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In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...

Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...

John Houck’s brown- , sienna- and golden-toned composition, Untitled #185, 65, 535 combinations of a 2×2 grid, 16 colors , features densely packed lines of color moving diagonally across the creased page...

Long Long Live (2013) takes the viewer to the setting of the Oasis Villa on Green Island, once a reform and re-education prison to house political prisoners during Taiwan’s martial law period...

The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...

Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...

The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...

John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements...

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....

LAB (2013) conjures the body as the trace of a sooty hand appears, spectrally, on a crumpled paper towel...

Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...

Sun Xun’s lushly illustrated, dynamic short film Mythological Time is a dreamy chronicle of rapacious industrial development, the mythical qualities of state propaganda, and the constancy of change, as experienced by an unnamed coal mining town...

Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...

Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...

Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...

Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...

Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...