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Teaching Artist Stephanie Costello with 8th grade Portfolio student from P.S. 140, 2021 -
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[A diagram superimposed across a blurry image of a wooden folding chair facing a small wooden bookshelf filled with colorful books. The diagram is composed of a simplistic icon that loosely resembles an open book. Circling the book icon are several hand-drawn arrows that point to various handwritten words and phrases, such as "PDF's" and "Followed remotely." Below the book icon are hand-drawn drops of liquid and a puddle.] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Detail view of an abstract grey sculpture on a white pedestal. The surface of the sculpture is shiny and made of synthetic materials.] -
Amelia Bande. Stills from El estallido / The Outbreak, 2020. Recording of a live performance held over Zoom on August 7, 2020. Stage design and camera collaboration with Rachel Higgins. Courtesy the artist. [Amelia Bande stands in front of wall covered with posters and gestures towards her eyes as she says, “We wore masks and protective eyewear at the protests in Santiago.”] -
Margit Lewczuk. Installation View. Artists Space, 1985. -
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virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a grey and blue piece of semi-transparent fabric, partially hung from a grey metal scaffold in a gallery space.] -
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
Young Fluxus. Installation view, Artists Space, 1982. [A shiny dark plaquette-like object with engraving sits on a white pedestal.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure dances on stage against an orange and blue projection.] -
Students at Irving Penn exhibition at Pace, 2025 Students -
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Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Two large structures made of long, white strips that swirl around one another and form a vertical column are mounted from the ceiling and floor of an open gallery space. Black text posted on a gallery wall to the right of the image reads, "MATTERS OF SENSATION." To the left of the image, in the background, three rectangular forms rest on white plinths.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of three framed works hang on the white wall. The works, all made on black paper, consist of colorful shapes, white line drawings and illegible text that form abstract compsitions.] -
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Still from The Empty Plan (2010). [A man holding a clipboard at his side walks past a large, columned white wall with palm trees on either end.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A tan and green object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire. In the base of the object a processing chip is embedded.] -
Robert Hall. Babalu, 1986-87. Painted Construction, oil on plywood. 48 inches x 34 inches. [A black and white photograph of a painted construction.] -
Valerie Tevere, UNITED STATES, 1996. [A city street with a concrete median and wall made from gray metal supported by wooden planks. The median has the words "Property of LACTC" printed on it. Hanging just above that are four postered portraits displayed in a horizontal line. Each poster features three letters below its portrait image that together spell out "UNI/TED/STA/TES". The portraits are framed by traffic signs that say, "WRONG WAY" and "USE SIDEWALK."] -
Flyer for Segue Reading Series featuring Will Alexander & Mei-mei Berssenbrugge. Saturday, April 10, 2021, Artists Space. [Two hands hold an orange ball against a light orange background. The image is overlaid with text that reads, "the segue reading series / & artists space / present an online reading by / Will Alexander / & / Mei-mei Berssenbrugge / saturday, 4.10.21 / 5pm nyc time / $5 suggested donation / zoom id: 830 2698 4031] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs mounted on a white gallery wall.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of two wooden cafe chairs with green cushions in a gallery space with a dark metal column. A television screen with a cord extending down to an outlet in the floor rests upon each chair.] -
Constantina Zavitsanos, Ace of Spades (detail), 2024. Z interferometer: two aluminized 6" diameter spherical mirrors, LED illumination source, knife edge on mounts; soldering iron, fan, infrared light, steel tables. Dimensions variable. Photo: Carter Seddon. [A detail photograph shows a black scientific mount that holds a razor blade. A semicircle of bright blue light shines at the blade’s edge.] -
[Black and white image of an unmade bed under a wall covered with small images of people and idols.] -
Renee Gladman, Untitled (black city), 2022, oil pastel and pigment on paper, 30 x 44 inches. Image courtesy Artists Space, New York. Photo: Filip Wolak. [A color image of a drawing consisting of green, purple, yellow, and red lines and shapes that form an abstract composition. Single line white drawings complement the composition.] -
Image courtesy Anne Gillis and Blank Forms. [Photo of a woman partially obscured by a white umbrella. A light shining on the umbrella casts a large shadow of the woman's hand on its curved surface.] -
Invitation for Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white invitation for a film screening. On the left of the postcard, a masked figure is pictured seated.] -
Salad Days 3. Installation view, Artists Space, 2008. Photo: Jeremy Ross. [Several artworks sit in a dimly lit gallery space, illuminated by light from an open gallery window. Three video monitors are installed on plinths to the left of the image. In front of them and closest to the viewer, an overturned cardboard box rests on the floor. To the left, a stool-like structure sits on a plinth illuminated by a bright overhead light. Behind this structure, a series of small works on paper are displayed on a gallery wall.] -
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Activated Walls. Installation view, Artists Space, 1993. [A person working in a small space enclosed by walls, painted red with white text. At the top of the wall, large letters read "AZT=DEATH", with a paragraph of text stretching across three walls. Underneath, there are a dozen white pieces of a paper taped up.] -
_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. [Sheets of text hang on a white wall. Text is too small to be legible.] -
Cosima von Bonin, Le Chic, 2023. Photo: Filip Wolak. [Color image of two replica rockets, created from wood and white and red enamel paint over top. They are placed on a small white platform.] -
Richard Hollis. Installation view, Artists Space, 2013. [An angled view of 4 book stands perpendicular to a wall, all displaying various books, documents, and papers.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon [On the back wall, painted in grey, a collage of photographs intertwines and overlaps. Directly in front, a white gallery wall displays five black and white portraits of various sizes. ] -
[White text overlays a green and brown background. The text reads: “May 6 / stefa marin alarcon / zavé martohardjono." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
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.] -
Renee Gladman: Narratives of Magnitude. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space with two columns in the middle. Framed drawings depicting colorful abstract compositions hang on the white walls. Five of the drawings are made on black paper, and two on white paper.] -
Abasement #86. Performance documentation, April 6th, 2026, Artists Space. Photo: Joshua Wildman. [A performer, wearing a bright headlamp, sings into a microphone while pointing out towards the audience in a dimly lit room. ] -
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Eileen Neff, Cezanne's Dream, 1992. Mixed media installation. Photo: Erik Landsberg. [A bed with a mountain at its center in a partially constructed room with a floor and a single wall. Surrounding it are several framed paintings and empty frames, a bench with fabric piled on it, and a high shelf with a skull.] -
[Black text on a grey background. The text reads: “Dec 6 / Nada Gordon / Kit Robinson.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Drake Carr: Housecalls. Performance documentation, September 7, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. [A color image of a white wall with windows and black and white curtains with pink flowers. Through the windows, a figure is seen laying down on a sofa. Only the legs are visible.] -
Constantina Zavitsanos, Ace of Spades (detail), 2024. Z interferometer: two aluminized 6" diameter spherical mirrors, LED illumination source, knife edge on mounts; soldering iron, fan, infrared light, steel tables. Dimensions variable. -
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.] -
Yara in the dojo, c. 1970s. Courtesy the Estate of Milford Graves [A black-and-white photograph depicting three men equally distanced from one another. They hold their hands up to the ceiling with their palms out and stand near a floral printed wall.] -
Elephant Cemetery. Installation view, Artists Space, 2007. [A wide wooden worktable sits in a gallery space with various models, books, and papers displayed on its surface. One of the models located closest to the viewer is yellow and has an amorphous shape. A series of black and white photographs of buildings hang on the wall to the right of the table.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 10, 2022, Artists Space. Photo: Joshua Wildman [A figure in a suit stands on stage, behind a music stand and two microphones.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Installation view, Artists Space, September 16, 2022 - December 3, 2022. Photo: Filip Wolak [Image of the street outside the gallery, looking into an alleyway with a white pillared building on the right with purple light showing behind the windows.] -
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Abasement #71. Performance documentation, August 5th, 2024, Artists Space. Photo: Joshua Wildman. [Three musicians sit on stage and play various electronic instruments. They are bathed in red, blue, pink, and purple light projections and a large scale image of a web. In the foreground audience members are lit with red and yellow lights.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure wearing a conical sheath of reflective one-way mirror film. They stand in the corner of a dark room, shining a bright light against the wall behind them. Their silhouette can be vaguely seen under the mirror film.] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [a black and white photograph of a gallery filled with people conversing. The walls are lined with several framed and unframed artworks.] -
Installation view of Social Disease and Two Possibilities, Artists Space, April 12, 1986 - May 10, 1986. [A color television CRT monitor is visible with a man's face on it. This monitor is shrouded in darkness and some indistinguishable object appears to be touching the screen.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Glowing bottles in a box are sitting in a darkened gallery space.] -
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.] -
[Several students listen to a woman speaking, while standing in an exhibition space. Several materials are arranged in a vatrine and several framed artworks hang on the opposite wall. Behind the students are large open windows opening to a cityscape, and one of the windows has the word "PRINT" in large back letters] -
Served Up! R.M. Fischer, Postcard, Artists Space, 1979. [A black-and-white photograph of a man crouching and speaking in front of a spotlight. The outlines of two people in front of the speaker are faintly visible.] -
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Jonathan Lyndon Chase, The Shape Up, 2023. Courtesy of the artist and Company Gallery, New York. [A painting in color of two Black Queer people in a red interior setting. One of them, wearing gray underpants, gazes out of the picture plane, while another profile of their head turned to the right is superimposed. The barber on their right is shaping the seated person’s hair with clippers. The rounded edge of a tabletop with a mirror, comb, and shears atop of it is pictured to the left of the image. A single window depicting snowfall at night can be seen behind the two Black Queer figures.] -
[The word "WAGE" with periods seperating each letter appears on a multi-colored background. The "A" in "WAGE" is colored yellow.] -
Paper Exhibition. Installation view, Artists Space, 2009. Photo: Adam Reich. [A large, empty room with three white walls. The right wall displays glossy papers folded into geometric shapes. The left wall has symmetric, geometric patterns drawn on it.] -
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.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Close-up color image of a persons hands on a red audio mixing device. Various blue and red cords stick out of the machine. A camera on a tripod sits on top of the machine. The background is blurred, with a few audience members visible. The scene is lit with soft pink light.] -
Flyer for Segue Reading Series featuring David Rothenberg and Robert Fitterman. December 3, 2022, Artists Space. [Light teal and pink text overlay a dark teal background with abstract lines and drawings of a female portrait in the bottom left and a hand holding a phone in the top right corner. The text in the middle reads "David Rothenberg / Segue Reading Series / Robert Fitterman."] -
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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. ] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [A figure in a blue dress stands behind a white table, and holds the end of a small folded up book. On the other side of the table, a row of people sitting on wooden chairs hold different sections of the book and read off of it.] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of the left wall of a basement gallery space. In the back nook is a reading room with reading materials displayed on a shelf and a table with seats around it. Further down the wall are multiple projected videos, the projectors are placed on shelves of varying height in a row.] -
Log Cabin. Installation view, Artists Space, 2005. [Multiple small, rectangular collages hung in two rows on a gallery wall. The collages are displayed in black frames and feature images of people as well as text fragments. Most are black and white or contain minimal color.] -
[Stamped yellow text spelling out "W.A.G.E" at a slight angle. Underneath that, typed pink text reads, "Working Artists and the Greater Economy."] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Along the wall is a glass display case holding ephemera, hanging above are two black and white contact sheets.] -
Adjua Gargi Nzinga Greaves, Autotelemachy, 2017. Collage, 59 x 68 inches. Photo: Filip Wolak [A collage of eucalyptus sprigs, other plants, and human figures attached to a framed map.] -
Manuel DeLanda, Raw Nerves: A Lacanian Thriller (still), 1980, 16mm-to-digital, Color, Sound, 30 minutes. [A figure wearing a trenchcoat stands in a psychadelically lit bathroom while smoking a cigarette.] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [Three large display cases exhibit various objects. The case most within sight displays drawings, posters, photogrpahs, newspaper clippings, and a small sculpture.] -
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[A cartoon drawing of men at a table with text underneath reading, "Everybody sees right through your damned transparency."] -
[Two women in front of a white wall. They are dressed in matching white jackets and short white skirts, and each wear a set of colorful rollerskates. One woman is on her toes with her arms extended behind her, reaching for and pulling the second woman who is leaning forward to grab her hands.] -
[On a muted pink background with a wavy green line running across the page, text in a darker pink and black reads: segue X artists space virtual readings / Zoom meeting ID: 378 232 567 / $5 suggested virtual door: / PayPal/seguefoundation / all proceeds go directly to readers.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A miniature log cabin constructed of handwritten documents is displayed in a vitrine. The roof on the left side reads, "By the President of the United States of America, A Proclimation."] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A side projector projects an image of a figure in an elaborate dress onto a freestanding wall in the middle of a gallery space. A mannequin wearing a decorative orange costumes stands to the left of the projection. In the background, a video monitor sits on a table and framed documents hang on the walls.] -
Jolene Rickard, from Corn Blue Room, 2000. [A black and white image of electrical towers stretching into the distance.] -
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.] -
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Other Minds, San Francisco. Photo: John Fago [Black-and-white photograph of a figure, walking in the middle of the frame between two sets of suspended wires that run from across the room. The figures hands manipulate the wires on each side of them.] -
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. One lies on a patterned couch, wrapped in sheets, while the other stands observing. Above the couch, a mirror on the wall reflects the scene to the camera.] -
The Fairy Tale: Politics, Desire and Everyday Life. Installation View. Artists Space, 1986. [A glass vitrine appears in the center with headphones and seats placed around it in a circle. Behind it is another glass vitrine sculpture as well as paintings and sculptural objects on the gallery walls.] -
New Red Order with Virgil B/G Taylor Progenerator, detail, 2020 – Ongoing Dibond prints with painted mural, five televisions, flag, plate, Improved Order of Red Men ephemera, and more 40 x 40 feet Image courtesy Artists Space, New York Photo: Filip Wolak [A multicolored wall with a collage of images, text, and tv monitors. A larger than life, sculpted head leans against the wall while beach balls scatter around it.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the violin in front of a microphone.] -
Milford Graves: Fundamental Frequency. Installation view (Chair, 1989; Untitled drawings, 2020), Artists Space, October 8, 2021 – January 8, 2022. Photo: Filip Wolak. [A color installation photograph of a gallery space, a painted wooden chair with an asymmetrical back is visible in the foreground. In the left background, two framed drawings hang from the wall.] -
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Anne Bray. Man on First and Third, 1987. Slide/Sound Installation. [A black and white photograph with two projectors hanging central with projections on one wall and another hanging screen in a gallery space.] -
[Black text on a grey background. The text reads: “Feb 21 / Kate Ehrenberg / Serubiri Moses.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
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Book cover for Disordered Attention: How We Look at Art and Performance Today by Claire Bishop. [White text overlay on two photographs of people in bathing suits and summer clothing lounging on a beach.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of four people in period dress sprawled on a curving stone stairwell. Two of these people appear to have fainted, and are supported by the other two. At the top of the stairs, a person in a maid's costume peeks around the corner, observing.] -
Sanya Kantarovsky, Growth VI, 2023. Photo: Filip Wolak. [Color image of a watercolor painting. Against a purple and brown background, emerge flowers with bright blue petals opening up in the middle of the composition. In the background, other blue flowers, and plants surround them. A pair of eyes, nose and mouth are painted over the largest blue flower placed in the middle.] -
Jeff Francis, 1996. Photo: Gordon Munro. [A chandelier-like structure with clear crystals at its top and bottom, and green jewels arranged in increasing tiers at its center.] -
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.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Two rooms in a large gallery space are visible, with artworks hung on the walls and sculptures in the center of the further room.] -
Jonathan Lyndon Chase: his beard is soft, my hands are empty. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color image of a gallery space. To the left of the image, on the foreground, a white wall with a window and a drawing of a parked car. The driver is speaking with a figure that leans on the car. Through the window, a painting of three figures is visible. In the background, four works hang on a black wall. In the center of the room, a black couch and a table in the shape of a body.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two screens are mounted vertically on metal poles that stretch floor to ceiling. The screens show black images with white light spots.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [Color image of a gallery space. To the left, a tree trunk sits on the pedestal. On top of the tree trunk there is a taxidermied crow covered in porcupine quills. Behind the tree trunk, there are more sculptures featuring taxidermied birds, tree logs, and shovels.] -
[A gray image of a person in a hard helmet. The image is slightly fuzzy and worn, and mostly obscured by scratches. White text in the lower righthand corner reads, "A TERRIBLE BEAUTY."] -
The Baroness Elsa von Freytag-Loringhoven, 1915 [A black-and-white image of a woman wearing a striped dress and clip-on hat, eyes closed, arms stretched behind her. She stands in a room with several linens pinned to the walls and floor] -
SCRAAATCH. Installation documentation, 2022, Artists Space. Photo: Destiny Mata [Image of a basement with a table made of wood and a fresnel lens tabletop on the right side of the space. In the back are audio wires and a speaker in the corner. Along the top of the image the basement windows are tinted blue.] -
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Brad Kronz, Forces at Work, 2015-2025. Wood, enamel, colored pencil, boiled wool, fabric, electronics, cables. Photo: Carter Seddon [An eagle head sits atop an elongated wooden neck. Two black boxes resembling a modem sit beside. ] -
Amiri Baraka, Cellar Vigil (Experimental Death Unit #2), 1966. Permission by Chris Calhoun Agency, © Estate of Amiri Baraka [Black-and-white image of two figures, each wearing white shirts. The figure on the right sits with their knees against their chest and looks attentively at the figure to their left, who engages with someone out of the right-side of the frame.] -
Nuestro Reflejo, Threads of History exhibition, Morris Jumel Mansion, March, 2025 -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A man stands at a copy machine with the hood lifted and its light on. On a wall directly behind the copy machine, black fabric hangs from a small, horizontal pole to the right of the standing figure.] -
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[A screenshot of the google images search results page for the query "the problem with contemporary art is not the contemporary."] -
Susan Eder, c. 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A photograph of a figure with long hair, placed aboce a photograph of several squash.] -
Nayiel Walker, Don’t Let the Sun go Down on Me (for Puerto Rico), acrylic on paper, 2019 [A stylized painting of a silhouette sitting on the edge of a brick wall, looking out at a vibrant sunset, with a palm tree in the distance] -
Sistema Sandinista de Television. Still from Golpes de la Corazon (Blows of the Heart), 1983. Video (sound, black and white). Spanish with English subtitles. [Older man with microphone stands next to five small boys. The wall behind them reads "en esta esquina" in black letters on one side and "CDS" in white letters on the other. Subtitles burned into the image at the bottom read, "Our prizes are 2000, 1000 and 500!" Video scan lines and outer edges of CRT monitor are visible.] -
Carol Sun, Journey to Gold Mountain. [A slide of a painting of a pyramid of stairs with a ladder extending upwards, connected to several gold mountains by a railroad track.] -
Ralston Farina: Time // Time. Installation view, Artists Space, 2025. Photo: Carter Seddon. [A display case presents ten clear small boxes, each filled with various liquids and items. Some contain liquid mercury, disassembled toy parts, newsprint images, and temporary tattoos on silly putty. ] -
Shelley Hirsch, It's Get Better IV, organized by Stewart Uoo, Artists Space, 2016. [A woman stands in the middle of a room, surrounded by a crowd of people. She is speaking on a microphone, gesturing with her left arm, and standing on a carpet covering a raised section of the floor.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section "Galerie h (1966),” Artists Space, 2014. [A angled view of a grey wall with documents displayed behind glass. The closest image depicts a colorful illustration of shapes, with two, green, square documents to the left of it.] -
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.] -
Flyer by Joe Frivaldi. [Magazine cutouts of faces printed in green ink, with red dots and accents, overlay a yellow and red printed background that has also been collaged together and drawn over with red and blue abstract lines. A block of black typewritten text on a white background is placed upside down in the bottom left of the image, and reads "ABASEMENT 65" and then the list of performers. On the right side of the image is text that reads the time and place of the event.] -
Abasement #77. Performance documentation, April 7th, 2025, Artists Space. Photo: Joshua Wildman. [Color image of a performer on stage holding a microphone close to their mouth. They are holding a drum stick in one hand, standing next to a cymbal and a drum set on a stand. They are bathed in red and pink light, and the background is lit with blue, red, and purple light. Small white dots of light from a disco ball fill the room.] -
[A text banner with a warm pastel yellow and green border, which reads "IT CLOSES AT SUNSET", in a rounded-word Art style font. The shadows behind each letter are visible.] -
Not yet titled, 2019
Clay, glaze, mixed media
7 x 12 x 17 inches (variable)
$5,000
[A brown and green object with a processing chip imbedded in its front sits on a white base. There is a battery with two wires sticking out the left side, and a small, silver crank device sitting on top.] -
Saul Becker: Nature Preserves. Installation view, Artists Space, 2009. [Brown, dried plants hang upside down in front of a white wall.] -
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.] -
[Black text overlays a color-scheme grid background. The text reads: “Jan 27 / Lee Ann Brown / Brian Kim Stefans" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
[Black type text the reads, "The Defaced Books of Kenneth Halliwell and Joe Ortron"] -
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.] -
Heather Rowe, A Careful Arrangement, 2008, Archival pigment inkjet and silkscreen on Somerset velvet paper, Image size: 12-1/2 x 13 inches (31.8 x 33 cm) Paper size: 21-3/4 x 17 inches (55.2 x 43.2 cm), Edition of 25 + 8 AP. [The photograph shows an ornate room decorated symmetrically with couches on the left and right of the image and a fireplace at the back flanked by two windows. Overlayed on top of the image is a series of black squares and rectangles that overlap each other.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three paper bags photographed at an angle sit on pedestals. Closest to the camera, the bag has been painted with white and blue foliage, and collaged with a drawing of Africa. The two, farther bags portray drawn portraits of men.] -
Chang Yuchen: Coral Dictionary Vol. 1: 2019-2022. Performance documentation, April 28, 2023, Artists Space. Photo: Lane Lang. [A figure in a blue dress sits behind a white table, with speakers and projectors on either side of them. The figure leans over and opens a small book.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color photo of the first room in the exhibition. To the left, a wooden high-top bar holds a cash register, a lamp and a book. Three high-top stools are lined up in front of the bar. A large drawing done in BLANK on cardboard hangs above the bar. To the right, a grey metal bookshelf holds books, bags of rice and flour, Wonder bread, toliet paper, q-tips and soap. Next to the bookshelf a yellow produce scale hangs from the ceiling holding bubble wrap. The back wall is painted green, appears like the walls used in construction projects, with a hand-painted sign that reads: Dorothy Porter Wesley: The Negro in the United States, A Selected Bibliography.] -
Super 8 Films Exposition. Installation view, Artists Space, New York, 1977. [A black and white photograph of a room with several rows of chairs. Along the back wall, two projectors stand on pedastals and a figure on the right adjusts a film reel.] -
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Adrienne Kennedy, Funnyhouse of a Negro, 1964 (East End Theater, New York, directed by Michael Kahn, produced by Barr, WIlder, and Albee). Pictured: Ellen Holly and Cynthia Belgrave. Photo: Frederick Eberstadt. [Two people in white face paint and fanciful dresses crowd around a crudely constructed wooden desk that sits off-kilter. One sits at the desk and applies makeup while the other stands to their left, gazing beyond the image.] -
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Work by Susan Eder. From Susan Eder, Matt Mullican Artists Space, 1976. [A black and white photograph of a small photograph against a white surface. The image pictured features the faces of two figures.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging in a white-walled gallery space with a spotlight in center of the image.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1982. [Contact sheet of installation and opening photos from the exhibition.] -
Laura Cottingham & Leslie Singer, still from The Anita Pallenburg Story, 2000. Digital Video, 76 min. [An upward angled view of two people performing with a gray curtain behind them. One person, with black hair and a yellow jacket, is playing an electric guitar, the other, with red hair and wearing a black sequin top and blue scarf with matching eyeshadow, is singing into a mic.] -
Flipside. Installation view, Artists Space, 2004. [Two white walls meeting in a corner. The wall on the right has three large black and white photographs of people on winter streets with their small dogs. The wall on the left features a canvas covered in a red, green, and peach colored plaid pattern.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [An installation shot of a room warmly lit by yellow and pink light. There is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a second disco ball, strands of string lights, and more.] -
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Lee Gordon, Here's to America Series, 1990. Oil on canvas, 18 inch round. [A person wearing a black mask over their head reads a book titled Kennedys An American Dream.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A two-toned wall with three paper collages hanging next to a niche that houses a red elevator. Vinyl text displayed on the wall above the niche reads, "Jack Smith, Art Crust of Spirtual Oasis, June 22 - September 9."] -
Abasement #66. Performance documentation, October 9, 2023, Artists Space. Photo: Joshua Wildman. [Color image of two figures facing each other, performing. The figure on the left holds a ramrod on his left hand, and is sitting on a chair. In front of the figure, there is a table with unusual instruments made of wood. The second figure is on the right. They are holding a microphone. In the background, audience members face the performers. The room is illuminated by red light.] -
David Armstrong, Koos, 2003, C-print
© David Armstrong. Courtesy of the Estate of David Armstrong
[A figure lays face up on a white mattress. His expression is languid and his hair falls over the edge of the mattress.] -
Nandi Loaf, 的1-9, 2025. Reclaimed electrical infrastructure, branded site-specific hardware, standardized socket covers, branded overlays. Photo: Carter Seddon. [A brass outlet plug against a wooden floor has a cable plugged into one socket, and the other socket is covered by a flat brass circle with the text "8...Blitze(nn)" engraved on it.] -
Photo: Ben Tran -
Les LeVeque, The Rain Forest is on Fire, 1990. Mixed media, 65 x 126 x 26 inches. Photograph c/o Peter McClennan. [A large log spans the length of a table, held down with straps and with eight machetes affixed to the table alongside it. On either end of the log are two televisions, and the one facing the camera displays static.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two individuals seated in two wooden chairs while a third in between them holds a single headphone. They are seated in front of a TV monitor displaying Edward Snowden's image.] -
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Charles Clough. Installation view, Exchange Show: Hallwalls, Buffalo, NY, Artists Space, 1976. [Installation view of a gallery space with a large dark wall in the center.] -
Still from In It Together, Amelia Bande and Rachel Higgins, 2020 [In front of a pixelated red background, a yellow caption appears on top of a black bar that reads: “But whatever debt we’re in, whatever risks, we’re in together."] -
Benito Huerta, Attempted, Not Known. Media unknown, dimesions unknown. [A wooden ornament with a string attached at its top, is carved with the outlines of the worlds continents, becoming a miniature globe.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays a stringed instrument on stage. The performer and the onlooking audience are illuminated in bright lights. ] -
Installation view, Robert Morgan. Artists Space, 1977. [A black-and-white photograph of a gallery space with a video projected on the wall. There appear to be multiple bodies in the video.] -
[An angled view from a ledge containing household items, into a bedroom. Above the doorway black text reads, "Macho Man, Tell it to My Heart."] -
Beech Forest. Performance view, Artists Space, 2007. [Three standing lights point to illuminate a white wall. Standing beside them facing the wall is a figure wearing a coat and a hat with her hands lightly clasped behind her back. Barely visible on the wall beside her are stenciled outlines of trees.] -
Motoharu Jonouchi, Document 6-15, 1961-62 [Black-and-white image of a group of figures in suits and white shirts surrounding a large military tank, they are grabbing the sides and trying to control the vehicle.] -
Clocking Out: Time Beyond Management. Installation view, Artists Space, 2023. Photo: Greg Carideo. [Photograph of a corner of a gallery, with printed and woven works along one wall, next to a row of TV flatscreens on another wall. In the center of the space is a large wooden platform.] -
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[A person walking down a city street, speaking into a megaphone. Behind her are several cars and a small crowd of onlookers.] -
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Abasement #80. Performance documentation, September 22nd, 2025, Artists Space. Photo: Joshua Wildman. [Two performers play side by side on stage. One performer plays the drums and the other a standing bass. The performers are bathed in colorful lights, created by a live video projection of the performance.] -
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.] -
Abasement #86. Performance documentation, April 6th, 2026, Artists Space. Photo: Joshua Wildman. [A performer operates a soundboard on stage. A shadow is cast on the wall behind, resembling another performer dancing with their hands thrown above their head. ] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An angled view of large blue painting hanging on a white wall in an exhibition space. To the right of the painting in the center of the room, a projector positioned on a small stand projects an image onto a screen that is also supported by a similar, small stand. The projected image depicts a side view of a man and woman sitting across a table.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure wearing a blue shirt kneels down onto the stage, working on audio equipment. Red light is cast onto them.] -
Keith J. Sanborn, A Public Appearance and a Statement, 1987. 18.5 minutes, 3/4" (original format 16mm), black and white. Film still. [A dense crowd of people surrond a casket being carried into the back of a hearse.] -
Flyer for Segue Reading Series featuring Kimberly Alidio and Joyelle McSweeney. Saturday, November 7, 2020, Artists Space. Artist: Keith Higginbotham [A group of basketball players sit on a bench, a cutout photograph of a pink flower collaged over each of their heads. On top of the lower half of the image, black text reads "Kimberly Alidio / Joyelle McSweeney" and the lower left corner pink text reads "Segue."] -
[White text overlays a painting of a cityscape at night, which is predominantly black. The text reads: “Mar 23 / Dubravka Djuric / Fanny Howe" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
It's Just Art, Adrian Piper, April 29, 1981 [Adrian Piper, dressed in black with sunglasses and holding her arms aloft in mid-motion, stands in front of a projected image showing a photo of herself in sunglasses, and a thought bubble that reads, "14. WE DEFEND EACH OTHER / (YOU CERTAINLY DIDN'T COME TO AN ART PERFORMANCE TO HEAR A LECTURE ON CURRENT EVENTS)"]
