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Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery space. Various musical instruments and audio devices are placed around the middle of the room, photographs and vitrines hang on the walls, and various television monitors and projections are placed along the sides of the room.] -
Pop or Populus: Art Between High and Low, by Bettina Funcke, published by Sternberg Press, 2009. [A white book cover with patterned text reading, "Pop or Populus." In between these words, small black text reads, "Art between High and Low" and "Betinna Funcke".] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [An assortment of artworks are seen in the large gallery space. On the left wall, a painting reading "NIGHTMARE" at a vertical angle with images of skulls, stars, and abstracted forms superimposed on top, as well as a framed painting to the right. In the center of the room is a gridded artwork with letters inside, a table behind displaying two ceramic works, and metal armatures with red, white, and blue wax candles spelling "LOVE." The space is divided by a row of columns with both framed and hung paintings behind.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Two facing gallery walls featuring framed drawings on white and black paper. The work on the left wall features small pencil lines arranged in a square shape, with negative space forming the shape of a large spiral. The works on the right wall feature various ornamental lines that form large circles.] -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of a large, open gallery space. The visible walls feature a continuous painting that wraps around the room, showing human figures on saturated blue, yellow, and red backgrounds. A single person stands int he room and looks at the painting.] -
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."] -
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.] -
[Dark blue text overlays red-pink background. The text reads: “February 11 / Felix Bernstein / Whitney Claflin." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Ian Bader. Spalation Clock, 1977. Axonometric. [Drawing of large square architectural development with half circle surrouding it and a small development above it to the right.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure in an orange and white-lit space, leaning forward slightly to adjust a dial on a piece of audio equipment.] -
Flyer for Segue Reading Series featuring manuel arturo abreu and JJJJJerome Ellis. February 5, 2022, Artists Space. [White text overlays a dark blue background. The top left corner reads: manuel arturo abreu / JJJJJerome Ellis. The middle reads: Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “Saturday, February 5, 5pm / Zoom ID: 893 9594 7519 / Suggested donation $5."] -
You Are The Everything and The Everything Is In You. Installation view, Artists Space, 2005. [A long piece of paper covered with muted pastel and black areas of color stretches horizontally along two walls in the corner of a gallery space. Vinyl text installed to the right of the paper scroll reads: "Andrew Kuo / YOU ARE THE EVERYTHING AND THE EVERYTHING IS IN YOU."] -
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.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs hold a mannequin over a table.] -
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.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A Samsung television monitor displaying Benjamin Buchloh, in a black sweater and thin rectangular glasses, being interviewed.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure performs into a microphone, their mouth open, performing using material held on a music stand in front of them.] -
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LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [An assortment of artworks are seen in the large gallery space. On the left wall rests a framed text drawing, a shelf holding a display of photographs, and in the corner a television playing a video. The wall to the right displays two paintings. On the floor in front of these walls in a table with two ceramic works and gridded artwork on the floor. The space is divided by columns receding into the back of the gallery space.] -
Flyer for Segue Reading Series featuring Charles Alexander and Lonely Christopher. Saturday, January 29, 2021, Artists Space. [[Black text overlays a mauve background. The top left corner reads: "Charles Alexander & Lonely Christopher" The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday January 29, 5pm, Zoom ID: 893 9594 7519, Suggested donation $5". The image of a 5 dollar bill is placed within the text.]] -
Young Fluxus. Installation view, Artists Space, 1982. [View down a hallway with framed images on the wall.] -
Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [Two figures are seated on stage. The figure on the left plays the violin and the figure on the right holds a briefcase full of audio equipment.] -
Adjua Gargi Nzinga Greaves, For Aricka, Ayana, Ayodele, Bernice, Chantelle, Charmaine, Cynthia Ch., Cynthia Co., Daphne, Davina, Dawn, Dina, Emily, Erica, Evadne, Frances, Gail, Gwen, Hara, Heather, Imanei, Imani, Janet, Jenny, Kadija, Kahdeidra, kale, Kelly, Kenya (R), LesLes, Lois, Lynnette, Madeleine, Mahogany, Marsha, Maiya, Najela, Nontsi, Ola, Pilar, Queen, RaFia, Ro-Ro, Sandra, Sasha, Serenity, Shana, Simone L, Simone W, Tabitha, Taiyi, Trinity, Uchenna, Vivian, Wangechi, X, Yvette, Zuri, detail, 2021. Living plants: Hannibal (Epipremnum aureum) with rose quartz, Gertrude Deuxieme (Tillandsia xerographica), Leonie (Philodendron totem), Eversley Deuxieme (Tillandsia xerographica), Melford (Epipremnum aureum) with amethyst; dessicated floral matter (eucalyptus, grass, willow, palm), knight on horseback figurine, brass candlesticks, polystyrene, porcelain and 18 karat gold plates, crystals (various), bamboo earrings, jade, cremains, leather, cork, glass, dragon figurine, sandalwood incense and ceramic holder, palo santo (Bursera graveolens), and window, overall dimensions variable. Courtesy Artists SPace, New York. Photo: Filip Wolak [Potted plants and small figurines line the windowsill. Beneath are four framed works on paper and an empty frame.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A view of a gallery installed with multiple sculptures by Matthew Langan-Peck, Ruben Ulises Rodriguez Montoya, and Isabelle Frances McGuire. In the center foreground sits a wooden box sculpture painted light blue, with a pair of headphones hanging from a small peg on the side facing us. Another wooden box, painted dark blue with a repeated traffic light motif, sits in the distance behind and partially occluded by the box in the foreground. To the left, a large biomorphic sculpture composed of found materials hangs from the ceiling. In the background, three large pink banners emblazoned with silver stars hang from ceiling to floor.] -
Still from Sacrifice/Gisei (1959). [A black and white image of a man lying on the ground, his arms and legs splayed out as if in agony. His eyes are closed and his face is contorted.] -
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[Flyer featuring a drawing of a face in black ink with accents of pink and green on the mouth, cheeks, and eyelids. Handwritten text on the top reads "The worst is over / well it hasn't even / started by at least / I know." Text on the bottom provides the place and time of the event.] -
Konrad Lueg with Balloons July 1962 Zero Festival, Rhine Meadows, Düsseldorf-Over-Kassel Courtesy Archiv Reiner Ruthenbeck, Ratingen © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of a man in sunglasses holding a large cluster of balloons tied to strings above his head with his left hand.] -
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."] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, New York, 2022. [Inside a pink-hued room are three tanker desks and three rolling office chairs in a single-file line. Security monitors with color videos sit on each desk alongside small pieces of clay. In the distance, tree trunks wrapped in fabric rest on the floor and construction nets hang from the ceiling. A wooden structure and an aquarium with purple-colored lights are positioned behind the tree trunks.] -
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Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A television on a metal stand shows an image of a man in a cowboy hat. A white bar with black text on the bottom of the screen reads, "The actor said. He explains that thousands of bootleg copies."] -
Neraldo de la Paz. San Sebastian, 1984. [A nude figure with a nude figure emerging from its neck is pierced with three arrows while its arms are hidden behind its back. Blood-like lines appear dripping from the arrows. A sky is visible behind the figure.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Three figures standing by a set of music stands in front of a seated audience. The center figure faces the audience, her arms stretched wide. The figures on either side of her appear to mime grasping something above themselves—such as a bar or handle—with one hand. One's expression is solemn, the other's incredulous.] -
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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.] -
Joelle de la Casiniere. Still from La Grimoire Magnetique, 1983. 26 minutes. Photo: Micki McGee. [A black and white image of person in a coverall jumpsuit and backwards baseball cap reading aloud from a music stand. Behind them, a pair of sunglasses is shown on a white background.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of four framed works displayed in a horizontal line on a white wall. The drawings, made on black paper, depict abstract compositions made up of white lines, arrows, circles, and illegible textlines.] -
[White text overlays a bright fuchsia background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Fall 2025 Season / October/November curated by / Nightboat Books"] -
Friends of Artists Space Dinner, 2023. Photo: Joshua Wildman. [Color image of a man standing at a podium, reading from a program. The individual is flanked on both sides by guests seated at dinner tables within an elegant and decorative venue.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A figure and a microphone are silhouetted in front of an image projection. The image shows a face obscured with white plaster, overlaid with red text reading “New Red Order” and white text reading “1-888-NEW- RED1 newredorder.org."] -
Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color installation view of a gallery space with three dark columns. A wicker pannier and a yellow brocade couch are visible in the foreground. In the background, a multi-tiered door, several paintings, a wooden stool and nightstand are also visible.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A portrait-oriented screen is mounted on two metal floor to ceiling poles. The screen is split to show two different images of shadows on the ground. At a 90-degree angle facing left, another screen is mounted on two metal floor to ceiling poles. A third screen is visible in the background, facing away, mounted on two metal poles atop a wheeled base.] -
Screenshot from Tan Lin's Bibliographic Sound Track, 2012. [Screenshot of two vertically oriented rectangular shapes, one white and one blue. Fragments of text appear in both rectangles, spelling out phrases like "17 black random [marks on] : lemon," "Particles disable rendering [ I ]," and "Etc. a state to each other."] -
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Still from Bernadette, 2008. Courtesy of Duncan Campbell and HOTEL, London. [A black and white image of a woman sitting alone in a row of seats, as if on a bus or train. Her face is obscured by the seat in front of her from the nose down, but her full reflection is visible in the window next to her.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a darkly lit room. A figure sits behind a white table filled with audio equipment and two standing microphones are placed above the table. Light sensors are attached to the wall behind the figure where a projection of images plays.] -
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.] -
Flyer for Segue Reading Series featuring Michael Gottlieb and Duriel E. Harris. Saturday, October 3, 2020, Artists Space. Artist: Keith Higginbotham [A cut-out reproduction of a painting depicting a figure being beheaded is collaged over a black and white photograph of a renaissance style interior. Black text over the top half of the image reads "Michael Gottlieb / Duriel E. Harris," and in the bottom corner black text reads "Segue."] -
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.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph close up of white picket fence and painted dark background.] -
Opening at the Tanager Gallery, NY, 1959. [A black and white photograph of a crowded room filled with people conversing.] -
Abasement #67. Performance documentation, January 15, 2024, Artists Space. Photo: Joshua Wildman. [Color image of a four-person band on stage. The left-most musician wears a green baseball cap, black tee-shirt and jeans while playing a guitar. Slightly behind him to the right, a musician in a black tee shirt and blue jeans is seemingly playing an alto and tenor saxophone at the same time. To the right of the saxophonist, a musician with grey hair, mustache and beard plays the drums. To the right of the drummer, closer to the front of the stage, a singer stand upright, vocalizing into the microphone with their eyes closed. The singer grasps a sheet of paper in their right hand. The entire stage and back wall is illuminated by bright bluish-green light emitted from a projector. ] -
Photography and the City attendance sheets. Courtesy Harvard University Archives. [College-ruled paper with numerous tallies in different colors and orientations] -
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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.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Five framed works on paper, one individual work on the left and a cluster of four on the right, hang on a white gallery wall. Works feature abstract, calligraphic strokes in black ink on paper. Individual work on the left includes hand-painted text reading "3 concerts, improvised music. La Monte Young - sopranino saxophone, Angus MacLise - hand drums, drone, 8-12pm Sundays - August 12, 19, 26, 10-4 Group Gallery, 73 4th Avenue, contribution $1.50" ] -
Charles Simonds. Still from Mythologies, 1974. From Thomas Lanigan-Schmidt, James Biederman, Charles Simonds, Artists Space, 1974. [A black and white film still of a stone rockface with a small stone shelter built into the rock on the left side.] -
Martha Wallner and Miriam Loaisiga. Still from Con Guerra O Sin Guerra (With or Without War), 1987. Video (sound, black and white). Spanish with English subtitles. [One figure on the left looks towards the camera and the other looks to the left. Outdoor suburban environment behind them. Subtitles burned into the bottom of the screen read, "She should know how to keep house and be attentive." Video scan lines and outside edges of CRT monitor visible in the image.] -
Robert Hall. Babalu, 1986-87. Painted Construction, oil on plywood. 48 inches x 34 inches. [A black and white photograph of a painted construction.] -
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.] -
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Claire Fontaine, Greve Humaine (Interrompue), 2009. [Five people, two standing and three in folding chairs, painting the partially formed words "GREVE H" in brown on white walls. Assorted debris is scattered on the floor around them.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure sits behind a table, looking at a laptop screen, their face resting in their hand and a microphone placed next to their face.] -
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.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1982. [Contact sheet of installation and opening photos from the exhibition.] -
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Andrea Callard, still from Standard Adult Wheelchair; Temporary participation for an analogous situation. Black and white video, 6 min, c. 1977. [A black and white video still of a group of people in a street. One is sitting on a bicycle, another to the right leans against a trash can and looks down at their shoes.] -
Portrait of Dorothy E. Roberts [Portrait of a black woman, looking forward with her face resting in her left hand, and her right arm placed on a table. Behind her is a dark grey background.] -
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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".] -
A Strategy Hinted At. Installation view, Artists Space, 1996. [Five works depicting wood patterns in various tones are arranged in a horizontal line on a white wall.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands in front of a seated audience. The figure on the right appears to read from a text propped on the stand, while the figure on the left looks towards the audience, speaking and gesturing towards them with one hand.] -
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Charlotte Posenenske. Configured by the staff of Artists Space. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor in front of a large, light-filled window. The sculpture is modular, hollow, and consists of rectangular and triangular metal components. Two vent-like openings in the sculpture face the viewer, while the opposite side of the sculpture bends towards the gallery window.] -
Collaged postcard by Sigmar Polke and the Hoehme class to Gerhard Hoehme Not dated (ca. 1965/66) Gerhard and Margarete Hoehme-Stiftung, Museum Kunstapalast Düsseldorf [A postcard containing an illustration of a house with collaged materials on top. At the bottom is the back of the post card, with a handwritten note.] -
Portfolio Development, Blue Sky Gallery exhibition (an homage to Virgil Abloh), June 17, 2022 -
[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)"] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [A performer is surrounded by equipment, playing on stage. The stage is bathed in green and blue light patterns created by a projection.] -
Sixth Anniversary Exhibition. Installation view, Artists Space, 1979. Artwork by John Torreano and Barbara Schwartz. [Sculptural pieces are mounted on the right wall. Three square canvases and one larger rectangular canvas dotted with a dark material hang on the left wall. Large windows line the back wall.] -
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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.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [Various framed works on paper hang on two facing white gallery walls. Each features small looping ornamental symbols, drawn with pencil within the individual boxes of gridded paper, to form larger shapes and structures. The large work on the right wall features repeated ornamental symbols in gold on pink ground.] -
John Monti, Rocker Variation, 1991. [Two identical large wooden sculptures on a black and white checkered floor. The sculptures have rounded, semi-circle shaped bases with rectangular pieces set crosswise atop that.] -
[Black text overlays a solid orange background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Fall/Winter 2024 Season / October/November curated by A Gathering of the Tribes / Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
Poster for Top Hat, 1935. [A bright yellow poster for Top Hat (1935) features a man in a black tuxedo with coattails and a woman in a long white dress with a full skirt, captured in exuberant dance atop a black top hat. Orange rays radiate from around the woman, while around them are smaller illustrated vignettes of the dancing couple in various poses amidst music notes. Text at the top of the poster reads "They're dancing cheek-to-cheek again!" and bold type listing the featured actors' names, Fred Astaire and Ginger Rogers. The movie title is superimposed on the top hat in red type. Further film credits include Irving Berlin (music and lyrics), and supporting cast (Edward Everett Horton, Helen Broderick, Erick Rhodes, and Eric Blore), with direction by Mark Sandrich.] -
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.] -
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DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [An image of a large number "9" printed across a series of rectangular pieces of paper that are linked together by metal rings such that they form a large, draping sheet. The sheet of linked papers is held in the air by four poles supporting each of its four corners. The poles are mounted in silver buckets filled with multicolored objects.] -
Shala Miller & Malcolm Peacock, with Amiri Baraka's Cellar Vigil. Installation view (Malcolm Peacock, How to address the full capacity of our will, 2023), Artists Space, 2023. Photo: Filip Wolak. [A gallery space with a wooden camper structure placed in the left corner. Two wooden ramps lead to the front and side of the structure. A freedstanding walls juts out from the right wall. A white projector hangs from the ceiling on the right side of the space.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photo of an installation work in a gallery. On a wooden partition wall in the back of the space, two large carboard drawings hang. To the left, in front of the wooden parition, a paper-mache sculpture is placed on the floor. In the center of the image, ceramic works and kinetic sculptures made of branches surround a structural column. Behind the column, there are more paper-mache sculptures placed on the floor and hanging off the wall. In the right foreground, two windows with images painted on the glass hang from the ceiling.] -
Community Listening event, Listening to the LES, P.S. 140, 2018 [A photograph of a classroom environment with several students sitting around the edges of the room and a few drawing directly onto a white tablecloth in the center of the room. An image of the underside of a large bridge is shown on a monitor at the front of the room] -
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 an orange wall that reads "Wandering with no specific intent or has something specific in mind but doesn't tell what it is." met with a tower of gap shoe boxes. Near the gallery wall are life like cutouts of individuals dressed in animal costumes.] -
Gedi Sibony Animal Scramble, 2013, Archival inkjet print, 14 1/4 x 13 1/2 in / 36,2 x 34,3 cm (image size), 24 x 20 in / 61 x 51 cm (paper size), Signed and Numbered [Assorted animals, including tropical fish, birds, reptiles, a cat, dog, and rabbit are drawn in black marker on yellow paper.] -
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.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Four abstract sculptures constructed from neutral-toned materials are displayed atop white virtrines. Three more sculptures are hung in a row against a white wall.] -
John Neff, Authorization Sessions Set: Proof prints from Time Dust, 2013 – 2018, 2018. Photo: Daniel Pérez. [Five photographs arranged in a pane of glass lean on bolts against a wall. The images in the photographs (from left to right) include a man exhaling smoke, a man looking towards the viewer, a man in a bathtub, a man, turned away from the camera, in a hospital gown, and an empty dinner plate.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three metal cutouts of hands hold neon green cards displayed on a white wall. The hand on the rightmost side of the wall is holding up its middle finger.] -
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.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view (Catherine Sullivan in collaboration with George Lewis and Sean Griffin, Afterword via Fantasia, 2015; Nick Raffel, No title, 2025), Artists Space, 2025. Photo: Carter Seddon [On the left gallery wall is a sheet of paper listing the credits of Catherine Sullivan's film "Afterword Via Fantasia." On the right gallery wall is a still image from this film featuring Pope L wearing a suit.] -
Flyer for The Rapture, Sunday, December 6, 2020, Artists Space. [A drawing of a group of skeletons, dancing and playing instruments. In the center of the image, a red banner features black text that reads "The Rapture".] -
Sigmar Polke, Wochenendhaus, 1967. 80 copies + 40 artists proofs, signed and numbered screen print on cardboard, 59,5 x 84 cm. Courtesy of Edition Block, Berlin. [A print illustration of a suburban house. In the foreground, a pink flower cuts across the right frame from top to bottom.] -
Susan Cianciolo, Flowers, 2018, 25 x 21 x 1 1/2 inches, Silkscreen on book cloth on bespoke archival box, Signed edition of 100, 5APs Courtesy of the artist [A portfolio box with a flowered pattern on the lid is shown on a white ground with the lid slightly askew.] -
Abasement #68. Performance documentation, February 12, 2024, Artists Space. Photo: Joshua Wildman. [Close-up color photograph of a vocalist and a musician playing a bass at the edge of the stage. The vocalist has long curly black hair and wears an army-green cargo jacket. They are kneeling down as they hold the microphone up to the mouth. To the right of the vocalist, the bassist looks out to the crowd as picks the strings. The drums and the drummer are visible behind them. The wall behind the stage is illuminated by a bright white light emitted from a projector. ] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [A painting of a black, rectangular object on an orange backdrop. Below is text in black reading "ENTERTAINMENT CENTER." Red text on a yellow background in zigzagged circles reads "Fully Assembled" and "$199."] -
Abasement #78. Performance documentation, June 16th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of two performers, the performer on the left is standing over a 4-track tape teck on a table, the performer on the right is sitting playing the cello. A mic stand in the foreground splits the frame. A blue and yellow water-like image is projected on the wall.] -
Photo courtesy the artist [Color photograph of a mound of brown rocks and dirt. In the middle of the frame, jutting out of the mound is a broken piece of clear glass with a gold metallic finish on the outside.] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art. Two dogs walk through the crowd.] -
[An abstract pixelated artwork in pastel tones.] -
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.] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with various sculptures made of wood and fresnel lenses placed around the space. Contact microphones are attached to the fresnel lenses and audio wires wrap around the floor. Along the back wall a blue projected image of live CCTV footage of the basement is displayed.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A man holds a photograph up to his face with a microphone directly in front of him.] -
Constantina Zavitsanos: fwiw. Installation view (∞, 2024), Artists Space, 2024. Photo: Carter Seddon. [Against an urban landscape, a metal pinhole camera tin is mounted to a roof post.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A glossy object with dark tones showing glimpses of bright blue and purple throughout is pictured on a white base. The object has a lemon and an onion balanced on either end, with electrical cords running from the produce to a chipboard at the object's center.] -
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.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure plays a bell into three microphones.] -
Vaginal Davis, The White to be Angry, 1999, color video converted to digital. Photo: Filip Wolak [An image of a gallery space with walls painted red and a projection with speakers in front of the right-facing wall.] -
Adjua Gargi Nzinga Greaves, SELF, 2021. Chromogenic print with pigment ink pen, 41 ½ x 41 ½ inches. Courtesy Artists Space, New York. Photo: Filip Wolak [A digital print of four books with annotations on each side.] -
Attention Line. Installation view (posters and ephemera from Other Cinema, c. 1970s-80s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a brightly lit wall, upon which various ephemera are mounted.] -
[Black type text the reads, "The Defaced Books of Kenneth Halliwell and Joe Ortron"] -
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.] -
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.] -
Flyer for Segue Reading Series featuring Kimberly Alidio and Rae Armantrout. October 8, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Kimberly Alidio & Rae Armantrout / October 8, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortland Alley + Zoom / Zoom ID: 893 9594 7519."] -
Flyer for Segue Reading Series featuring Sarah Mangolf & Toni Simon. May 7, 2022. [Black text overlays a white background with an orange bunch of flowers in the upper right corner. The top left corner reads: “Sarah Mangold / & Toni Simon / May 7, 5pm.” The middle reads: “Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519.”] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down next to a wooden table and looks off to the right. Audience members sit along the floor in the background.] -
Tisziji Muñoz [A black and white image of a figure in profile with long, wispy hair and a mustache holding a guitar.] -
Drake Carr, Raul Lopez, 2023. Colored pencil on paper. 30 1/8 x 20 3/16 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color image of an unframed colorful drawing. The drawing shows a figure wearing a dark coat, sitting cross-legged on a chair. A purse sits on the floor right behind the chair. In the back, a piano and sheet music.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph of white picket fence opening with dark painted background behind it.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space. On the left wall hangs a framed work that consists of a colorful abstract drawing made on white paper, with pencil strokes surrounding the colored shapes. On the right wall, three framed works hang on a horizontal line. The three abstract works are made on black paper, and depict colorful compositions.] -
Terry Fox: All These Different Things Are Sculpture. Installation view, Artists Space, 2024. Photo: Filip Wolak [A color image of a gallery space. A freestanding white wall runs perpendicular into an existing white wall. On the right side, projected onto the existing wall, is a black and white image of a spoon resting next to a bowl of water. To the left of the projected image is a single black frame containing a black and white photograph, hung above a small floating vitrine. Installed in a single row on the freestanding wall, is a series of seven black and white photographs housed in black frames. Behind the freestanding walls, a sliver of window that faces the street outside is visible. Contained within the four transom windows are black and white enlargements of a white man smoking and blowing smoke rings. ] -
Miyoko Ito: Heart of Hearts. Installation view, Artists Space, 2018. Photo: Daniel Peréz. [In the foreground, a painting hung on a white wall features warm hues. A television monitor is installed in an alcove, and a woman's face is visible on the screen. Two paintings can be seen in the background.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit kneels down on one knee, placing their hands on top of a table made of wood and fresnel lenses while audience members watch in the background.] -
[A computer rendering of a purple and amorphous form composed of long, extending tube shapes on a white background.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A projection on a wall in a dark room shows an image of a man holding a boombox with the text, "SELF PORTRAIT (2006), Burt Barr, American, b. 1938" displayed to the right of his figure.] -
John Brattin, 1997. [A black and white Polaroid of a swirl on a striped background. At the bottom of the image, black handwritten text reads, "John Brattin - Enamel/Foam Giant Lollippop 7'H 3'Diam."] -
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Selections from the Artists File, installation view, Artists Space, 1986. [Black fabric drops down from the black table top in an oval-like shape.] -
Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of small photographs with wide white matting, affixed in a grid formation on a wall in a gallery.] -
We the People. Installation view, Artists Space. 1987 [A black and white photo of an exhibition space, four sculptures on pedestals line the room diagonally with a mural painting behind them.] -
_____, 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. [A white wall with the Artists Space logo affixed. Light bulbs are affixed to the edge of the wall. In the background a piece hangs on the wall.] -
Carolyn Lazard. Still from Untitled, 2020. [A gas fireplace turned on is framed with a strip of faux white marble on either side. The flames are yellow and white with glowing orange embers at their base. A yellow caption appears at the base of the fireplace with the following text in between musical notes: Where my dreams await someone to share.] -
Las Nietas de Nonó, Especie: archivo natural, 2022, sounds, lamp, phone booth, phone booth hotline, fish tanks, atmospheric water, yucca, corn, dracaena, snake plant, dragon tree, tree trunks, handmade lyca garments for tree trunks, mirror pond; Dimensions variable. Photo: Filip Wolak [A large mirrored pond made of a wooden base with a reflective lining on top is surrounded by three tree trunks, plants, fish tanks, and a phone booth. A large lamp hangs from the ceiling with a metal locker in the back.] -
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Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [A wall of pornographic illustrations displayed in frames at eye level.] -
rafa esparza: Camino. Installation view (Timo, 2023; Adobera 1 (adobe brick mold), 2023; Sancha, 2023), Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with paintings done on adobe panels that rest on steel armatures, and are laid out around the space. The artworks depict paintings of various figures. On the wall hangs a wooden ladder horizontally.] -
Jack Smith, Untitled (Plaster Foundation of Atlantis), 35mm slide, c. 1970. Copyright: Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels. [An assortment of fake flowers, tinsel, a disfigured mannequin's leg, used tissues, empty whiskey bottles, and other festive detritus.] -
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.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Several framed posters, photographs, and ephemera varying sizes hang on a white gallery wall. On the right side of the wall hangs a photographic portrait of a figure in a striped shirt standing against a striped wall.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A gallery wall with six framed images of passport copies. On the right side of the images, a television stands on a white plinth, showing a black and white image. On the left side, wall text lists the exhibition title and artists.] -
Detail of the flyer for the performance "Fun With Time Time," Ralston Farina, May 22, 1977, Artists Space. [A black and white drawing forms an image puzzle featuring broken-up text and a clock. A handwritten date appears in the bottom right corner: "5.22.77."] -
PATTERNS / Marcelo Spina with Kreysler & Associates, Macro Piece, 2006. [Detail view of a greyscale sculpture made of varying polymer segments.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [A large gallery space houses a variety of plinths made from MDF, atop of which are various archival objects. On the walls are large photographs affixed directly to the wall.] -
New Economy. Installation view, Artists Space, 2007. [An installation view of multiple sewing stations and a clothing rack of red and white sweatshirts.] -
Joan Jonas. Organic Honey's Visual Telepathy, 1972 [A blurry black-and-white photo of someone wearing a large white headdress holding several unidentifiable objects.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Eleven tan sacks of various sizes hang on a while wall. Each is illustrated with individual imagery and/or text. A long one, hanging at the top left, reads "CHASE" in block letters. A painting is hung in the background on a wall.] -
Robert M. Young, still from Short Eyes, 1977. 35mm, 100 min. [A man wearing a denim vest is seen within the cramped, barred space of a prison.] -
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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"] -
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[A sculpture of a man holding a book, right leg crossed over left, standing, against a white background. He is wearing a purple shirt, patterned blue shorts, and white sneakers.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Several small planks of wood of different sizes, shapes, and colors lean against a white gallery wall. Different words have been painted across the length of each plank, including "rhythm," "grace," "love," and "warmth." Above the planks hang two framed, green paintings.] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of a mixed media collage hanging on a gallery wall hanging opposite of four mixed media collaged in frames with a back-projected slide image of two faces centerd in the image with a dark curtain covering its surroundings.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Photographs hanging on a wall in a gallery space.] -
Deborah Willis. From Embracing Eatonville: A Photographic Survey, 2010 [A woman looking at herself in a handheld mirror while getting a haircut at a barbershop] -
We Are The History of the Future: Listening to the LES online presentation, My Story Our Story Quilt, P.S. 140 7th grade students [A screenshot of a video call presentation. Names of individuals are weaved together digitally in a quilt-like fashion. These names are flanked on the right side by the images of ten individuals who are joining the call remotely.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [A microphone connected to a stand and an amp sit on the floor of a gallery space. The microphone stand has been adjusted such that the microphone is pointed down and hovers directly over a small answering machine on the ground. Wall vinyl installed on the wall directly behind the microphone stand displays a phone number: "+1 (212) 226-2786)."] -
Guy de Cointet, Tell Me, 1979. Performance at MoMA, New York. Performed by Helen Mendez, Jane Zingale, Denise Domergue. Courtesy Guy de Cointet Society and Air de Paris, Paris. Photo: Kira Perov. [Three people, bent over each other looking at an open door.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Close-up of a rectangular, silver metal plaque hanging on a white gallery wall. The plaque is inscribed with a diagram of an exhibition space. Numbers note the location of the artworks, while a key next to the diagram notes the titles and other tombstone information of the works.] -
Abasement #81. Performance documentation, October 20th, 2025, Artists Space. Photo: Joshua Wildman. [A performer plays a modified string instrument on stage. ] -
Vito Acconci reads. Event documentation, May 14, 1996, Squat Café at Artists Space. [A crowd sits in a semi-circle arrangement of wooden chairs within a gallery space. In front of the audience, a man sits at a white table and reads from a piece of paper while speaking into a microphone. Directly behind the man is a large statue of a baby with glowing blue eyes.] -
[A red background with white text which reads: "BDS IS THE FLOOR NOT THE CEILING", followed by the Decolonize This Place Logo.] -
Abasement #79. Performance documentation, August 11th, 2025, Artists Space. Photo: Joshua Wildman. [Two performers are on stage, the performer on the left side blows into a long woodwind instrument. The performer on the right sits behind a desk on top of which is a large pile of audio equipment. The stage and wall behind it are bathed in blue light, created from projections of a geometric pattern.] -
Artists Draw. Installation view, Artists Space, 1979. [Various people having conversations and looking around at the art during the exhibition opening.] -
Flyer for Segue Reading Series featuring Wo Chan and Ronaldo V. Wilson. October 29, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Wo Chan & Ronaldo V. Wilson / October 29, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519."] -
[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."] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
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.]
