-
-
Photo: Ricardo Estanislao Zulueta. [Installation view in a room with white walls and blue floors. In the middle of the wall there is votive candle stand filled with dark blue prayer candles. Above it there is a rectangular artwork with a black and white abstract image in the shape of a circle printed on metal. In the right edge of the image there is a white radiator.] -
-
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A somewhat indistinguishable image is on a wall above black letter that reads "teach" which is above an electrical outlet on a wall.] -
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.] -
[A simple graphic of words forming the shape of a triangle reads, "A NEW SYMBOL PROPOSED & PROJECTED INSIDE THIS SPACE IS (LIKE EVERY LOGO) ALL SURFACE: A BUBBLE BLOWN AROUND NOTHING INFLATED TO BURSTING POINT BY THE LAZY ASSUMPTION THAT WHAT WE LOOK LIKE IS WHO WE ARE IN OTHER WORDS, 'IDENTITY' = IDENTITY."] -
Milford Graves, Yara Training Bag, c. 1990. Wood, punching bags, hand-painted boxing gloves, springs, samurai sword, rubber balls, acupuncture model, tape,metal fixtures, athletic socks, rope. Dimensions variable. Photo: Filip Wolak. [A color photograph of a red punching bag, other boxing equipment, and a human statue suspended from a rectangular wooden frame in a gallery space.] -
William Harvey, Pipe Dream, 1985. [A black and white photograph of a black pipe sticking through a large white shape coming from a large book. A wrinkled curtain is visible behind the construction.] -
-
Flyer for Segue Reading Series featuring Sasha Banks and Derek McCormack. Saturday, October 31, 2020, Artists Space. Artist: Keith Higginbotham [Photographs of an opulant room are collaged together, creating a view of a single space with multiple perspectives. White text centered on the image reads "Sasha Banks / Derek McCormack," and black text below reads "Segue."] -
Episode: Compari Project Space 2007 Installation view from Episode, Artists Space, 2007. Photo: Bill Orcutt. [A dimly lit room with a leather black couch facing a projection screen.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink, holding several sheets of paper, speaks into a microphone. Her arms are draped with masses of cords. A crowd of audience members surrounds her, some seated and some standing.] -
-
-
LIFE—a group show, curated by Arnold J. Kemp. Installation view (Carolyn Castaño, The Female Report, 2011; D’Talentz, The Secret Garden, 2020), Artists Space, 2025. Photo: Carter Seddon [Two televisons sit on the wall, bisected with hung grocery dividers. The television on the left displays a video of a news anchor with the bottom text "A descendant of Evita." The television on the right displays a video of four squares with people surrounded in foliage. These squares are superimposed on a backdrop of more foliage.] -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of a white walled gallery space densely hung with figurative paintings.] -
Drake Carr, Walk-Ins, 2023, New York Life Gallery. Photo: Ethan James Green [Scanned spread of a collage featuring photographs overlaid with accented drawings. The main image depicts a woman posing strikingly with her arms raised and feet firmly apart, the red dress she wears flows out dramatically behind her. In the background a man stands at a large canvas, his hand raised in the act of drawing the figure posing. Film strips depicting the same woman in different poses are overlayed on top.] -
[A digitially generated image of a series of curved, x-shaped cutouts stacked one on top of the other in long rows. The rows are clustered around white text that reads "h-edge." The shadows of the cutouts are visible on the ground directly below the text.] -
-
Flyer for Segue Reading Series featuring Ted Rees and Jean Day. January 21, 2023, Artists Space. [Purple and dark gray text overlay a light gray background with abstract patterns and a drawing of a male figure smoking a pipe in the bottom left corner. The text in the middle reads "Ted Rees / Segue Reading Series / Jean Day."] -
Heist Divination (fwiw remix). Performance documentation, October 25th, 2024, Artists Space. Photo: Destiny Mata. [Five dice float at the top of a container of water, which is tinted blue. There are small ripples created across the surface of the water and the frame of structure containing the water is slightly visible through the ripple distortion.] -
-
-
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
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.] -
-
Abasement #63. Performance documentation, July 17, 2023, Artists Space. Photo: Joshua Wildman. [A close-up color image of a drummer captured in the middle of a performance. Abstracted projections of bright yellow and purple hues are cast against the musician, who looks out at something out of view.] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Hiroshi Araki, still from Mechanic and Angel, 1990. [Black and white photograph of a doll lying on a wooden surface. To the left of the doll, white text on a metal surface reads, "GOD POWER." A cross is situated between the two words.] -
Untitled (scrapbook), date unknown, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [A light colored paper with four photographs. Two images are the same, which feature a scene involving people and various props. The photograph at the top right features a man with a blue face posing next to a black and red sign. The image at the bottom left includes three people posing near one another.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of two people in period dress engaged in conversation at the far end of an ornate allway lit by candlelight. In the foreground, a person in a maid's costume peeks around one end of a colonnade, observing.] -
Traditions: Five Painters. Installation View, Artists Space, 1978. [A row of square paintings hangs on a wall.] -
Sherry Markovitz. Installation view. Artists Space, 1985. [One sculpted deer head is seen in the foreground with a paper mache design and a darker deer head sculpture is seen in the background with horns. Both are hung in a white-walled gallery space.] -
Sixth Anniversary Exhibition. Installation view, Artists Space, 1979. Artwork by Barbara Schwartz. [Sculptural pieces mounted to the left wall. A white display pedestal sits in the background on the right, next to an open door.] -
-
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Four pornographic illustrations of men in jail cells are framed on the wall.] -
Five Spanish Artists. Installation view, Artists Space, 1985. [A figurative painting shows a cat-like figure drooping down to grab a long mushroom-like object. Painting appears in a white-walled gallery space.] -
Nandi Loaf, Aristotelis Nikolas Mochloulis, ricardo nagaoka, Sydney Schrader. Installation view, Artists Space, 2025. Photo: Carter Seddon [Along two white walls a series of paintings are arranged. Many of the paintings loosely depict human figures or abstracted body parts in brown and red toned paint against white backgrounds.] -
Sigmar Polke, Wochenendhaus, 1967. 80 copies + 40 artists proofs, signed and numbered screen print on cardboard, 59,5 x 84 cm. Courtesy of Edition Block, Berlin. [A print illustration of a suburban house. In the foreground, a pink flower cuts across the right frame from top to bottom.] -
-
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure dressed in all white, dancing in a corridor bathed in red light.] -
Collaborative team working on chandelier, 2018 [Two girls stand, cutting threads, while working on a handmade chandelier. The chandelier has a small number of flower petals, with a purple rose in the center] -
Place, (title to be determined), for a Participant: Ken Feingold. Installation view, Artists Space, 1979. [Two photographs are mounted on a white gallery wall.] -
Yasunao Tone performing Music for Reed Organ (1962), Repetition and Structures, Mills College, Oakland, California, 1972 [Black-and-white photograph of a figure, in profile, sitting behind a reed organ that is covered in plastic.] -
-
Four Scottish Artists. Opening Reception, Artists Space, 1979. [A photograph of the exhibition opening reception. A group of visitors look around at the art.] -
Film Still from Gaslight, 1944. [A black and white image of a man and woman. The woman is pressed against a wall, looking with fear at the man who is grabbing her wrist. He is looking back at her sternly.] -
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.] -
Friends of Artists Space Dinner 2024. Wade Guyton, Kathy Halbreich, Andy Robert, Joan Jonas. Photo: Joshua Wildman [A group of people sit around a circular dining table. Wade Guyton and Kathy Halbreich are on the far left side of the frame. Andy Robert and Joan Jonas face each other and are mid-conversation. Robert wears a diamond-patterned sweater, black jacket, and black, red, and yellow striped beanie. Jonas wears a black jacket over a blue blouse with small red polka dots and scalloped edges, and her hair is held out of her face with a decorative clip.] -
Flyer for Segue Reading Series featuring Tyrone Williams and Joselia Rebekah Hughes. Saturday, December 11, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Tyrone Williams & Joselia Rebekah Hughes." The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday December 11 - 5pm, 11 Cortland Alley + Zoom". The image of a 5 dollar bill is placed within the text.] -
-
Ralph Paquin and Ann Stoddard, ERAWA - ERA WAS, 1990. Installation view, Artists Space, 1990. [A large paper-maché head lays face-up on a metal scaffolding. Above it, green cursive text reads, "ring is worn out by constant use."] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a glass display case, above which several drawings hang from the wall.] -
Flyer by Joe Frivaldi. [Magazine cut-outs and ink drawings are collaged together on a background of bright yellow paper. Pieces of paper with typewritten text listing the performers and event details are scattered around the flyer.] -
Peter Jemison, Crows in Winter (Paris), 1980s. [A yellow paper bag with handles, detailed illustrations across its sides. At the front is a drawing of two large crows. Intricate line designs in the background and along the handles. On the side of the bag is a barren tree, with small dots indicating snowfall, and a fence that stretches in the background.] -
-
Yasunao Tone, Molecular Music, 1984-85 [Color image of a white page with Chinese and English printed text on it. A brush with white paint is painting over the word "Hundred" in English.] -
Zilia Sánchez. Still from Soy Isla. Compréndelo y Retírate, 2000. [A VHS recording of a person holding an object on the beach.] -
Min Joong Art. Installation view, Artists Space, 1988. [A photograph of a gallery space. The right half of the image is taken up by a wall with printed text identifying the exhibitions, "Min Joong Art: A New Cultural Movement from Korea," and, "I Miss the Revolution."] -
Gwynn Murrill, Standing 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 cat with an arched back.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures in medical scrubs stare into the distance.] -
devynn emory, Grandmother Cindy. Performance documentation, May 18, 2022, Artists Space [A person dressed in blue stands next to a mannequin draped in red fabric lying on a rolling table. To the left is an IV stand and people seated in the background.] -
Jane Bowles with Cherifa in Tangier, 1967. Photo: Terrence Spencer/Time & Life Pictures/Getty. [Black and white photograph of two women, one in a white dress and the other in a black niqab and sunglasses, walking arm in arm in a narrow street.] -
_____, Louise Lawler, Adrian Piper & Cindy Sherman Have Agreed to Participate in an Exhibition Organized by Janelle Reiring at Artists Space, September 23 through October 28, 1978, Artists Space, 1978. Installation view, Artists Space, 1978. [Black text affixed to a white wall reads: "Christopher D'Arcangelo / Louise Lawler / Adrian Piper / Cindy Sherman."] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A ceramic figure of a headless gray dog sits on the top of a shining metal barrel in an open gallery space. A garland of sausages connected to the ceramic dog drapes over the sides of the barrel. A wooden chair sits behind and to the right of the barrel. Many paintings, drawings, photographs, and posters hang on the gallery walls.] -
[White text overlays a gray, purple and light blue gradient background. The text at the top reads: “Segue Reading Series & ARTISTS SPACE / Winter 2025 Season / February/March curated by Stella Cilman and / Jay Sanders of ARTISTS SPACE / Saturdays at 5pm: 11 Cortlandt Alley + Zoom"] -
-
Las Nietas de Nonó: Posibles Escenarios, Vol. 1 LNN. Performance documentation, October 29, 2022, Artists Space. Photo: Destiny Mata [Color photograph of a figure in a red suit preforming in front of a seated audience. The figure sits at a tanker desk with a TV monitor placed on top of it. They wave a red object in the air.] -
-
New Economy. Installation view, Artists Space, 2007. [An installation view of multiple sewing stations and a clothing rack of red and white sweatshirts.] -
Flyer for Segue Reading Series featuring Sue Landers and Monica de la Torre. December 17, 2022, Artists Space. [Light blue and teal text overlay a purple background with abstract lines and an upside-down drawing of a male bust in the top right corner. The text in the middle reads "Sue Landers / Segue Reading Series / Monica de la Torre."] -
[Black text on a light blue background. The text reads: “April 26 / Peter Gizzi / Susana Plotts-Pineda.” Text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)"] -
keyon gaskin with Moya Michael & Zinzi Minott. Performance documentation, December 16, 2022, Artists Space. Photo: Destiny Mata. [Color photograph of a figure wearing a conical sheath of reflective one-way mirror film that covers most of their body. They lay on the floor and spread one arm out from under the mirror film. A bright light shines from under the film.] -
Waiting room view of 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 room, view from above a stair case, with a group of men sat scatted around the area.] -
Lyndon Barrois Jr., Unseen Hand (Fall Guy); Sinner Man, 2022. Couch, jute, antique cane, plastic, copper, brass, conservation glove; police tape, laser prints, museum board, MagiColor manual. Dimensions variable. Photo: Filip Wolak. [A color photograph of a yellow couch in a gallery space. A cane with a white glove rests on the couch cushions and a rope extends from its base. In the background, police tape demarcates a rectangle on a wall, and three strips of police tape extend from the wall to the floor.] -
SCRAAATCH, Tower of Babel, 2019, Les Urbaines. Photo: Mathilda Olmi [Two figures perform in front of large projected images.] -
-
Wesley Kimler. Untitled (blindfolded), 1984. [A nude figure with a darkened face appears moving an art and directing their gaze towards the viewer.] -
-
-
[Three book covers, arranged in a triangle, with title text reading from top to bottom, left to right, "Danger In Dusseldorf," "Die, Chastrommel," and "Berliner."] -
Daniel Joglar, Untitled, 2005. Courtesy the artist. [An open black wallet supported upright on a white surface by four binder clips attached to its left side and bottom edge.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two black and white images displayed on a pedestal in front of a column in an exhibition space. Behind the column, several photographs in white frames lean against a gallery wall with many windows. A long red carpet stretches across the floor underneath the framed images.] -
[Poster with a red-filtered image of a colonialist painting. In green and yellow font at the top of the image it reads, "Land Mass / 18 December 2017 7pm" and at the bottom in the same font, "Natalie Diaz / Demian Dineyazhi / Sonia Guinansaca / Artists Space 55 Walker Street New York, NY 10013.] -
[A white, graphic shirt sits on a piles of items next to nested wicker baskets in front of a wooden wall. On top of the baskets is a sign that reads, "freedom club."] -
Friends of Artists Space Annual Dinner, 2022. [A color photo of several individuals engaged in festivities and banter within a large reception space. Light and dark red overhead lights shine onto the guests in the event.] -
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.] -
-
Joyce Kim, Untitled, 2000. Acryclic, latex and enamel on canvas, 48 x 45 inches. Courtesy the artist. [Abstract paint splatters of various muted colors on a grey background.] -
Moroharu Jonouchi, Shelter Plan, 1964 [Black-and-white image of a figure in black standing straight against a wall. On either side of them are life-size printed images of a naked figure from behind.] -
Frank Palaia, When Will We Learn?, 1990. Automobile hood, paint, 48 x 58 inches. [A car hood is shown hanging on a white wall, painted with small, silhouetted figures of people and animals,] -
Tony Vevers, c. 1976. Painting from Eleanor Magid, Tony Vevers, William White, Artists Space, 1976. [A black and white photograph of an abstract painting with an ovular form in the top left corner and a line on the right.] -
Yasunao Tone: Region of Paramedia. Installation view, Artists Space, 2023. Photo: Filip Wolak. [Color photograph of a gallery space. On the left wall is a projected black-and-white video. On the right wall are various scores, posters, and photographs, and a vitrine.] -
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 black and white video still of a painting hanging on a decorative wall. The image in the painting has been burned and is illegibly white.] -
Jerry Beck, American Mummy, 1985. [Sculpted cross with strings strapped around it, holding unidentified items together inside of it. Held on a white background with dimensions written in pencil on the right side.] -
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.] -
Research photograph taken in Lyon, France, July 1990, prior to the realization of Michael Asher’s 1991 project for Le Nouveau Musée, Villeurbanne, France. Photograph by Michael Asher. Michael Asher Archive, © Michael Asher Foundation. [Black-and-white photograph of a pane of glass with a paper stuck to it that reads "FIGHT AGAINST SYSTEM! / DO THE RIOT THINGS!" In the reflection the photographer holds a small film camera up to his face to take the picture.] -
[A flyer for the event depicting a stylized green marshland. Light green and red text positioned at the top of the flyer reads, "A CELEBRATION OF OUR STRUGGLES / THREE MONTHS COME TO A CLOSE / DECOLONIZE / THIS PLACE / DEC. 17TH AT 6PM / 55 WALKER] -
-
Young Fluxus. Installation view, Artists Space, 1982. [Contact sheet of photos from the opening reception of the exhibition.] -
LaToya Ruby Frazier, A Message In Nestle Water Bottles from Shea Cobb and Amber Hasan at Sussex Drive and West Pierson Road, Flint, MI, 2017/2023, set of three archival pigment prints on Canson Platine Fibre Rag, 16 x 24 inches (40.6 x 61 cm) -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure kneels beside a table and traces their finger along the screen of an iPad. They wear a baseball cap that reads “MAKE TECHNO BLACK AGAIN.”] -
Flyer for The Rapture, Sunday, December 6, 2020, Artists Space. [A drawing of a group of skeletons, dancing and playing instruments. In the center of the image, a red banner features black text that reads "The Rapture".] -
Tiffany Sia, Barriers Buy Time, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A row of books with silver covers on a shelf. A black table and chair can be seen in the reflection of the book cover.] -
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.] -
New Economy. Installation view, Artists Space, 2007. [An installation view of two abstract wall works made of wood and a water fountain sculpture in the background.] -
Kerry Tribe. Installation view of Florida, 2003. Video (sound). [A darkened room with several wooden platforms with white pads on top facing a wide screen. The screen shows the image of a pond surrounded by trees.] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [Projectors placed across a wood floor project variegated hues of white light onto a wall.] -
-
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.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Two illustrations framed on a wall. On the left, two men, dressed in suits, engage in intercource behind a women sat in a chair. On the right, a half naked man sits on a bench in a cell above a man licking his leg, and an exposed butt that is plugged.] -
-
[Close up of two rows of pre-packaged salads in plastic containers on the shelves of a grocery store refrigerator.] -
[A pink pamphlet with black text announcing "Artists Space Presents: PUTT-MODERNISM", an "artist created 18-hole fully playable minature golf course." There is an illustrated map showing the location of the event, and additional printed information on the location and hours.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. Photo: Paula Court [A figure stands in the center, speaking into a microphone. To their right, two figures wear tall, pointy hats. To their left, a figure waves a flag while running.] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands in front of a seated audience. The figure on the right appears to read from a text propped on the stand, while the figure on the left looks towards the audience, speaking and gesturing towards them with one hand.] -
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 displayed in a multilevel gallery space. An old tv monitor, a coffee machine, and an artificial seagull are placed near a yellow boombox sitting on a black rug. Beside the boombox is a large image of a group of individuals in a defaced bedroom.] -
John Torreano. Installation view, Artists Space, 1974. [A black and white installation photograph of a gallery space. Two dark square canvasses hang on the wall, one is a large and the other small.] -
The New Normal. Installation view, Artists Space, 2008. [An image of an exhibition space consisting of a mock up bedroom, a bed, table, chair, lamp, television, microwave, and coffee maker sit on a large beige rug.] -
Exchange Show: Hallwalls, Buffalo, NY. Documentation of Opening Reception, Artists Space, 1976. Photos: Cindy Sherman. [Three black and white images arranged in a column. In the top photograph, a figure stands very close to a white wall. In the center photograph, a firue holds the sides of a their dark jacket, opening it up to reveal a white t-shirt. They stand next to a wall with three circular objects. The bottom photograph features a dog in the center foreground.] -
Morir ('til Death). Installation view, Artists Space, 2003. [A small, empty room with images projected on three walls. All are gray/blue shots of spinning tops on a white grid on concrete. The center image shows this from above, while the left and right images show the tops from the side.] -
-
[A hand-drawn image in pencil of a bedroom or living room scene. The room's double windows have been blown open, scattering several papers across the room. A crudely drawn figure stands upright in an uncomfortable manner in the middle of the room.] -
Joan Jonas. Organic Honey's Visual Telepathy, 1972 [A blurry black-and-white photo of someone wearing a large white headdress holding several unidentifiable objects.] -
Milford Graves: Fundamental Frequency. Installation view (ephemera c. 1965-1987), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a vitrine containing ephemeral material, including pamphlets, photographs, and a blue flyer.] -
Chorus: A Sound Poetry Festival. Performance documentation, November 11, 2022, Artists Space. Photo: Joshua Wildman [Two figures perform next to each other on stage. One stands, hands out, singing in front of a microphone. The other sits down, playing the guitar.] -
[An upside-down wooden stool is cast in a glowing, neon light. In the background, a rocking chair with decorative pillows appears out of focus.] -
-
The Fairy Tale: Politics, Desire and Everyday Life. Installation View. Artists Space, 1986. [A glass vitrine appears in the center with headphones and seats placed around it in a circle. Behind it is another glass vitrine sculpture as well as paintings and sculptural objects on the gallery walls.] -
-
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.] -
-
Tom of Finland, Untitled, ca. 1966, collage on paper. Courtesy Tom of Finland Foundation, Permanent Collection. [A collage of four half-naked men dressed in a pilots hat arranged on paper.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing behind audio mixing equipment and a microphone in front of an orange background. A white light shines down on them from the left.] -
The Library Vaccine. Installation view, Artists Space, 2014. [Nineteen books and documents, organized into a grid, sit against a white background. Two materials in the top center, and one on the top right, are opened to middle pages.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A number of sculptures on pedestals can be seen in the foreground with paintings and sculptures behind them in a gallery setting.] -
-
Be Nice Share Everything Have Fun, ed. Stefan Kalmár and Daniel Pies. Kunstverein München, 2010. [A book cover design featuring large, sans-serif orange text on a white background. The text varies in size and reads "BE NICE SHARE EVERYTHING HAVE FUN."] -
Catherine Ross, still from Fingering and Footing, 2005. [A split screen of two people, each visible between their nose and their chest. Both are extremely excited, with their hands raised up.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [A picture of a man in a coat sits above a series of books on a shelf.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A view of a bedroom with various imagery on the walls along with a line and clothespins and a dotted line cloth on a matress lying on the floor.] -
Isola & Norzi, Mama, 2006. Installation. Courtesy the artists. Photo: Bill Orcutt. [In the corner of a room, a group of six brooms and mops is held free-standing off of a wall by a shelf which allows the handles to pass through it, holding them in place in a line. Near the adjacent wall, a metal dustbin stands facing the brooms, dust both within the dustbin and nearby.] -
Raúl Zurita, La vida nueva, 1982. Video, color, sound; 27 minutes 42 seconds. Videography by Juan Downey. Courtesy the artist. [A yellow industrial machine rests atop a pile of rubble and stone. Across the clear blue sky, sky-typers write “MI DIOS ES MERIDA” in white smoke-dots.] -
Michael Asher. Installation View, Artists Space, 2025. Photo: Carter Seddon. [A large gallery space houses a variety of plinths made of MDF, atop of which are placed various archival objects. Down the middle of the room are two long, short plinths that display a series of art historical journals. On another tall plinth to the right is a postcard. ] -
Jenny Snider. It's a Sin to Tell a Lie, 1985. [An adult figure stands in the foreground while a smaller figure stands in the background in a corner. Above the figures reads: "It's a sin to tell a lie."] -
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.] -
Guy de Cointet, Tell Me, 1979. Performance at MoMA, New York. Performed by Helen Mendez, Jane Zingale, Denise Domergue. Courtesy Guy de Cointet Society and Air de Paris, Paris. Photo: Kira Perov. [Three people, bent over each other looking at an open door.] -
Dr Andrew Torres, Teaching Artist leading a poetry class for Grade 8 students (detail), 2022 -
Nandi Loaf, WÜNDERBAR, 2025. Artifical tree (monument), custom 4-4-0 model locomotive + semi-autonomous rail system, re-routed grid hardware, ornaments, site-specific electrical circulation. Photo: Carter Seddon [A black Christmas tree stands in the room, adorned with white twinkling lights. A black toy train circulates around the shiny black base of the tree.] -
Piecing Together Los Angeles: An Esther McCoy Reader, edited by Susan Morgan, published by East of Borneo Books, 2012. [Book cover design featuring a blue-tinged photograph of a woman in a white blouse resting casually against an armchair, her left hand reaching up towards her face and her fingers curling in a relaxed position. She appears contemplative, as if she is about to speak. Text superimposed over the top left hand corner of the image reads "Piecing Together Los Angeles: An Esther McCoy Reader."] -
-
[Dark blue text overlays red-pink background. The text reads: “March 4 / John Godfrey / Nicole Wallace." Smaller text in the bottom left corner reads: “5pm / 11 Cortlandt Alley + Zoom / Zoom ID: 893 9594 7519 / $5 (all proceeds go to readers)] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A corner of a wall imposed with the text, "Christa Blatchford: See Around."] -
Jenny Holzer. Poster, 1982. [Pickle green background with black text that reads, "CHANGE IS THE BASIS OF HISTORY, THE PROOF OF VIGOR. THE OLD IS SOILED AND DISGUSTING BY NATURE. STALE FOOD IS REPELLENT, MONOGAMOUS LOVE BREEDS CONTEMPT, SENILITY CRIPPLES THE GOVERNMENT THAT IS TOO POWERFUL TOO LONG. UPHEAVAL IS DESIRABLE BECAUSE FRESH, UNTAINTED GROUPS SEIZE OPPORTUNITY. VIOLENT OVERTHROW IS NICE IF THE SITUATION IS INTOLERABLE. SLOW MODIFICATION IS EFFECTIVE BECAUSE PEOPLE ARE TRANSFORMED BEFORE THEY NOTICE AND RESIST. THE DECADENT AND THE POWERFUL CHAMPION CONTINUITY. "NOTHING ESSENTIAL CHANGES." THAT IS A MYTH. IT WILL BE REFUTED. THE NECESSARY BIRTH CONVULSIONS WILL BE TRIGGERED. ACTION WILL BRING THE EVIDENCE TO YOUR DOORSTEP."] -
Urban Pornography. Installation view, Artists Space, 2001. [Several photographs installed in a gallery space with white walls and wooden flooring. Four color photographs are arranged in a vertical line on a wall to the right side of the image. The wall terminates to the left of the displayed photographs, and a second wall extends into the gallery space directly behind it. Two large images comprised of pink and purple hues hang on a far gallery wall in the background of the image. The image on the left displays a futuristic looking, interior space.] -
Hito Steyerl, Liquidity, Inc., 2014. HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. [A side view of a large video monitor screen, sitting on the ground, with a large ramp extending from the base including large pillows for seating. The room is tinted blue. On the screen, there is a man in a mask, infront of a map of Europe and Eastern Asia. A text bubble is infront of him that reads, "because huge quantities of data are raining down from their cloud storage over Scandinavia."] -
-
Jerry Beck, Cryptic Cross, 1985. [A sculpted pedestal with a black object on it is visible on a wooden floor below a sculpted multilayered cross hanging on a white gallery wall. Numbers are visible above the image.] -
SCRAAATCH. Performance documentation, November 18, 2022, Artists Space. Photo: Destiny Mata [A figure in a blue morph suit leans over a wooden box placed on the floor, while another figure to the left films them. Blue light is projected onto the back wall to the right.] -
Char Jeré: Zoo or an Orchestra. Installation view, Artists Space, 2023. Photo: Filip Wolak. [A color photo of an installation and sound work in a gallery space. Wooden tables with black table tops are stacked upon eachother, creating a structure of tables about 20 feet high. The tables are densely packed and populated by a variety of insturments, automated sound objects and other found items such as hair care products and medicine bottles. Behind the stack of tables, a large piece of cardboard hangs on the wall, filled with drawings and collaged elements.] -
-
-
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a wire. In the base of the object, a processing chip is embedded.] -
-
Judith Barry. In the Shadow of the City (Vampry...). Installation view. Artists Space, 1985. [A video projection on a scrim of an urban environment with a store and a park lot visible with buildings in the background. A standing box with a wire coming from the back is visible and another box with a wire from the back is visible on the right wall. All of this is set up in a gallery setting.] -
James Coleman. Still from Seeing for Oneself, 1987-88. Slideshow (black and white), 40 min. [A black and white film still of a person lying against embroidered pillows. Another person sits alongside her and holds a mirror up to her face, reflecting it towards the camera.] -
-
-
[Photograph of two figures, one in a suit, one in a suit and brown trenchcoat, striding across a city street. The facade of the buildings behind them is covered with a colorful mural and a long line of alternating, bright red and yellow posters. A large building sign above the posters reads "S. KLEIN."] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A black display case in the corner of a gallery, surrounded by windows looking out into Manhattan. A mannequin faces away from the camera, and three backlit texts are placed across the floor, in sequence. Each text is superimposed on a photo of a metal pipe looking similar to a gun. On the back viewer, the image is visible alone with no superimposition.] -
Postcard from Robert Morgan. Artists Space, 1977 -
Adrian Piper: It's Just Art. Performance documentation, 1981, Artists Space. [An individual performing while standing in front of a projection of themselves and a child. A thought bubble on the right side of the projection reads "14. WE DEFEND EACH OTHER (YOU CERTAINLY DIDN'T COME TO AN ART PERFORMANCE TO HEAR A LECTURE ON CURRENT EVENTS).] -
Mike Henderson, Four Clocks, 1990. Installation view, Artists Space, 1990. Four panels, encaustic on masonite, 19 x 18.5 inches. [A black and white photgraph of four square paintings of clocks in a horizontal line, each showing a different time.] -
-
Adam Putnam, Magic Lanterns, 2004. [A sketch of a projector on a stand, projecting a black hole into a wall.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure with raised arms in an orange-lit space.] -
Untitled (Business card), late 1970s. Copyright: Jack Smith Archive. Courtesy: Gladstone Gallery, New York and Brussels [A black and white illustration featuring a person in a black cat suit. A group of penguins, behind him, face towards the background. Text reads, "Jack Smith, Exotic Theatrical Genius!"] -
[A silver, metal plaque displayed against a bright red backdrop. Text engraved on the plaque reads, "Four hours of steady work face you. You rub blindly at one wrist with the other hand and reattach the brace, molding the various input/output feeds back into their ports, the audio, visual, haptic, mouth-smell and pure reason. It was typical, routine but aggravating, setting tons of exits dark, setting properties manually on editing, the west exit of the dining car that must be unpick able, the pencils that must be broken of their lead, the rotation speed on a deck of hypercard that must be trued with the accelerating average saccade rate. Then a bunch of identical or nearly-identical descriptions to reset on every atomically-detailed manual interaction object, re-spawning every item instanced in the idiorrhythmic skate’s mini-bar, for example, or buffering every one of the phalanstery’s refractor diodes. All it goes to show is that your’e working against the software too much, Now with three upward blinks interspersed with a short series of lip tics into the facial interface meshed into your latex balaclava respawn the set of tri-fold hologrammatic welcome brochures. You could be much more productive if you had the chance, but that’s how it goes. Athos is closed-source and always has been, the massive influx of new residents with new needs notwithstanding. Idle thoughts, ancient history, better to spend it artificially deflating the calorie currency on the skate’s all-you-care-to-eat buffet, to fuck just a bit with the schismatic flesh mercantilists in Madalay District. Set chafing capacity to maximum. What joy is there in living. You yourself had kong since ceased to register hunger. When you notice it, it’s not that you’re not hungry - you could choose to feel the effects, lightheaded every time you bend down to tap a pressure gauge, blurred vision when you stand back up, the constant headaches and fatigue. But the feeling of emptiness, that the stomach is a void to be filled with raw materials from the feed-cache or a sub auricular puff of enzyme slurry, that was gone. The propriety of that sense of internal space, of endogenous and unaccountable degrees of internal freedom for desire, bent back towards its opposite. Your tasks, the purest extension of a certain kind of unfulfillable desire, await you no less for that. If you simultaneously adjust a row of damper switches to their most neutral position, use the flat edge of your palm. The idea that in times of harsh exogenous conditions, in which so many resources are bound to sheer homeostasis, the tariff that must be extracted for the use of symbiotic system of immersion actually decreases. The last switch cannot be turned off, Paradoxically, as things get worse overall, the worsening situation costs increasingly less to maintain."] -
Flyer for Segue Reading Series featuring S*an D. Henry-Smith and Joey Yearous-Algozin. March 26, 2022, Artists Space. [Black text overlays a white background. The top left corner reads: S*an D. Henry-Smith / Joey Yearous-Algozin. The middle reads: Segue Reading Series & ARTISTS SPACE.” The bottom left reads: “Saturday, March 26, 5pm / Zoom ID: 893 9594 7519 / Suggested donation $5."] -
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, taken from a low angle, looking up at three hanging screens positioned around the center of a gallery room. Below the screens, performers are seated in wooden chairs, singing into microphones. A performer in the background stands and waves his hands to conduct the group. All around the performers, audience members fill the room.]
