Shanghai Biennale Awaiting Your Arrival

The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways...

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...

In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...

The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...

As suggested by its title, Pipe Opening (2002) depicts a hole in a wood wall exposed by the removal of a pipe...

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...

A photograph of a tin box full of marijuana simply titled Green Box, speaks to the constantly changing status of the substance–once taboo or illicit, now a symbol of a growing industry in Northern California...

The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...

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

The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...

Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...

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...

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...

Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...

Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...

Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...

Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...