Hand Palm Echo 1

The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...

Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...

Liu Yin’s cartoon-like paintings and drawings explore the ambivalences of love, nature, and consumerism...

In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...

Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...

Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...

7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...

His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...

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

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...

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...

Wheat’s work is built on a strong conceptual framework that weaves together commentary on social and political issues and the radical potential for change...

Natasha Wheat’s Kerosene Triptych (2011) is composed of three images, one each from the digital files of the Library of Congress, the Smithsonian Institution, and the Field Museum tropical research archive...

Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...

Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...

The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...

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...

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....

Liu Yin brings the tension of a small but imminent catastrophe into the gallery with a raw egg balanced on the edge of a folding table....