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Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two screens installed on either side of the top portion a white column in a gallery space. The front screen displays a logo consisting of a large letter "b" and small letter "c" conjoined together. The room is otherwise empty.] -
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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 small wooden room with a circular window depicting a woven gradient of blue to orange. On the right side of the room is a lofted bed with a ladder, under which sits a desk and chair. Various images and documents are pinned to the walls surrounding the desk.] -
Brad Kronz, The Expert Thinks the Artist is a Fool, 2025. Wooden stool, felt, boiled wool, fabric, nails, screws, marker, pencil. Photo: Carter Seddon -
Hilary Kliros. Installation View. Artists Space, 1986. [A sculpture of a woman stands on a pedestal looking into a glass window pyrimidal construction with a large bug on top and a TV monitor underneath.] -
Catalina Parra, FOSA, 2001. Installation at Mercosul Biennial, Porto Alegre, Brazil. Courtesy Archive, Catalina Parra, New York. [A rectangular pit resembling a mass grave is shown lined with bags of excavated sand. Barbed wire stretches across the pit and a shovel lays to one side. The site of the pit appears to be recreational, with a lake and picnic benches visible in the background.] -
Establishing Shot Exhibition Catalogue, Artists Space, 2004. [A grid of slightly distorted portraits; the left side all in black and white and the right side in light blue and white. Arranged along the border between the two colors text reads vertically "ARTISTS SPACE." Additional text reads, "ESTABLISHING SHOT / 03.09 - 05.01.2004 / MAIN SPACE."] -
Warnung vor einer heiligen Nutte (Beware of a Holy Whore). Dir. Rainer Werner Fassbinder. 1971. [Two men sit at a bar discreetly discussing an event that occurs off-screen. Two other men appear in the background, focused on a separate activity.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [A performer sings into a microphone. The performer and stage are bathed in psychedelic, colorful patterns. ] -
Abasement #73. Performance documentation, November 4th, 2024, Artists Space. Photo: Joshua Wildman. [Two performers sitting on stage. The musician in the foreground is lit with blue and purple light. They are leaning forward and playing the guitar. The musician in the back is out of focus. They are bathed in red light and they also are playing guitar.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer sings into two microphones while green, purple, and white lights illuminate the stage and wall behind it. ] -
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[A few empty seats on an NYC subway - the 6 train, with the originating station titled "Maintaining Good Relations"] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A green, blue, and yellow abstract landscape painting hangs on a white wall. A purple buffalo painting is hanging on the wall to the left. To the right, a tall paper is pinned into a purple section of wall.] -
Exhibition Pamphlet (cover) -
Brett Reichman, Squeaker, 1991. Oil on canvas, 36 x 36 inches. Courtesy the artist. [A painting of a lamb figurine.] -
Portfolio Development, Blue Sky Gallery exhibition (an homage to Virgil Abloh), June 17, 2022 -
Milford Graves, Cosmos 2 - 5, 2020. Wood, copper netting, hand-painted drum, lights, metal, casters, acupuncture head, figurines, artifact, turntable, printed label, metal, glue, copper netting tubing, hand-painted drum, plasma globe, tree branch, model brain, lights, printed label, stones, transducer, amplifier, wires, wooden crate, metal bracket, anatomical model, copper pipe, outdoor house lamp, transducer, amplifier, printed label. Dimensions variable. Photo: Filip Wolak. [A color photograph of four sculptures mounted on wooden pedastals. The sculptures are connected by copper netting and are composed of objects including a model of a human head, a plasma globe, a drum, lights, and wires.] -
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.] -
Clarke, Kevin. From Americans on a Red Velvet Couch (Project). 1979. [A four-paneled view of a figure on a couch, or in one case without a figure, in an empty inground dwelling place.] -
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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. ] -
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.] -
Harvey Weiss statement, 1993. [Black text on a white background reads, "WAILING WALL / This work is an act of retribution, / an assault on indifference and denial, / a proclamation of loss, / for the dead and the living, / a wailing wall."] -
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Gerome Kamrowski. Paintings on the Surface of a Dome, 1960. [A black and white photograph of a large constructed rock dome in a galelry space.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space featuring two large windows on the left and a row of dark metal columns in the center. A pile of grey posters, a table with red chairs, hanging framed images, and blue posters are visible in the space. A large grey and yellow vinyl partially hangs from the wall on the right, cascading down to the ground in the far right corner.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure in a completely dark room, facing one wall and shining a light from their body against the wall.] -
David Armstrong: Portraits. Installation view, March 10 – May 23, 2026, Artists Space. Photo: Carter Seddon -
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[White text on a bright fuchsia background. The text reads: “Oct 11 / Mónica de la Torre / Rodrigo Toscano.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Gary Burnley. [A black and white photograph of a multicolored globe sitting on a wooden floor.] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A band plays on stage in front of a seated crowd. From left to right, a figure is sitting and playing the piano, another figure stands and plays the saxophone, another figure in the back plays the drums, and the fourth figure stands and plays the guitar.] -
Clocking Out: Time Beyond Management. Installation view (Brendan Fernandes, A Solo Until We Can Dance Again, 2021; Sky Hopinka, In Dreams & Autumn, 2021; Kobby Adi, Whiskey, 2022), Artists Space, 2023. Photo: Greg Carideo. [Photograph of one wall of a gallery. In the center of the wall are three TV flatscreens playing different synchronized videos. In front of the flatscreens is a large wooden platform with a piece of marley floor on it that can be written on. To the right on the wall is a small vitrine with a matchbox.] -
Ed Levine. Installation view, Artists Space, 1980. [View of a wall construction in a gallery setting.] -
S*an D. Henry Smith, stringency principle of the looking drum, presented at 47 Canal, New York, February 17, 2023. Photo: S*an D. Henry Smith [Photograph of a wooden table covered in a plethora of audio equipment, a tambourine, and wiring. Around the table are three microphone stands, that point at the empty space above a black chair behind the table. Next to the chair is a camera and tripod.] -
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
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."] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [A painting collage with three separate figures represented hanging in a white-walled gallery space with a clock above it right where a finger in painting is pointing.] -
Young Fluxus. Installation view, Artists Space, 1982. [A shiny dark plaquette-like object with engraving sits on a white pedestal.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure wearing blue clothing uses the body of another person beneath them to hold their weight up.] -
Abasement #79. Performance documentation, August 11th, 2025, Artists Space. Photo: Joshua Wildman. [A performer sits on stage, playing a double-neck guitar. ] -
Vito Acconci. Installation View. Artists Space, 1986. [A piece of landscaping appears on the gallery floor with flowers and plants coming up from it in a stair-like fashion. Paintings appear in the background in a white-walled gallery space.] -
Activated Walls. Installation view, Artists Space, 1993. [A wooden ladder standing in the corner of a room with half-finished paintings on the wall. On the left wall, there is a colorful mural composed of swirls and circles. On the other wall, there is a sketch of a ballerina with dozens of black and white portraits of a woman's head with various words including "CUNT" and "CUTIE."] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [A figure sits in a dimly lit corner in profile, gazing forward. They flip through pages of a script displayed in front of them. An open laptop sits to their left.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [A cluster of four works on paper against a white gallery wall. The works feature swooping, abstract calligraphic strokes in black and light green ink.] -
Traci Tullius, Some People Never Learn, 2001. [A figure with long brown hair wearing a gray sweater over a light pink and white button-down shirt closes their eyes as a thrown book flies towards their face.] -
U.S. Projects: Peter Shelton. Installation view, Artists Space, 1982. [A large square edifice with an opening in its center bottom held up off the floor with numerous steel rods on its sides in a gallery setting. A shadow of a human figure appears/disappears in front of the work.] -
Abasement #84. Performance documentation, February 16th, 2026, Artists Space. Photo: Joshua Wildman. [A performer plays the saxophone into a microphone on stage. The wall behind the stage is bathed in blue light. ] -
Charles Harbutt. East Liverpool, Ohio, 1984. [An image of a town setting with advertising on a building that reads, "Crook's Easy Terms of Credit" in white letters on black background on the left and "Crook" in large white letters with white background on the right. Telephone poles and lines can be seen in the image as well. Store names "Pietche's Print & Paper Place" and "Tile Town" can be identified on the two building adjacent to one another.] -
Abasement #69. Performance documentation, March 18th, 2024, Artists Space. Photo: Jay Sanders. [Photograph of a performer, leaning over a white table filled with audio equipment. The performer has their leg up on the table and use one hand to manipulate the equipment.] -
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A brown object housed in a mirrored glass case. An inscription on the case's surface reads, "BRAINWASH 408-983-2800." The case itself is enclosed in a larger glass vitrine supported by a white and orange table.] -
Our Uprisings: Art Action Assembly. Event documentation, November 20, 2016, Artists Space. Courtesy Decolonize This Place. Photo: Marz Saffore. [View of the audience at the Artists Space and Decolonize This Place event, with banners of resistance posted along the walls. One visible reads "Akai Gurley Murdered by NYPD Open Mic Moved To Streets," while another reads "ABOLISH WHITE SUPREMACY."] -
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Lee Mullican. Source Sketch, 1981. [Various black and white obal shapes appear with lines throughout this abstract work.] -
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.”] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a white gallery wall with three vitrines containing musical scores built into the wall. On top of the vitrine is a manipulated flute, and a series of black-and-white images. Two black-and-white photographs are hung to the right of the vitrine.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures perform in a basement. On the left a figure with a video camera and shoulder rig takes footage of another figure on the right, dressed in a blue morph suit, and pushing a semicircular rolling table made of wood and fresnel lenses. Along the back wall blue and purple tinted live CCTV video footage is projected.] -
Robert Gero, Untitled, 1989. Sulfur, salt, aluminum. [A rectangular column against a white background. A top section is black with sharp edges, while the rest is white and slightly rounded.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures perform in a basement. On the left a figure with a video camera and shoulder rig takes footage of another figure on the right, dressed in a blue morph suit, and pushing a semicircular rolling table made of wood and fresnel lenses. Along the back wall blue and purple tinted live CCTV video footage is projected.] -
Adjua Gargi Nzinga Greaves, CONTEXT, 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 annotated notes on each side.] -
Abasement #82. Performance documentation, November 17th, 2025, Artists Space. Photo: Joshua Wildman. [The image positioned below a speaker shows a performer singing while playing the keyboard. ] -
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Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two gold picture frames with black and white portraits of a woman (left) and a man (right) face each other on a shelf.] -
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. ] -
Constantina Zavitsanos, the one who knows may show the one who knows (detail), 2024. Digital print on dibond. 30 x 30 in. [A photograph made in a two mirror Schlieren system with knife edge shows the silhouette of a hand holding a small lit flame in front of a round mirror, staged in a black surround. Typically invisible, heat waves are visible along the golden shadowy gradient of a telescope mirror. At the bottom a candle’s wick and its mirror image break the circle.] -
[A close-up photo of a variety of books standing across several metal shelves.] -
Poster for the original production of The Owl Answers at The White Barn Theatre in Westport, Connecticut, 1965. Courtesy the Harry Ransom Archives at UT Austin, Texas. [A light pink paper with black typeface announcing the premiere of two plays, AM by Otis Bigelow and The Owl Answers by Adrienne Kennedy. Other printed information includes the time, date and location of the show, the board of directors, and the director.] -
Sheida Soleimani, Dukhan Field, Qatar, 2018. Courtesy the artist and Denny Dimin Gallery [A color photograph of a performance piece showing a nude person lying face-down and completely covered in green paint. They are laying on a large set of green, patterned, and painted paper with a soccer ball and glass of white liquid near their body.] -
Tom of Finland Untitled , ca. 1975 Collage on paper Tom of Finland Foundation, Permanent Collection [Several portraits of men in various shapes, sizes, and colors, layered on top of eachother.] -
[Close-up of two hands holding a series of black and white photographs, as if presenting them to the viewer. The top photograph depicts the roof of a small home that has caved in, battered by a recent storm. Debris and fallen branches are strewn around the home.] -
Attention Line. Installation view (various envelopes by Blaster Al Ackerman, c. 1970s-2000s, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [A close-up of a vitrine housing several postcards which have been drawn and collaged upon.] -
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Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [A woman with dim red lights on her face in a dark environment stands and talks behind a microphone.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Meinke Klein. [An angled view of several dividers displaying artworks in the middle of a room. Colorful textiles hang from two of the central dividers, while several framed photographs lean against rightmost divider.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a colorful background, with blue, pink, yellow and beige paper. Cut up pieces of beige paper are scattered throughout the image, and feature typewritten text listing the performers and event details.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [Two identical plinths made of MDF sit side by side in a gallery. Each plinth displays a red and black store-bought checkerboard, with a set of checkers layed out. The checkers on the left are made of steel and plated with a chrome and black-oxide finish. The checkers on the right are made of powder-coated aluminum.] -
Yasunao Tone Concert #2. Performance documentation, April 13, 2023, Artists Space. Photo: Destiny Mata [Color image of a figure standing on a black stage. They smile out at the audience as they prepare to perform in front of a reedorgan covered in plastic wrap.] -
Abstraction in Process. Installation view, Artists Space, March 26, 1987 - May 2, 1987. [On the right abstract paintings on rectangular wooden blocks, a column bisects the frame centrally and painted wood constructions are visible on the walls in the background in a white-walled gallery setting.] -
Installations by Jurgen Partenheimer and Stuart Wilson. Installation view, Artists Space, 1982. [Three figures appear in distinctive dress flowing through space around each other as if in a duel amongst themselves with a black background.] -
[Collaged atop a blue, beige, and orange field is a series of abstract graphic and typewritten elements, including a womans face placed sideways with green tape over it. In the middle, on a piece of blue paper, is the list of performers and text reading "aBASEmEnt 62 at ArTists SpACe" along with the location and time of the event.] -
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keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of three figures, wearing all white, performing in a dark gallery space. The leftmost figure lays on the floor with their legs spread and hands pushing their chest up. On the right, a figure with a flashlight around their hips stands with their shoulders and head flung back. The third figure contorts their body on the floor in the rightmost corner.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 8, 2022, 7pm. Artists Space, New York. Photo: Paula Court [Two figures wearing medical scrubs stand on the edge of pieces of red fabric, stretching their arms outward.] -
Ann Goldstein has been a museum professional for over forty years. She currently serves as Deputy Director and Senior Curator at Large at the Art Institute of Chicago and on the board of directors and as President of the Michael Asher Foundation. Goldsstein joined the Art Institute in 2016 as Deputy Director, and Chair and Dittmer Curator of Modern and Contemporary Art. Prior to joining the museum, she served as Director of the Stedelijk Museum in Amsterdam from 2010–2013, and as Senior Curator at The Museum of Contemporary Art in Los Angeles (MOCA) from 1983–2009. She is recognized for such large-scale historical survey exhibitions as A Minimal Future? Art as Object 1958-1968, 1965-1975: Reconsidering the Object of Art, and A Forest of Signs: Art in the Crisis of Representation, as well as numerous solo exhibitions and projects over the years with Jo Baer, stanley brouwn, Judy Fiskin, Felix Gonzalez-Torres, Roni Horn, Richard Hunt, Mike Kelley, Martin Kippenberger, Barbara Kruger, William Leavitt, Steve McQueen, Cady Noland, Pope.L, Josephine Pryde, Nancy Rubins, Lawrence Weiner, and Christopher Wool, among others. In addition to the Asher Foundation, Goldstein serves as a member of The Felix Gonzalez-Torres Foundation Fellows Forum, on the board of trustees of the Richard Hunt Legacy Foundation, and as a member of the Serralves Museum Advisory Committee. In recognition of her work, the Center for Curatorial Studies at Bard College presented her with the Audrey Irmas Award for Curatorial Excellence in 2012. -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure points a microphone towards an audience, while various figures wearing white costumes and balancing plants on their heads can be seen just out of focus in the background.] -
Americo Rossi, Untitled, 2021, digital photography -
Octopus and water paintings, 2022 -
[White text overlays a color-scheme grid background. The text reads: “Oct 14 / Cyrée Jarelle Johnson / Eric Sneathen." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Constantina Zavitsanos: fwiw. Installation view (Specific Objects (Swing), 2024), Artists Space, 2024. Photo: Carter Seddon. [The Cortlandt Alley main entrance to Artists Space shows two grab bars blocking the staircase entrance to the gallery.] -
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[An offwhite poster with black letters framed two bands of a cropped watercolor painting announces a sound poetry festival entitled "Chorus."] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement. Along the back wall, on the left, a shadow of a figure in profile is cast onto a blue and purple projected screen.] -
Drake Carr: Housecalls. Performance documentation, September 8, 2023, Artists Space at the Armory Show. Photo: Joshua Wildman. [A color image of two figures. The figure in the foreground is blurry, and is looking towards the lower right corner. The figure in the background is focused and is looking straight at the viewer. There is a wooden column on the right.] -
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.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Three figures perform in front of an audience. Two figures in blue morph suits face off with a wooden table between them, while a third figure takes video footage of the scene.] -
Brad Kronz, Egna Spartan, 2025. Plywood, wood filler, stain. Photo: Carter Seddon [Lit from above, a square wooden panel hangs in the center of the wall. ] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 9, 2022, 8pm. Artists Space, New York. Photo: Paula Court [A figure stands behind a table on a stage. Across the room, red light and small fragmented pieces of white light can be seen.] -
rafa esparza: Camino. Installation view (110 North Bound, 2023), Artists Space, 2023. Photo: Filip Wolak. [Color image of a wall of a gallery space. Hanging in the center of the wall is an adobe panel painting of the entrance to a freeway tunnel.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A pink object with a white, cracked surface sits on a white base. A flat green surface is attached to the left side, and a metal antenna extends out on a diagonal.] -
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Tom of Finland Untitled , 1985 Graphite on paper Collection John McConnell, San Diego [A man wearing a POLICE cap and aviator glasses, straddling half-naked. Two men wearing glossy leather jackets and boots, hold him close with their pants down. One takes the policeman from behind while the other holds the policeman's genitals in his hand.] -
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SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Two figures dressed in blue morph suits walk around a basement space. One figure on the right stands behind a semi-circular rolling table made of wood and fresnel lenses. Along the back wall blue and purple live CCTV video footage is projected.] -
LIFE—a group show, curated by Arnold J. Kemp. Installation view, Artists Space, 2025. Photo: Carter Seddon [Two ceramic works sit in the foreground on a table. The left ceramic is painted with bricks and the right ceramic is painted with line. In the back is a square, MDF wall of gridded sardine cans and a black and white painting.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [Sculptural white lettering appears on a shelf starting with 'b', but then a figure's torso appears and then the letters "n" and "t". Next to this shelf is a photograph on a wall of a figure touching another person's back. There is an indistinguishable object under the shelf.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure reads into a microphone, glancing at their phone.] -
Laurie Simmons: Photographs. Postcard, Artists Space, 1979. [A black and white image of a dollhouse living room, a doll is sitting in the right corner, on a couch, next to a side table with radio on it.] -
Marlon Riggs, still from Tongues Untied, 55 min, 1989. Credit: Signiyin' Works. [Two men embrace in the background, while a man wearing a black top hat stands in the foreground gazing at the camera.] -
Gordon Onslow-Ford, Being Space, 1985. [A number of abstract lines and shapes appear in a star-like nature with a black background.] -
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Willie Cole A.R.T. (in the new world order), 1994, Oilstick on framed blackboard, 18 x 24 inches (45.7 x 61 cm), Signed & numbered. [A black chalk board displays various words written in white chalk. The word "ART" in all caps boldly appears as a header and twelve additional words are written below. Four words are crossed out with red chalk.] -
Union Gaucha Productions in collaboration with Fabio Kacero. Still from Totloop, 2003. 16mm film (silent, color), 4 min 49 sec. Courtesy of Union Gaucha Productions. [A still from Totloop, set during the twilight, featuring an empty model house being lit on fire, with a small tree visible to its left.] -
Renee Gladman, Untitled (moon math), 2022. Photo: Filip Wolak. [Color image of an abstract drawing consisting of horizontal white lines scratched across black paper with circles interspersed throughout the composition. On the right side of the drawing are arrows, and blurred, scribbled lines and illegible text. Yellow marks accentuate different parts of the composition.] -
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. The figure on the right speaks and gazes forward. One of their hands rests on the music stand, the other reaches out in front of themselves, their fingers extended.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure dances on stage against an orange and blue projection.] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a fgure wearing a conical sheath of reflective one-way mirror film that covers their entire body. They squat down next to a viewer sitting in a wooden chair. The performer shines a bright light against their face, making their face visible from under the mirror film.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Six orange papers arranged in a rectangle are painted with the letters "DMC SIT-IN" in black text.] -
Ruben Ulises Rodriguez Montoya, Gloria Gloria, Balenciaga 2010 FW/RTW by Nicolas Ghesquiere, and Kate Moss as a hologram for Alexander McQueen, 2022. Photo: Carter Seddon. [Color image of a gallery space with three large white biomorphic sculptures by Ruben Ulises Rodriguez Montoya hanging from the ceiling throughout. The sculptures are composed of discarded car parts, pigmented silicone, animal horns, clothes, and various other found materials.] -
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Lou Cantor and Clamens Jahn (eds.), Turning Inward (Berlin: Sternberg Press, 2015). [A book cover depicting an upside-down photo of a section of Manhattan, taken from above.] -
Dream Lines: Marian Zazeela. Installation view, Artists Space, 2024. Photo: Filip Wolak. [White gallery wall in foreground features two framed works on paper. The closer work features a diptych of delicately pencil-drawn crosses, while the further work is densely filled with calligraphic lines. Additional clusters of small framed works on paper hang on the wall in the background.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A rectangle of gold foil laying flat on a wooden floor. Light descending from a nearby window illuminates the foil.] -
Abasement #85. Performance documentation, March 2nd, 2026, Artists Space. Photo: Joshua Wildman. [Two performers stand and move on stage. On the right, a performer is playing the saxophone. The stage is illuminated in blue and white lights, as well as a colorful, patterned projection.] -
Zona. Carga y Descarga, Issue 3, 1973. Courtesy Rosario Ferré. [A blue and yellow promotional flyer with text in Spanish.] -
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I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular panels and tiles of varying dimensions installed on a white wall. The installed elements are positioned adjacent to one another, forming a larger irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text or line drawings.] -
Hito Steyerl, Lovely Andrea, 2007. Digital video with sound, 30 mins. Courtesy of the artist. [A dim room with four benches in front of a large video projection screen. A still image of a woman suspended by rope is projected.] -
Ruben Ulises Rodriguez Montoya, Gloria Gloria, Balenciaga 2010 FW/RTW by Nicolas Ghesquiere, and Kate Moss as a hologram for Alexander McQueen, 2022 [Color image of the corner of a gallery space with three hanging sculptures. The sculptures are made of pigmented silicone, old clothes, zip ties and various other found materials. The sculptures are mainly made of white materials, and feature anthropormorphic and abstracted forms.] -
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.] -
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.] -
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Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus, 1963 (Living with Pop – A Demonstration for Capitalist Realism) © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Photo: Reiner Ruthenbeck [A black and white image of two men sitting in a living room. The furniture is elevated on white pedestals. The man on the left sits on a chair; on the right on a sofa. A table with items sits inbetween them.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A center-parted white chiffon curtain revealing a set of six framed images mounted on the wall. A white bar runs slightly right of center of the image.] -
Tiffany Sia: Slippery When Wet. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with a black rectangular table and a chair in the foreground. There are eight photographs and print-outs hung on the back walls, and a row of floor-to-ceiling columns is visible in the background.] -
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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.] -
Viv Latta, from NYC streets portfolio, 2020, digital photograph [A figure centered in the image stares at the viewer wearing a backwards cap. The background appears as a monochrome gray.] -
Gwynn Murrill, Stalking Cat, laminated wood, 1974. From Don Wynn, Judy Pfaff, Gwynn Murrill, Artists Space, 1974. [A black and white photograph of a wooden sculpture of a seated cat.] -
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.] -
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='1500' height='1057'%3E%3C/svg%3E)
Amy Sillman, Turtlenecks, 2007, Archival ink jet on Somerset Paper, 11 1/4 x 17 1/2 inches (28.6 x 44.5 cm), Edition of 17, 10 AP, 1 BAT, Courtesy the artist and Sikkema Jenkins & Co., Printed by Jean-Yves Noblet Contemporary Prints. [The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left] "When did you get here?" [below figure on right] "Are you going to Basel?" At the bottom, center of the page is written "Turtlenecks."] -
Abasement #70. Performance documentation, July 1st, 2024, Artists Space. Photo: Joshua Wildman. [View from right of 5 musicians, with lights from a disco ball visible along the walls behind them. From left, musician playing a clarinet, behind which is a musician playing a vibraphone. In the center a musician playing a trumpet into a microphone. In the foreground are pictured musicians playing a cello and a violin. ] -
Lyndon Barrois Jr., Double Appear (After Vuillard), 2013. Oil on board, artist frame, solvent transfer, plywood. 23.5 x 18.5 inches. Photo: Filip Wolak. [A gold framed painting of a seated figure with a grey beard in a tawny toned space.] -
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Wolfgang Tillmans,still life (Bühnenbild), 2020, 23.5 x 16.5 inches [Photograph of a series of objects clustered on a dusty shelf, illuminated by soft daylight. Two identical green vases and two clear cups sit on the right side of the shelf. A photograph of several tomato plant stalks and other flowers is causally propped behind the leftmost vase. Stacks of paper, a plastic bag, and used candles are scattered behind these objects. Small text at the lower left and right corners of the image reads, "2020Solidarity - Wolfgang Tillmans / A project by Between Bridges."] -
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Students working with light and found objects, 2022 -
[A book cover with an image of a hallway with tan and brown checkerboard tiling with a door at the end. Sunlight is filtering through the windows of the door, reflecting on the floor. Superimposed text on top of the photo reads "SUMMER OF HATE" and under it, "Chris Kraus".] -
Pictures. Reception documentaion, 1977, Artists Space. [A group of individuals in conversation while sitting on a radiator.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [Two fountains of water in a dark room. The stream on the left is lit from behind by a red light, and the right stream by a yellow light.] -
Richard Kennedy Both, 2017. [Two performers stand in the middle of a room, facing each other, with their arms raised, leaning slightly to one side. The audience sits on the perimeter of the room, forming a circle around them.] -
Forgetting the Art World, by Pamela M. Lee, published by MIT Press, 2012. [A white book cover with a narrow column of red and wider column of black on the left side. It is titled, "Forgetting the Art World" by Pamela M. Lee.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two small photographs are mounted on a white gallery wall.] -
[A blue, black, and grey image of a cluster of wires, an equestrian sculpture, and an orb, surrounded by amorphous forms. At the bottom of the graphic, the word "CAPITAL" is written in dripping, painted letters while bubbles and silhouettes rise to the top of the image.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An entryway with layered, decorative carpets and black-and-white images displayed across the height and length of the wall. A small school desk sits on the left in front of a large bookshelf.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view (Ruben Ulises Rodriguez Montoya, The Lil Rat that Made it on Board the Ship, 2021; Ruben Ulises Rodriguez Montoya, Goyas lil bat from “sueño de la razón produce monstruos”, 2022), Artists Space, 2024. Photo: Carter Seddon. [A hulking biomorphic black sculpture, composed of car parts and a large black t-shirt smeared with pigmented dragon skin silicone, hangs from the ceiling. To the right, a small sculpture of scuffed white plastic, brown fur, and various jutting animal teeth sits on a shelf.] -
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Still from The Last Days of Jack Sheppard (2009). [A white bust with a plaque reading "DEFOE" below it. Slightly offset and partially in shadow is a man seen in profile, dressed identically to the bust with a powdered wig.] -
ART CLUB2000 Selections from ART CLUB2000 archive, detail, 1992–1999 Image courtesy Artists Space, New York Photo: Filip Wolak [A glass case displaying archival documents and images] -
Art Day, Photo Club exhibition, PS 140, 2017. [A tile wall with a grid of assorted photographs against a white background. A title to the left of the grid states "Artists Space P.S. 140 Photography Club".] -
Student Presentations at Artists Space, 2021 -
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. ] -
Yellow. Performance view, Artists Space, 2008. [A woman is seated wearing a long, yellow dress with a full skirt that has extra fabric at the bottom. She is holding up soapsuds, which are dripping down onto the front of her skirt.] -
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.] -
In the Kaleidoscope Room, by Elizabeth Stone. [A book cover of In The Kaleidoscope Room by Elizabeth Stone, with the title and author written at the top in yellow text. Underneath, there is an image of a woman's face with orange lazers shooting out of her forehead in the shape of a soda bottle, with a straw coming out of the top. Behind her are light green and dark green checkered mountains. Under that is an old silver car with yellow headlights on a pink and blue checkered floor.] -
[White text overlays a painting of a cityscape at night, which is predominantly black. The text reads: “Feb 17 / Lonnie Holley / Lee Bains" Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Susan Eder. Installation view, Artists Space, 1976. [A black and white installation view of a rectangular photographic work with wide white matting.] -
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35 Artists Return to Artists Space. Installation view, Artists Space, 1981. [Sculptural and painted works appear in a white-walled gallery space.] -
John Mendelsohn. Installation view from John Mendelsohn and Donald Sultan. Artists Space, 1977. [A black and white photograph of a canvas filled with black and white abstract angular forms that are reminiscent of tables.] -
Sistema Sandinista de Television. Still from Aqui En Esta Esquina (Here on This Corner), 1983. Video (sound, black and white). Spanish with English subtitles. [A figure stands central raising their arms while others have their back turned towards the viewer as they face an audience seated in the background. Scan lines and the surrounding box of the CRT monitor are visible in the image.] -
Attention Line. Installation view (various flyers and photographs by Johanna Went, c. 1970s-90s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [A wall that has various posters, photographs, and collages hanging from it.] -
[White text overlays a green and sandw background. The text reads: “April 22 / Adjua Gargi Nzinga Greaves / Alexis Pauline Gumbs." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
Louise Bourgeois Jitterbug, 1998 Lithograph, 18 x 24 in / 46 x 61 cm, Signed & Numbered. [Two red and blue spidery forms interlace, floating in the center of the page atop a blank sheet of staff paper.] -
Heist Divination (fwiw remix). Performance documentation, October 25th, 2024, Artists Space. Photo: Destiny Mata. [A performer's hand adjusts the dials of audio equipment which is placed on top of a small desk. Their hands are adorned with rings and bracelets, and the scene is bathed in green light. The background is blue and purple tinted, and there are blurred silhouettes of audience members behind the performer.]
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res-168x.jpg)
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res.jpg)
