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Sturtevant’s “Warhol Flowers” (1969-70).

Credit© Estate of Sturtevant, courtesy of Galerie Thaddaeus Ropac, London, Paris, Salzburg


Sturtevant’s “Warhol Flowers” (1969-70).

Credit© Estate of Sturtevant, courtesy of Galerie Thaddaeus Ropac, London, Paris, Salzburg


Credit© 2019 Estate of Marcel Broodthaers/Artists Rights Society (ARS), N.Y./SABAM, Brussels. Photo (right) by Maria Gilissen.


Hans Haacke’s “MoMA Poll” (1970), recreated at the Central Pavilion at the 2015 Venice Biennale.

CreditCourtesy of Contemporary Art Daily. © Hans Haacke/Artists Rights Society (ARS), N.Y./VG Bild-Kunst, Bonn

A yellow ballot used for Haacke’s “MoMA Poll.”

CreditCourtesy of the Museum of Modern Art Archives, New York. © Hans Haacke/Artists Rights Society (ARS), N.Y./VG Bild-Kunst, Bonn


Credit© Estate of Philip Guston, courtesy of Hauser & Wirth


5. Judy Chicago, Miriam Schapiro and the CalArts Feminist Art Program, “Womanhouse,” 1972

A clip from the performance piece staged at “Womanhouse.”CreditCredit© Judy Chicago/Artists Rights Society, New York


CreditPhoto by Billie Scheepers


7. Gordon Matta-Clark, “Splitting,” 1974

Gordon Matta-Clark’s “Splitting” (1974).

Credit© 2019 Estate of Gordon Matta-Clark/Artists Rights Society (ARS), N.Y.


8. Jenny Holzer, “Truisms,” 1977-79

One of Jenny Holzer’s “Truisms” featured on a Spectacolor light board in Times Square as part of the Public Art Fund’s “Messages to the Public” exhibition (1982).

CreditArtwork © 1982 Jenny Holzer, member Artists Rights Society (ARS), N.Y, courtesy of Jane Dickson, project initiator and animator, and Public Art Fund, N.Y. Photo by Lisa Kahane © 1982 Lisa Kahane N.Y.C. Art Resource, N.Y.

9. Dara Birnbaum, “Technology/Transformation: Wonder Woman,” 1978-79

A clip from the video piece, in which Birnbaum re-edited excerpts from the 1970s series “Wonder Woman.”CreditCreditCourtesy of the artist, Electronic Arts Intermix, New York and Marian Goodman Gallery


10. David Hammons, “Bliz-aard Ball Sale,” 1983; “How Ya Like Me Now?,” 1988

David Hammons’s “Bliz-aard Ball Sale I” (1983); “How Ya Like Me Now?” (1988).

CreditPhoto by Dawoud Bey, courtesy of Tilton Gallery, New York; photo by Tim Nighswander/Imaging4art.com, courtesy of the Glenstone Museum


11. Barbara Kruger, “Untitled (When I Hear the Word Culture, I Take Out My Checkbook),” 1985; “Untitled (I Shop Therefore I Am),” 1987

Barbara Kruger’s “Untitled (When I hear the word culture, I take out my check book)” (1985); “Untitled (I Shop Therefore I Am)” (1987).

CreditCourtesy of Barbara Kruger

12. Nan Goldin, “The Ballad of Sexual Dependency,” 1985-86

Left: Nan Goldin’s “C.Z. and Max on the Beach, Truro, Massachusetts” (1976), from “The Ballad of Sexual Dependency”. Right: a poster for “The Ballad of Sexual Dependency” in New York (1983).

Credit© Nan Goldin, courtesy of the artist and Marian Goodman Gallery

13. Cady Noland, “Oozewald,” 1989; “The Big Slide,” 1989

Cady Noland’s “Oozewald” (1989).

CreditPhoto courtesy of Collection M HKA/Clinckx, Antwerp

14. Jeff Koons, “Ilona on Top (Rosa Background),” 1990

Jeff Koons with his then wife, Ilona Staller, in June 1992. The artist did not grant permission for the named work to be published.

CreditPhoto by Patrick Piel/Gamma-Rapho via Getty Images

15. Mike Kelley, “The Arenas,” 1990

Mike Kelley’s “Arena #7 (Bears)” (1990).CreditPhoto by Douglas Parker © Mike Kelley Foundation for the Arts, all rights reserved/VAGA at ARS, N.Y.

16. Felix Gonzalez-Torres, “Untitled” (Portrait of Ross in L.A.), 1991

Felix Gonzalez-Torres’s “Untitled” (Portrait of Ross in L.A.) (1991).

CreditPhoto by Serge Hasenboehler, courtesy of the Felix Gonzalez-Torres Foundation, © Felix Gonzalez-Torres


17. Catherine Opie, “Self-Portrait/Cutting,” 1993

Catherine Opie’s “Self-Portrait/Cutting” (1993).

Credit© Catherine Opie, courtesy of Regen Projects, Los Angeles, and Lehmann Maupin, New York, Hong Kong and Seoul

18. Lutz Bacher, “Closed Circuit,” 1997-2000


A clip from the video piece featuring the art dealer Pat Hearn, whom Bacher filmed for 10 months following her cancer diagnosis in 1997.CreditCredit© Lutz Bacher, Courtesy of Greene Naftali, New York and Galerie Buchholz, Berlin/Cologne

19. Michael Asher, “Michael Asher,” Santa Monica Museum of Art, 2008

Michael Asher’s “Michael Asher” at the Santa Monica Museum of Art (2008).

CreditPhoto by Grant Mudford, courtesy of the Institute of Contemporary Art, Los Angeles (I.C.A. L.A.)

20. A.K. Burns and A.L. Steiner, “Community Action Center,” 2010

A clip from the 69-minute-long video piece, which the artists describe as “socio-sexual.”CreditCreditCourtesy of the artists

21. Danh Vo, “We the People,” 2010-14

Danh Vo’s “We the People” (detail) (2011-16).

CreditPhoto by Nils Klinger, taken at Kunsthalle Fridericianum in Kassel, Germany

22. Kara Walker, “A Subtlety, or the Marvelous Sugar Baby,” 2014

Kara Walker’s “A Subtlety, or the Marvelous Sugar Baby, an Homage to the Unpaid and Overworked Artisans Who Have Refined Our Sweet Tastes From the Cane Fields to the Kitchens of the New World on the Occasion of the Demolition of the Domino Sugar Refining Plant” (2014).

CreditPhoto by Jason Wyche © Kara Walker, courtesy of Sikkema Jenkins & Co., N.Y.

23. Heji Shin, “Baby” (series), 2016

Left: Heji Shin’s “Baby 12” (2016). Right: Shin’s “Baby 16” (2016).

Left: Heji Shin’s “Baby 12” (2016). Right: Shin’s “Baby 16” (2016).CreditCourtesy of Galerie Buchholz, Berlin/Cologne

24. Cameron Rowland, “New York State Unified Court System,” 2016

Cameron Rowland’s “New York State Unified Court System” (2016). 

CreditCameron Rowland, “New York State Unified Court System,” 2016, oak wood, distributed by Corcraft, 165 x 57.5 x 36 inches, rental at cost. “Courtrooms throughout New York State use benches built by prisoners in Green Haven Correctional Facility. The court reproduces itself materially through the labor of those it sentences. Rental at cost: Artworks indicated as ‘Rental at cost’ are not sold. Each of these artworks may be rented for 5 years for the total price realized at police auction.” Courtesy of the artist and Essex Street, N.Y.

25. Arthur Jafa, “Love Is the Message, the Message Is Death,” 2016

A clip from Jafa’s video, comprising excerpts from films, television broadcasts, music videos and Jafa’s own footage, set to Kanye West’s “Ultralight Beam.”CreditCreditCourtesy of the artist and Gavin Brown’s Enterprise, New York/Rome





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