Captain X

At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...

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

Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...

Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...

Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...

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

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...

Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...

Retired Pillar represents the death and deterioration of legacy of colonial Shanghai...

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...

Last Postcards is a series of three small double-sided paintings on plywood in which Biernoff imagines the last communications from explorers lost in the wilderness...

In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...

In Kan Xuan’s four-channel video Island , a series of objects like nail clippers, hairbrush, toothpaste, and house decorations are shot in close-ups...

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

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

Meeting #100 is one in a series of text works by Jonathan Monk...