Cityscapes 1 (boats), 2 (woods)

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...

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

Starting with Bruce Nauman’s iconic artwork, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) , Mungo Thomson’s neon sign is one of a series that replaces Nauman’s quixotic mini-manifesto with aphorisms from ‘recovery’ culture, especially those made popular by alcoholics anonymous...

Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...

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...

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...

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...

In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...

South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....

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...

In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...

NO POSITIONS AVAILABLE is composed of panels covering the entire wall of the gallery exemplifying one of the tendencies of the artist...

The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...

One Million is a video work depicting the counting of bills...

In the video installation A Gust of Wind , Zhang continues to explore notions of perspective and melds them seamlessly with a veiled but incisive social critique...

Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...

Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...