framed works on paper, each featuring abstract calligraphic ink drawings.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [Several silhouetted figures backlit by a red glow stand among columns. The figure in the center holds a white-lit object in the air.] -
[Black-and-white photograph that has been double exposed. The dominant image shows a portrait of two smiling figures, standing side-by-side. Imposed on top of that is a faint image of a building and lights.] -
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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.] -
Yellow. Performance view, Artists Space, 2008. [A woman is seated wearing a long, yellow dress with a full skirt. She has the front of the skirt held in her teeth, with her hands on her knees. There are some soap suds on her hands, near her mouth, and on the front of the skirt.] -
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rafa esparza: Camino. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of the entrance into a gallery space, with columns running down the hallway. At the forefront of the image are two large paintings made of adobe, and resting on steel armatures. Each painting features a representation of a person walking slowly. In between the armatures are adobe bricks layed out into a walkway on the floor.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Shala Miller, Genesis, 2023), Artists Space, 2023. Photo: Filip Wolak. [A life-size vinyl against a black wall depicting a black-and-white image of a body in motion, multiple images are overlayed on top of each other to create a ghostly atmosphere.] -
Peter Osborne, Anywhere or Not At All (Verso Books, 2013). [A book cover with an old car vertically arranged next to Arabic writing.] -
Split/Vision. Installation View. Artists Space, 1985-86. [Framed square and rectangualar photographs are visible in a white-walled gallery space with white columns centered in the image.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure on a black stage, seated behind a white desk. They are looking attentively at a laptop screen in front of them which is open to a computer program.] -
Sidewalk Archives, Artists Space, April 2023 -
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U.S. Projects: Howard Fried. Installation view, Artists Space, 1983. [A sink structure on wheels sits atop a tilted wooden table top with legs of varying sizes. Light from the ceiling is seen emanating onto the structure in the white-walled gallery space.] -
Michael Robinson. Still from Hold Me Now, 2008. [A man and a woman, facing each other. The woman is yelling, apparently in anger. There is overlaid text at the bottom. "Stay with me" in light blue, and "let lovin start" written twice in white.] -
Alan Michelson. Permanent Title, 1993. Wax, muslin, charcoal. Overall: 144 x 144 x 9 in. (366 x 366 x 23 cm). Courtesy the artist. [Eleven brown bags of varying sizes are displayed on a wall, pinned so that their mouths hang open slightly. Charcoal rubbings on the bags trace out corporate logos and other words and phrases.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color photograph of a figure seated behind a white desk filled with audio equipment. On the wall behind is a projected illustation of a figure holding a bow and arrow. The room is bathed in an orange/red light.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
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Abasement #65. Performance documentation, September 18, 2023, Artists Space. Photo: Joshua Wildman. [A close-up color image of a musician playing the saxophone. Half of his face hidden by his hat. Orange and red projections cast onto him.] -
Keeph Little, Artists Space construction site no.1, 2020, digital photograph Keeph Little, Artists Space construction site no.1, 2020, digital photograph [A window sill with cups, cans and cloth is visible and a crane can be seen outside of the window with the text: "New Holland" written on it. Circular green graffitti is visible on the facade of the building behind the crane.] -
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David Antin, Sky Poem, La Jolla, CA, Santa Monica, 1987. Courtesy Getty Research Institute, Los Angeles. [Two people wearing large sun hats look up towards an empty blue sky framed by scattered palm trees. Faint, white text written in dotted cloud formations is visible in the sky.] -
From below, a musician is seen manipulating electronics housed inside of a lunchbox that pictures a schoolbus painted with different colored rectangles that have sharp black borders. Above the schoolbus is text that reads "The Partridge Family". The walls behind the musician are bathed in soft green light. -
Mystery Men, Darold Biggs, Silver Key in Photography -
Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays a stringed instrument on stage. The performer and stage are bathed in pink and blue light.] -
Adrienne Kennedy, The Owl Answers. Performance documentation, Artists Space, February 29, 2020. Photo ©️ Filip Wolak. [A head-on view of six figures, each standing before a music stand in front of a seated audience. They are arranged side by side in a horizontal line, illuminated by overhead lights.] -
Laurie Anderson, Whirlwind, 1996. Disk, 48 speakers, electronics, computer program. [A black and white image of a large room with a round black disk suspended from the ceiling over a gray circle in the floor. It is lit from above by mounted lights.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the drums on stage, bathed in red light, while colorful geometric patterns are projected on the wall behind.] -
Works by Robert Vitale. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [Three figurative, red and black gestural paintings hang on a white wall. On the left, a vertical work shows the exterior of a building with a ladder leading to a window. On the right, two horizontal works hung one above the other feature pairs of chairs, each connected by a circle.] -
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.] -
Nuestro Reflejo, Threads of History exhibition, Morris Jumel Mansion, March, 2025 -
Local Transit. Installation view, Artists Space, 2006. [A hallway with one gray wall and one white. On the gray wall, there are a series of drawings on white paper arranged in a 4x7 grid. On the white wall, there are four frames. Light is refracted on a third wall at the end of the hallway.] -
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.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a figure dressed in black performing in front of an audience in the background. The room is dark, with LED light sculptures made from dried SCOBY in the background. The figure sits on the floor, looking off to the right and holding a mask in front of their face.] -
[A green poster with white text giving information about a virtual reading event. There is an image at the bottom of a person looking into digital, VR-style goggles with large headphones. Smaller white text in the bottom corner reads, "stay well & be good to each other."] -
Union Gaucha Productions. Still from Phantom Limb, 1998. 16mm film (silent, black and white), 21 min 45 sec. Courtesy of Union Gaucha Productions. [A black and white still of a hallway with a patterned balcony, which descends into stairs. Three geometric paintings are hung along the walls.] -
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General Idea: Image Virus, by Gregg Bordowitz, published by Afterall Books, 2010. [A book cover design consisting of a pattern of bright red, green, and blue letter tiles spelling out "AIDS" in square formations. White text overlaid on top of the patterning in the cover's upper left corner reads "General Idea Imagevirus Gregg Bordowitz"] -
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [Color image of three individuals standing together outside in front of a wall covered in graffiti. Two women with red hair and vibrant outfits flank and engage with an individual in the middle.] -
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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.] -
Milford Graves: Fundamental Frequency. Installation view (Hand-painted Drums, c.1970s; Earth Resonance, 2020; Untitled painting, c. 1980s), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a hand painted drumset in a gallery space. A circular gong hangs above, and a painting done on a wooden panel is attached to the wall in the background.] -
Activated Walls. Installation view, Artists Space, 1993. [A wooden chair facing the corner of a room. Painted on one wall is an empty red frame. On the perpendicular wall, there are several half-finished paintings of children.] -
The Body Politic. Installation view, Artists Space, 1991. [A black and white photograph of four sculptures resting on slightly elevated rectangular plinths. The sculptures are constructed of metal molded into headless and limbless humanoid body shapes.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures hold medical instruments over a table with a manneuqin and an IV.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Collier Schorr, D., 2012, Archival pigment ink print, 14 x 11 inches, Signed and numbered [A black and white photo of a nude person in profile with arms crossed.] -
Milford Graves, Hand-painted Drums, c. 1970s. Wood and metal bass drums, toms, snares, acrylic paint, and mixed media. Dimensions variable. Photo: Filip Wolak. [An aerial view of a hand painted drumset on a wooden floor.] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [View of 3 performers on stage from center left. Performers pictured in front of soft pink, blue, and white light against a wall. Leftmost performers is seated, speaking into a microphone and manipulating a tape machine with hands. Performer in center is drinking from a blue water bottle. Rightmost performer is making sound through cupped hands into microphone. Sharply defined shadows against back wall. ] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [In the foreground, a clear and grey sculpture rests on top of a white pedestal. In the background, four additional sculptures in arranged from light to dark tones, hang in a row.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [A framed painting is hung on a white wall adjacent to an elevator with a decorative sconce installed above the painted white doors. The painting depicts a chained elephant being trained by a woman in a black dress. The woman holds a baton against the elephant's raised foreleg.] -
Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of the corner of a gallery space. Two pillars run down the side of the space, inbetween them is a black leather couch with a soft sculpture of a figure laying down, wearing a durag, with a red PlayStation controller. In front of the couch is a table, comprised of a glass panel and a sculpture of a figure laying down with their backside raised. On the left wall is an arrangement of framed drawings. On the right wall is a large red painting, alongside more framed drawings.] -
[Black text on a grey background. The text reads: “March 21 / Dave Morse / Anahid Nersessian.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [The image positioned below a speaker shows a performer singing while playing the keyboard. ] -
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [An angled view of a freestanding white wall displaying vinyl wall text in an exhibition space. The first sentence of the text reads, "A plea for funds seems to come again." An adjacent wall is covered with a large, abstract image of a figure's portrait. It is rendered such that the figure's face appears to be emerging from a cloud in a night sky.] -
Chinatown Art Brigade and The Illuminator Here to Stay, September 24, 2016 Courtesy Chinatown Art Brigade. Photo: KahEan Chang [A view of Chinatown at night, with a projection onto the side of a building which reads "Save Chinatown" with its own image of Chinatown storefronts underneath.] -
Artists Performance Series. Installation view, Artists Space, 1977. [A bends at the waist, resting their head on the side of a television monitor. The monitor's screen shows two figures, facing away from the camera.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view, Artists Space, 2014. [A white wall displaying exhibition text next to two, life size paper mache sculptures. Left is John F. Kennedy and right is gallerist Alfred Schmela. To the right is text thanking the Artists Space suppoters.] -
Vito Acconci. Installation View. Artists Space, 1986. [A piece of landscaping appears on the gallery floor with flowers and plants coming up from it in a stair-like fashion. Paintings appear in the background in a white-walled gallery space.] -
A Rat’s Mass, 1976, La MaMa, 1 hour 47 minutes. Courtesy La MaMa Archives/The Ellen Stewart Private Collection. Photo: Filip Wolak. [A television displaying a grainy black and white image of a group of people.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Three television screens installed on a gallery wall. Two screens are positioned in a portrait orientation and the third in a landscape orientation. Their cords loosely fall to the ground below and run beneath a door. Each screen displays images of one or several figures mid-speech or mid-movement.] -
Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [Color image of a performance space illuminated by red light. In the center, two figures standing next to each other are playing the violin. Behind them is a white projector screen and a speaker.] -
Flyer for Segue Reading Series featuring Sarah E. Brook and Sara Jimenez. March 19, 2022, Artists Space. [Black text overlays a light blue background. The top left corner reads: Sarah E. Brook / Sara Jimenez. The middle reads: Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “Saturday, March 19, 5pm / Zoom ID: 893 9594 7519 / Suggested donation $5."] -
Installation view, Robert Morgan. Artists Space, 1977. [A photograph of a white gallery wall with multiple photographs mounted in a crooked row.] -
[White text overlays a background of a close-up picture of grass and grey rocks. The text reads: “April 15 / hannah baer / Early Shinada." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of an installation in a gallery. Several dark metal columns line the left side of the space, and on the right a punching bag and other boxing equipment hang from a rectangular wooden frame. In the background, several more mixed-media sculptures are visible.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Color image a performer in a bald cap with both of their hands raised with elbows at shoulder height. The performer occupies the center of the image wearing a blue dress covered in a square and circle pattern. From the left, bottom corner, a microphone on a stand rises to meet the performer in the center. In the lower, right hand corner, another bald performer, dressed in a red top bends down towards the performer in the center of the image. The wall behind both the performers is filled with a projected image in hues of yellow, brown and white. ] -
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.] -
Mark Morrisroe. Still from Hello from Bertha (1983). [A person is seen in profile, speaking to someone out of frame. They are wearing a glittery gold top with a pink fur neckline and beaded necklaces of different colors. They have large flower-shaped earrings and colorful makeup, including blue, shiny eyeshadow. Their dark hair appears to be covered by a bleached wig.] -
Tiffany Sia, The Bastard Scroll (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with dark grey walls. Eight photographs and print-outs are hung on the walls, and to the right of them is a wooden bench.] -
Ursula Biemann, still from Writing Desire, 2000. Video, 23 minutes. Courtesy the artist. [A nightime view of a truck driving past a parking lot. In the top left of the image is a superimposed video of a blond woman. The words "Hello I'm Natascha" appear in red to the right of the woman.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo: Jean Vong. [A framed, oval-shaped painting of a man and a conical plant sculpture decorated with hanging crepe paper tassels are displayed in a gallery.] -
Hani Rashid, Corset Shop in Paris, 1985. Mixed media with ink, old paints, acids, chalks, 33 x 24 inches. [Drawing with various stools and faces in the center rectangle with lines emerging under it stretching towards the bottom.] -
Flyer for Segue Reading Series featuring Sasha Banks and Derek McCormack. Saturday, October 31, 2020, Artists Space. Artist: Keith Higginbotham [Photographs of an opulant room are collaged together, creating a view of a single space with multiple perspectives. White text centered on the image reads "Sasha Banks / Derek McCormack," and black text below reads "Segue."] -
Shala Miller, Genesis, 2023. [A black-and-white film still of hazy and ghostly tonal modulations. A disembodied arm and hand with extended fingers is captured in mid-motion, floating within the nondescript tonal atmosphere.] -
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.] -
Brittany, Plant observation, watercolor painting, 2025 -
Lyndon Barrois Jr., Breakaway Palm, 2022. Oil on linen-mounted board, brass, solvent transfers, raw linen panel, linoleum frame, plywood. 20.75 x 16.75 inches. Photo: Filip Wolak. [A color photograph of a ceramic jub resting on a small wooden stool next to a color control strip. On the wall above and to the right is a painting of two hands. Another color control strip rests on top of the painting's frame.] -
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Pictures. Installation view, Artists Space, 1977. Photo: D. James Dee. [A black and white installation photograph of three framed drawings on a white wall. The center frame is a pared down sketch of a column, and the flanking frames feature feature a simple croshatch of four lines, topped with a fifth.] -
Ann Goldstein has been a museum professional for over forty years. She currently serves as Deputy Director and Senior Curator at Large at the Art Institute of Chicago and on the board of directors and as President of the Michael Asher Foundation. Goldstein joined the Art Institute in 2016 as Deputy Director, and Chair and Dittmer Curator of Modern and Contemporary Art. Prior to joining the museum, she served as Director of the Stedelijk Museum in Amsterdam from 2010–2013, and as Senior Curator at The Museum of Contemporary Art in Los Angeles (MOCA) from 1983–2009. She is recognized for such large-scale historical survey exhibitions as A Minimal Future? Art as Object 1958-1968, 1965-1975: Reconsidering the Object of Art, and A Forest of Signs: Art in the Crisis of Representation, as well as numerous solo exhibitions and projects over the years with Jo Baer, stanley brouwn, Judy Fiskin, Felix Gonzalez-Torres, Roni Horn, Richard Hunt, Mike Kelley, Martin Kippenberger, Barbara Kruger, William Leavitt, Steve McQueen, Cady Noland, Pope.L, Josephine Pryde, Nancy Rubins, Lawrence Weiner, and Christopher Wool, among others. In addition to the Asher Foundation, Goldstein serves as a member of The Felix Gonzalez-Torres Foundation Fellows Forum, on the board of trustees of the Richard Hunt Legacy Foundation, the board of directors of Primary Information, and as a member of the Serralves Museum Advisory Committee. In recognition of her work, the Center for Curatorial Studies at Bard College presented her with the Audrey Irmas Award for Curatorial Excellence in 2012. [Photo: Christopher Williams, 2024] -
ART CLUB2000, Gli Avvoltoi (The Vultures), 1995, wall painting. Installation view of FuoriUso '95: caravanserraglio arte contemporane, Fuori Uso, Pescara, Italy, 1995. The wall painting was originally produced for the exhibition Milanarian at Gallerie Facsimile, Milan, Italy, 1995. [A painting on the wall of an industrial room depicts a network of television antennas, repeated horizontally. Cartoon birds sit atop the poles, each with a numbered speech bubble floating above their heads.] -
Angela Bulloch, Rules of the Space, 2012, from the Rules Series, Silkscreen print on record sleeve, 12 3/8 x 12 3/8 inches, Signed and numbered [A numbered list of rules is arranged on white ground in various black fonts. Text reads: "Rules of the Space / 1. This SPACE is OCCUPIED. Anyone CAN SLEEP HERE / 2. NO Police (Pigs) and NO Informants (Rats) / 3. No Press OR Photos / 4. This is a Safer SPACE No Bullshit / 5. NO Peacekeepers or WANNA-BE POLICE / 6. INVITE EVERYONE (Except the aforementioned pigs and rats) / 7. create the world you want to see in the future (occupy the future) / 8. The HISTORICAL BREAK / 9. SEQUESTER THE BOSSES / 10. SHUT IT DOWN!!! / 11. Flush the toilet - don't shit on the floor.. this isn't Zucotti. / 12. PANTS ARE OPTIONAL / 13. DEMAND NO. 1 CATS (AND WE WANT THEM MEOW!) / 14. Louder! Louder!! LOUDER!!! If You Wanna Exploit LABOR you havta be you have to be 15ft from the door / 15. Rock & Roll ALL NIIIGHT AND PARTY EV-ERY DAY! / 16. CREATE MYTHS TO SUSTAIN CATASTROPHE] -
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.] -
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Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [Portrait of a figure caught offguard.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of a man holding up the Iraqi flag.] -
Catalogue cover for Stone's Throw, Artists Space, 1990. [A black and white photograph of a television sitting on a low table, with a fan sitting on top of it. White text in the bottom right reads, "STONE'S THROW, TV FROM CUBA, ISLAND IN GOLIATH'S SEA. ORGANIZED BY DEE DEE HALLECK AND MONICA MELAMID. MARCH 8-APRIL 7, 1990. ARTISTS SPACE."] -
Immanent Madness. Installation View. Artists Space, 1985-86. [A drawing of a multilayered circle. The inner circle reading "Imminent Madness", the second layer reading " academies, forest, huts, villages, cities," and the outer layer reading, "pleasure, luxury, neccesity, utility, comfort."] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [Black-and-white image of two figures performing on stage. On the right a figure looks down and manipulates audio equipment held in a briefcase. To the left and behind another figure is out of focus and plays the violin.]
