Intentionally Left Blanc

McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...

The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...

Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...

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The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...

Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...

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....

Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...

Dr...

For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...

Defunct Mnemonics (2012) plays off woodworking traditions found in indigenous art in order to create a body of formally minimal objects that are both beautiful in their restraint and profoundly moving in their associations with the totemic...

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In Dorian, a cinematic perfume, video is used as a community gatherer, a tool to speak about particular subcultures, in this case the trans-gender drag queen New York community, past and present...

Singapore aims to be the No 1 art market in Southeast Asia, and the recent growth in private art spaces and exhibitions could help it realise that ambition...

Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...

Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...

For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...

Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...

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....

Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...

The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...

Foreigners Everywhere is a series of neon signs in several different languages...

Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...

In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...

As she traces the same shape again and again, Ojih Odutola’s lines become darker and deeper, sometimes pushed to the point where their blackness becomes luminous...

In a style that is unique of Tokoudagba, he evokes the kings, gods and their symbols related to the earth, water, air and fire, usually on a white background...

The four-channel video installation Same Old Crowd departs from the documentation of an unknown city and takes place in an ambiguous temporal and spatial frame...

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...