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Audrey Glassman, Untitled, 1983. Cibachrome, 28 x 42 inches. [A cropped face of a figure is seen on the right with the image of a lantern light perched on a tree branch filling the left side of the image.] -
Artists Draw. Installation view, Artists Space, 1979. [A drawing depicting the entrance to a cave from the outside as well as the inside of a subterranean cave filled with stalagmites.] -
Doris Guo, angst, 2023 [Color image of a small pinhole projector, sitting on a pedestal and facing a wall to the left of the image. On the wall, an image of a red pearlescent ball, with a small white pearlescant ball attached on top, is projected.] -
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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. ] -
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.] -
Flyer for Segue Reading Series featuring Samiya Bashir and Jasmine Gibson. October 22, 2022, Artists Space. [Light blue text overlays a dark blue background. The top left corner reads: "Samiya Bashir & Jasmine Gibson / October 22, 5pm." The middle reads: "Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519."] -
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Abasement #62. Performance documentation, December 5, 2022, Artists Space. Photo: Joshua Wildman [Black-and-white image of a figure performing on stage. They hold a microphone to their mouth and the other hand plays a synthesizer.] -
Eds. Hugues Decointet, François Piron, Marilou Thiébault, Guy de Cointet: The Complete Plays (Paraguay Press, 2017). [A red and grey minimal book cover.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez.. [In a large, open gallery space, several photographs hang on walls to the right. To the left, multiple small monitors mounted to a colorful gallery wall play video works. In front of the monitors, there are wooden stools with headphones resting upon them.] -
Gerry Morehead. Installation view from Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white image of a black circle with a fish painted on it.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit room with a projection facing the front. The projection displays neon words that are slightly distorted, the legible text reads "Removes.....eight straight...."] -
KH Hödicke Magic Window Cleaner II , 1967 80 copies + 40 artists proofs, signed and numbered screen print on Plexiglas, 83 x 59 cm Courtesy of Edition Block, Berlin [A red image, portraying a window squeege at the bottom left of frame, of which the section of it's width above is a darker red.] -
Freya Hansell. Installation view, Artists Space, 1980. [A black and white photograph of various objects hanging and standing in a white-walled gallery space.] -
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Milford Graves: Fundamental Frequency. Installation view (handpainted LPs, 1966), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of three handpainted LPs in a wall mounted vitrine.] -
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.] -
David Kulik, Frank Majore, Kevin Noble, Ken Pelka, Pat Place, Rene Santos, and Brian Weil. Installation view, Artists Space, 1980. [Two photographs are hanging next to each other on a wall.] -
Michael Asher, Installation view, Artists Space, 1988. [A corner of a white ceiling is crossed by silver electrical tubing. A single lightbulb is affixed to one tube and is aimed at the ceiling, illuminating a circle of the ceiling only a few inches above it.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A female mannequin stands upright in a gallery space. It wears a shiny black wig with bangs, a black polo shirt, and a red skirt with gold lacing that drapes onto its legs. A red, fabric cut-out hangs from the bottom edge of the skirt, draping against the mannequin's left leg.] -
Friends of Artists Space Annual Dinner, 2022. -
John Knight, The Right to Be Lazy, 2008. Hamburger Bahnhof Museum für Gegenwart, Berlin. [The façade of a large, stone museum. A cobblestone, roundabout path snakes in front of the museum, with a series of bushes and greenery planted in the middle of the roundabout.] -
Yasunao Tone Concert #3. Performance documentation, March 16, 2023, Artists Space. Photo: Destiny Mata [Color image of an audience watching a performance. In the middle of the crowd, a figure in a blue and white dress holds their hand to their chest with their eyes closed, listening to the performance.] -
Too Black, Too Strong! Installation View, Artists Space, 1988. [A black and white photograph of four framed mixed media collages installed on a gallery wall with light shining on them from above.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans their arms on top of a rolling table made of wood and fresnel lenses, pushing it toward another figure that stands in front of them filming them. In the background a third figure in a blue morph suit sits and leans down on top of a rectangular wooden frame. Blue footage is projected onto the back wall.] -
Anne Collier, Tear Sheet, 2010, Digital C-print, 23 1/3 x 20 in / 59,2 x 50,8 cm, Signed and numbered certificate. [A color photo advertisement for an Olympus OM-10 camera, depicting a woman holding the camera and smiling, looking just past the viewer. The image is titled "CHERYL TIEGS PRAISES HER FAVORITE MODEL." A short interview is printed at the bottom right of the image, where Cheryl goes back and forth with an "interviewer" about her love of the camera.] -
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."] -
Hilary Lloyd, Shirt, 2011. [A close-up shot of black fabric patterned with white dots, stripes, and zigzags.] -
Andy Robert: PAPALOKO. Installation view, Artists Space, 2024. Photo: Carter Seddon. [A color image of a gallery space. On the left, two tree log sculptures rest on pedestals. To the right, two shovels standing upright on pedestals flank a taxidermied griffon vulture that sits amongst a pile of concrete rubble. In the center, the top of a shovel afixed to a small childs chair is placed up against the back wall.] -
Warnung vor einer heiligen Nutte (Beware of a Holy Whore). Dir. Rainer Werner Fassbinder. 1971. [Two people sitting in front of a window looking towards the camera, one wearing a red dress and the other a black shirt and top hat.] -
Front Yard Exhibition Galerie Parnass, Villa Jährling, Moltkestraße 67 February 1964 Photo: Rolf Jährling, Zentralarchiv des internationalen Kunsthandels ZADIK [A black and white image of four paintings of various sizes displayed against a fence with a thin layer of snow, marked with footprints, beneath them.] -
Sistema Sandinista de Television. Still from Golpes de la Corazon (Blows of the Heart)*, 1983. Video (sound, black and white). Spanish with English Subtitles. [A man holds a woman over his shoulder as looks to the right. Writing can be seen on the wall behind them. Subtitles are burned into the bottom of the screen that read, "I'm the boss in my house...stay here!" Scan lines are in the image and the box of the CRT monitor is visible.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color installation photograph of a gallery space bisected by a row of dark metal columns. Two wooden chairs are placed near a piece of semi-transparent grey and blue fabric partially hung from a grey metal scaffold. A large piece of grey and yellow vinyl hangs from the wall on the right.] -
SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [Two figures perform in front of large projected images.] -
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Visit to Artists Space to see exhibition Zoo or an Orchestra, Char Jaré, 2024 -
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Thomas Bayrle, Woody Allen: f ilms fi lms fil ms film s fil ms fi lms f ilms, 2011, Bespoke archival box wrapped in silkscreened cotton book cloth [A black and white superform of a man's head, comprised of small rectangular shapes.] -
Bonnie Rycheck. Black and Gray Benches, 1980. [A black and white image of a black bench with two distinct black drapery on both sides behind it.] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white photograph of two figures standing in front of a wall of framed silhouettes.] -
John Mendelsohn and Donald Sultan, Installation view, Artists Space, 1977. [A rectangular, abstract painting is mounted on a black frame at an angle to the white gallery wall.] -
Local Transit. Installation view, Artists Space, 2006. [A large pile of string connected at one end to a tin can sits on a wooden gallery floor. On the wall to the right are two framed world maps in black and white.] -
New Economy. Installation view, Artists Space, 2007. [On the far wall is a triptych of photographic posters that show piles of logs with a bottom text, "Nothing is real, Everything is Possiblem." In the corner of the room are stacks of red crates with cola bottles and on the opposit wall is a sculpture resembling a part of bicycle that is attached to the wall.] -
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 a blue gallery wall displaying dynamic images hung by large push pins and a demolished wall.] -
Folio Series: Intangible Economies, 2012. [A white book cover depicting silver coins with the text "♥good for all night♥".] -
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Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a black, grey, and white abstract painting on a white wall.] -
Keeph, Artists Space construction site no. 2, 2020, digital photograph [One figure is looking at the ground with their back facing the camera and another painted figure appears frontally looking down. They both are around a bright light emerging from below. A black wall covers the right half of the image.] -
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 30, 2022, Artists Space. Photo: Destiny Mata [A color photograph of an arepa placed on a purple tablecloth.] -
Vaginal Davis, The White to Be Angry (still), 1999. [A grainy black and white photo of a woman craning her head and shoulders, looking into a large camera. In the background there are trees with leaves.] -
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.] -
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.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [A variety of plinths made of MDF are arranged around a large gallery space. Along the left wall, a low, angled plinth displays a series of annotated utility maps. On the back wall a large photograph is affixed to the wall and depicts the snowy landscape of Neuenkirchen, Germany. ] -
New Red Order Cover the Earth, 2021 Painted mural with cut vinyl, dibond prints, kiddie pool, sod, inflatable alligator, turtle sandbox, beach towels, towel racks, beach balls, beach chairs, beach umbrella, real estate lawn sign, cooler, and pool noodles. Image courtesy Artists Space, New York Photo: Filip Wolak [A wide angle image of a multicolored exhibition space consisting of beach paraphernalia.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of white lettering on a black glossy structure: "SMASH FALSE DREAMLANDS".] -
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 projected images are placed along the sides of the room.] -
Richard Aldrich, Untitled, 2022. Photo: Filip Wolak. [Color image of an abstract oil and wax work on panel, featuring various layers of light blue, green, yellow, and red swatches of paint, done in geometric shapes.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [A figure wearing a baseball cap sits in a chair and plays the guitar.] -
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Adam and Zack Khalil, still from INAATE/SE/ [it shines a certain way. to a certain place./it flies. falls./], 2016. [An image of a person with long brown hair pointing a pistol at the camera is superimposed on top of an image of a picturesque lake.] -
Group Exhibition. Installation view, Artists Space, 1981. Photo credit: Anne Turyn. [Three figurative paintings hang side-by-side in a white-walled gallery space.] -
Split/Vision. Installation View. Artists Space, 1985-86. [Framed square and rectangualar photographs are visible in a white-walled gallery space with white columns centered in the image.] -
Dayna Goldfine and Dan Geller, still from Kids of Survival: The Art and Life of Tim Rollins & K.O.S., 1996. 87 min. [Two people seated at a table covered with assorted art supplies. They talk to each other as they paint or prepare to draw.] -
Mark West, Welcome to the Neighborhood (detail), 1986. [A drawing of shadowy unrecognizable forms.] -
Invitation fot Sigrid Burton, Bruce Colvin, Ellen Phelan, Artists Space, 1976 -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white photograph of a gallery installation. A figure poses in front of a wall with several hanging objects, their arms outstretched to either side.] -
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.] -
Ei Arakawa, Mega Please Draw Freely, 2021 (The artist wears Uniqlo Roger Federer). [A person in a red shirt, white cap, and multicolored pants smiles and poses with a tennis racquet, standing atop a large piece of paper with colorful drawings on it. In the background are people sitting on the ground and printed images of trees.] -
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.] -
Artists Draw. Installation view, Artists Space, 1979. [Six framed drawings are hung in a row on a white wall.] -
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Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A long rectangular wooden table with three TV monitors facing outwards on different sides. Six small wooden seats with wired headphones resting on them are arranged in front of the monitors. One visible screen displays an image of a man sitting at a table.] -
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."] -
Jordan Kantor, Untitled (Pasolini), 2004. Oil on canvas, 52 x 96 inches. Courtesy the artist. [A black and white oil painting depicting a person lying facedown on asphalt.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A large number of framed posters, photographs, and other ephemera of varying sizes hang on a white gallery wall. A poster hung on the left side of the wall has large black lettering that reads: "THE TEMPERAMENTAL BAROMETRIC CONTORTIONIST!" A white pole is situated at the center of the space, in front of the exhibition wall.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure in motion in an orange-lit space next to a small piece of audio equipment with a wire on the floor. A crowd looks on in the background.] -
Shala Miller performs Genesis: Medley at Artists Space, co-presented with Frieze New York 2023. Performance documentation, May 19th. Photo by Vanessa Diaz/CKA. Courtesy of Frieze. [Color photograph of a group of performers, seated in a circle around a gallery room. The performers include a choruse of singers, a pianist, and a harpist with their instruments. They sit underneath three hanging screens that surround the center of the room. The screens depict a video still of a figure's face, obscured by a bright light in one corner.] -
Nathan Carter, Static Cipher Signal Beacon for Inbound Flights, 2007, Wood, steel, enamel and acrylic paint, 28 1/2 x 40 inches (72.4 x 101.6 cm), Series of 10 Signed, Courtesy the artist & Casey Kaplan. [A sculpture affixed to the wall made of a red steel rod with red steel rod arms that project out from the top to make shadows against the wall.] -
Tisziji Muñoz with Francisco Mora Catlett and AfroHORN. Performance documentation, October 21, 2022, Artists Space. Photo: Joshua Wildman [A figure plays the piano to a seated crowd behind him.] -
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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.] -
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[Green fluorescent strips arranged in gridded, triangle-shaped sections.] -
Miyoko Ito, Heart of Hearts Basking, 1973. Oil on canvas, 44 x 31 7/8 inches. Courtesy Collection Matthew Marks Gallery. Photo: Daniel Peréz. [A painting with orange and neutral hues is hung on a white wall with nails around the perimeter of the canvas.] -
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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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Two large, orange slug sculptures forming circular ring shapes around cast-iron columns suspended by elastic cords are visible inside a white-walled gallery space along with square paintings on walls in the background.] -
Abasement #61. Performance documentation, November 7, 2022, Artists Space. Photo: Joshua Wildman [A figure leans into a microphone from the side with blue, purple, and pink projections cast onto them.] -
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.] -
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.] -
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.] -
Entrance to Marble Cemetery. © Paula Court Photography, 2018. [A black metal gate with raised letters that read "New York Marble Cemetery, Incorporated 1831" with several inflatable lobsters attached to the gate.] -
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.] -
Beverly Semmes, Still from Cornelia Walking Through the Formal Garden in the Pink Feather Coat and Hedge Hat, 1988. [A photograph of a figure in a long furry coat who walks along a path in a lush garden, their back facing the camera.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of the smaller display case, looking through a narrow glass window. Five mugs are stacked in a corner, and a short pipe curls around the center of the case. A black-and-white image of a shirtless man wearing ripped jeans and boots is printed on the surface.] -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [Black and white installation photograph of a gallery. a figure stands on the left, contemplating several wall hangings. A dog is visible on the right, wagging its tail.] -
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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.] -
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Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A side view of a sculpture of a man leaning againt a white column. He hols a book in his right hand. He is wearing a purple shirt and blue patterned shorts.] -
Mindy Faber. Still from Identity Crisis, 1989. 3 min. Photo: Micki McGee. [A black and white close-up image of an adolescent girl, smiling at the camera. She is holding up a scrub brush in one hand and a bottle of Soft Scrub in the other and is wearing a bathrobe and a shower cap.] -
Abasement #76. Performance documentation, March 3rd, 2025, Artists Space. Photo: Joshua Wildman. [Color image of three performers on stage. In the middle a performer is standing up with their hands on their shoulders. To the right, a performer is hidden behind a large collection of tissue paper. In the back left side, a performer is sitting down in front of audio equipment. A few audience members heads are visible in the foreground. The wall behind the stage is projected on with blurry images of a crowd. ] -
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.] -
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Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [A white wall with three sets of multiple photographs of rooms. Each set of photographs has a framed accompanying text below.] -
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Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
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Christopher Binifacio, Oil Spill, 2018 [A painting depicting a blue tree and landscape with a turquoise lake against a peach-colored sky. Several areas of the water are black] -
Richard Klauber. Installation view, Ruth Hardinger, Richard Klauber, Artists Space, 1975. [A color installation photograph of a white abstract painting with black lines on a white wall.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A long, cubic rectangle held by suspension wires on a weathered wooden floor. A small, white box rests within the rectangle.] -
[A figure sits in a chair facing—and silhouetted by—a soft, sunset-bathed city skyline and river. Their back faces the viewer, and they appear to rest their head on their hand. The space around them resembles a corporate office space.] -
Cave of Animals: Cave of the Future, site recording, 2024 -
INFESTED. Installation view, Arists Space, 2013. Photo: Lyndsy Welgos. [Several empty food containers and milk boxes on a hardwood floor, with milk spilled out all over the floor.] -
[A black and white scan of an invoice from Corcraft Products issued to Artists Space at 38 Greene Street. The customer number reads "9102000". The invoice details a net purchase of $603.10] -
Establishing Shot. Installation view, Artists Space, 2004. [A large gallery space with a wooden floor and white walls. On one wall that forms an L shape into the space, slightly distorted color portraits are arranged floor to ceiling in a tight grid. On the other white wall is a large black and white photograph, with several other small photographs with accompanying text.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A wide shot of a person sitting at a table with a computer. The table is covered in a red tablecloth with white lettering that reads, "WHAT ARE SAVAGES FOR?" and "THE URGE TO MERGE." Lighter red, stylized text reads "NEW RED ORDER" and "NEVER SETTLE." Behind the table, a projected image shows a man with one hand outstretched superimposed on a city skyline. On either side of the table are informational posters with printed text.] -
Danica Barboza, Anima of a Relationship [The ‘SV’ Edition] (Section B), 2019 (detail view), hand-modeled clay, white acrylic paint, textured paint, paper, metal, newspaper, Rooibos tea bags, gloss, wooden blocks, Mac computer. Photo: Daniel Pérez [On a black platform, assorted pieces of wood, cardboard, and wire prop up a disembodied humanoid head. The figure’s head is misshapen, as if melting, obscuring the eyes but leaving the nose and open mouth visible.] -
Cheyney Thompson, Untitled, 2015, Offset and metal powders in acrylic binder on synthetic paper, with handwriting, 22 ½ x 19 in / 57,2 x 48,3 cm, Each unique with hand notation [An abstract, gestural drawing in neutral tones, with the names of metal elements at the bottom of the page.] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [Several figures stand along a wall. One figure, seated, uses a computer at a small round table.] -
Still from video interview with Benjamin Buchloh about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. [A book with blank pages is sitting open on a white table, seen from above. A person's right hand rests on the table next to the book, while the left is lifted in gesture.] -
Jutta Koether is a painter, performance artist, musician, critic, and theoretician based in New York and Berlin. Her work with Artists Space began in 2012 with her performance fifth season act and most recently Analogue Drive (2024) performed in Hong Kong for Artists Space and Empty Gallery. In her live works, Koether enacts a highly specific form of entangled action centering on and around specific artworks. Embedded with performative possibility, these objects – positioned in a room, a situation, a city – circuit together in a network of language, duration, and the artist's active negotiation between producer and produced. As a painter, Koether challenges the viewer’s understanding of the medium’s terms and histories, often appropriating and retooling elements from the work of male masters. Engaging a range of motifs and materials—such as grids, X-marks, and red paint—she cultivates painting’s ability to yield something unanticipated, vital, and feminine. Koether studied art and philosophy at the University of Cologne and the Whitney ISP. In 1981 she joined the editorial staff of the music and art journal Spex. She is the author of several books and has written for such publications as Eau de Cologne, Artforum, Texte zur Kunst, and Flash Art. From 2010 to 2024 Koether was Professor for Painting and Drawing at the University of Fine Arts Hamburg. She has had major solo exhibitions at the Museum Brandhorst, Munich, Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean; Museum Abteiberg, Mönchengladbach; Artium Museoa, Vitoria-Gasteiz; PRAXES Center for Contemporary Art, Berlin; Moderna Museet, Stockholm; Van Abbemuseum, Eindhoven; Kunsthalle Bern, Switzerland; Academy of Fine Arts Vienna; and Kölnischer Kunstverein, Cologne, among other venues. [Photo: Paula Court.] -
Dyonis, Underworld, 2020, collage, pastel and pen and ink -
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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.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of a woman captured mid-performance in a dimly lit venue. The performer is situated before a microphone and a music stand, while a crowd of seated and standing audience members attentively watch. Bright spotted lights from a disco ball out of view sparsely illuminate the environment.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Two glass display cases holding ephemera sit on either side of a tv monitor, on the wall are four black and white contact sheets.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Several photographs and sculptures in a large gallery space with wooden floors and white columns. To the left of the space is a white sculpture forming a rig-like structure, with two wing-like appendages at its top. A large animal skull rests on a triangular support mounted to the gallery wall on the left. Glass panes with red liquid spread across them rest on the gallery floor in the image's center.] -
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Based on a True Story. Installation view, Artists Space, 2004. [Three paintings arranged in a horizontal line on a white wall. Each painting depicts a man walking on city streets or in a park.] -
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.] -
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.] -
Friends of Artists Space Annual Dinner, 2017. [A photo of a room full of people seated at three long, rectangular tables. Each table has numerous glasses of wine, sparkling water, candles, and empty plates of food. In the foreground, people are talking to each other and smiling.] -
Donna Nelson. Installation View. Artists Space, 1985. [A face appears on the right part of the image with one figure central without defining facial features and another in the background with their back towards the viewer. Windows appear in the background.] -
Angela Bulloch, Rules of the Space, 2012, from the Rules Series, Silkscreen print on record sleeve, 12 3/8 x 12 3/8 inches, Signed and numbered [A numbered list of rules is arranged on white ground in various black fonts. Text reads: "Rules of the Space / 1. This SPACE is OCCUPIED. Anyone CAN SLEEP HERE / 2. NO Police (Pigs) and NO Informants (Rats) / 3. No Press OR Photos / 4. This is a Safer SPACE No Bullshit / 5. NO Peacekeepers or WANNA-BE POLICE / 6. INVITE EVERYONE (Except the aforementioned pigs and rats) / 7. create the world you want to see in the future (occupy the future) / 8. The HISTORICAL BREAK / 9. SEQUESTER THE BOSSES / 10. SHUT IT DOWN!!! / 11. Flush the toilet - don't shit on the floor.. this isn't Zucotti. / 12. PANTS ARE OPTIONAL / 13. DEMAND NO. 1 CATS (AND WE WANT THEM MEOW!) / 14. Louder! Louder!! LOUDER!!! If You Wanna Exploit LABOR you havta be you have to be 15ft from the door / 15. Rock & Roll ALL NIIIGHT AND PARTY EV-ERY DAY! / 16. CREATE MYTHS TO SUSTAIN CATASTROPHE] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork: Candace Hill-Montgomery. [A few people standing in a gallery space with a picket fence and drapery on the walls behind them.] -
Ed Bereal, Bodacious Buggerilla performance documentation (still), c. 1970s, color film converted to video, 15 minutes. Image courtesy of the artist. [A colored image depicts a figure's upper half of the body facing front against a black background. The figure's face is painted white with contrasting makeup. The figure is wearing a fake white nose, a white wig, and an American flag patterned hat and scarf around his shoulder.] -
Blaster Al Ackerman, Untitled, n.d., painted album cover, 12 x 12 inches. Courtesy of Stewart Mostofsky. [A painted image of a white push-button telephone sitting atop a brown surface with a yellow wall behind it. At the top right is a 10 cent postage stamp depicting a face with missing teeth and a text that says "The GIGGLER."] -
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Four Artists: An Exhibition of Painting and Sculpture. Installation View. Artists Space, 1985. [Three paintings appear on two adjacent walls in a white-walled gallery space.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A crowd watches a large humanoid blue bird turn around.] -
Book spread from FWIW. [Two photographs are shown in a book spread. On the left page, a high-contrast black-and-white photograph hosts heavy light and shadow play. An iconic payphone handset is centered floating in a clear cube, with its top protruding slightly above the cube’s top surface. The telephone’s armored cord hangs down in loose loops inside the cube, its exposed wire slack touching the interior bottom. On the right page, a black-and-white photograph shows two pairs of modified headphones entwined on a deep black surface. In place of speakers, one headphone strap hosts clocks that each have a small stopwatch dial; the other strap hosts a pocket watch and a compass. The clock hands are missing from the clocks; inside their larger clockface circles, each clock hosts a smaller circle with a stopwatch.] -
Flyer for Abasement: #60. October 3, 2022, Artists Space. [Black and white printed images are collaged over a yellow and beige background, with scribbles of red and white ink. In the bottom middle a torn piece of paper reads sideways: "ABASEMENT 60 / abasement 60." In the bottom right corner upside down text reads "ARTISTS SPACE / october 3."] -
Patricia Thornley. Untitled (detail), 1985. Electrical wire, string, fans, photograph, spotlight, wood, wax, dirt, water. [An projection is present centrally in the image while strings and wire hang in the surrounding area of the work. All is hung in a white-walled and black floor gallery space.] -
The Oath. Dir. Laura Poitras. 2010. Courtesy Zeitgeist Films. [Foregrounded military tents with a pink sky in the background.] -
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996. [A room with two chairs facing toward a low table with a small monitor and assorted bottles. There are two windows, both blotted out with smears of paint. A large sculpture of a person with crouched legs and their arms above their head is suspended from the ceiling, with a second smaller head emerging from between the squatting legs.] -
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.] -
Abasement #64. Performance documentation, August 7, 2023, Artists Space. Photo: Joshua Wildman. [Color photo of two musicians captured mid-performance in a dark venue space. Both musicians have their back turned to the camera; the man to the right plays the trumpet while the performer on the left plays the clarinet. Some seated audience members can be seen observing the musicians and are illuminated by deep red overhead lights and the glow from a bright yellow projection light being shone at the performers.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [Two pieces hang on a wall.] -
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya. Installation view, Artists Space, 2024. Photo: Carter Seddon. [Color image of a darkened gallery installation with multiple projectors and a golden egg sculpture in the left back corner. In the left foreground, a pinhole projector wrapped in foam and secured with red string sits on a pedestal. On the wall to the left, an image of a golden ornamental hoop and pin, along with four small pink and green strawberries, is projected. In the center back, a pinhole project inside a rectangular plaid plastic travel bag with straps sits atop a pedestal. It projects an image of a green square with a crenellated metal opening onto the back wall. To the right, a projector inside a plywood box sits atop a pedestal. On the wall to the right, an image of an image of a red pearlescent ball, with a small white pearlescant ball attached on top, is projected.] -
Installation view of Barbara Bloom's Solution. From Barbara Bloom, David Salle, Artists Space, 1976. [Color photograph of a figure sitting at the head of a table with seven chairs in an empty room. In front of each chair there is a small stack of papers.] -
Adjua Gargi Nzinga Greaves, Better homes and gardens back by popular demand, 2021. Magazine, artists tape, overall dimensions variable. Courtesy Artists Space, New York. Photo: Filip Wolak [Magazine pages are arranged in several rows on a white gallery wall. Below the pages is a row of sketches on yellow paper.] -
Heist Divination (fwiw remix). Performance documentation, October 25th, 2024, Artists Space. Photo: Destiny Mata. [A performer stands close to a microphone with their right arm in the air holding a musical score. Their eyes are closed and pieces of their hair falls over their face. They are bathed in soft green light and the background is tinted dark purple.] -
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large photo decal runs along the entire length of a long, horizontal wall in a light-filled gallery space with wooden floors. The photo decal depicts a to-scale, warmly-lit domestic space. A wooden chest of drawers, radiators, various shelves, and a low bed covered in a quilt fill the space. A dart board hangs on the wall, along with various paintings.] -
Avery Singer, The Studio Visit, 2012. Courtesy the artist and Gavin Brown's enterprise, New York/Rome and Kraupa-Tuskany Zeidler, Berlin. [Abstract painting of two people sitting at a table, having a conversation.] -
Louise Lawler, Who Says, Who Shows, Who Counts, 1990, Three chablis glasses with glass shelf, 8 1/2 x 14 x 4 1/4 in (21,6 x 35,6 x 10,8 cm), Edition of 50, Signed & numbered. [Three wine glasses sit next to each other on a glass shelf with a black background. Each glass has text lasered into the front. From left to right the first says, "who says," the second, "who shows," and the third, "who counts."] -
Milford Graves: Fundamental Frequency. Installation view (ephemera c. 1980-1998), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a red poster with three faces and Japanese captions. The poster is beneath other ephemeral material, including an open book, a pamphlet, and a black and white photograph.] -
Johanna Went, still from Passion Container,The Whiskey, Los Angeles October 26, 1988 Video, Color, Sound, 35 minutes. -
rafa esparza: Camino. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color image of a gallery space with large panels of adobe with paintings of various figures on them. In the foreground is a painting of a panther that approaches the viewer. Adobe bricks are laid out on the floor to create short walkways.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [Image of a dimly lit basement, a figure holding a video camera with a rig on their shoulder takes footage of the back wall, which has blue and purple light projected onto it.] -
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Christa Blatchford, still from See Around, 2008. [Four images arranged horizontally. From left to right: solid gray-blue, a gray-blue toned image of a shoreline, a gray toned image of a shoreline, and a gray toned image of a shoreline with a subtle pink sunrise in the sky.] -
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Margit Lewczuk. For Freda, 1985. -
Pictures. Opening Reception, Artists Space, September 23, 1977. Photo: D. James Dee. [A black and white photograph of a crowded gallery space. In the background, several large black and white wall hangings are visible.] -
Mona Hatoum, Birds of a Feather, 1997, Chromogenic print, 10 x 12 inches (25.4 x 30.5 cm), Edition of 50, Signed & numbered. [The image shows a wood-framed photograph hanging on a wall. The photo, taken from inside a room, shows a seagull on a window ledge beside a small bird figurine. Out the window is a blue sky and buildings.] -
Catalogue Cover, Annual Selections Show, Artists Space, 1985 [A white square in the center of the image has a number of black and white 35mm slides on it. Underneath this image in white reads, "Selections / From the Artists File" and on the bottom of the image in white reads "Artists Space" with a dark letter 'A' in a white square above it. Black fills the background of the image and text.] -
View of Everything is About to Happen : An ongoing archive of artists’ books selected by Gregorio Magnani Courtesy Corvi-Mora, London and Greengrassi, London Photo: Marcus Leith [Angled view of wooden table top covered with an organized assortment of cards, books, and paper materials, displaying images and texts, in various positions.] -
Angie Eng, still from Undersites, 1996. Video. [A negative exposure of several people standing or walking in a hallway with an arched ceiling.] -
Vidas Perdidas. Installation view, Artists Space, 1989. [A folding wall is erected in the center of a gallery space. Its top features painted portraits of eight people from the waist up. Below them, the lower half of the wall is covered in white, handpainted text on a black background. The text extends onto the floor, and its bottom edge is bordered by a row of votive candles. Behind this wall, other artworks are partially visible.] -
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, they are reading from a small book in front of them. Projectors on either side of the table face the back wall. An audience watches the reader from the right side of the image.] -
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.] -
Viv Latta, Fresh Air, digital photograph, 2020 [Black and white photograph of a city street: a man stands, holding a lit cigarette in his mouth. He is flanked on one side by a staircase and on the other by a portable toilet. A large truck is parked behind him with its headlights on.] -
Aristotelis Nikolas Mochloulis, Frog Man and Baby Frog, 2025, Michigan J. Frog plushies, miniature directors chairs, ARRI 150W light, Manfrotto Nano light stand. [In a dark room with a black wall and wood floor, there is a spotlight shining on two frog plushies. One sits horizontally in the lap of another who is seated in a director's chair. Two more director's chairs, not illuminated, sit facing the frogs. The spotlight, the chairs, and the frogs all appear miniature-sized.] -
Milford Graves: Fundamental Frequency. Installation view (Movements in the Snow, 1990, Herbal Chart, c. 1980), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a floorbound television monitor, showing a figure in a snow bank. Above is an annotated drawing of a human figure.] -
