The Transparencies of the Non-Act

Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...

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...

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...

Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...

Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...

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...

Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...

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

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...

PANGKIS by Yee I-Lann is a looped video performance...

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...

Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...

Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...

Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened...

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...

The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...

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

In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...