Splinters and Seconal

Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...

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...

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...

The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...

Miljohn Ruperto’s silent video work Appearance of Isabel Rosario Cooper is an archive of ghosts...

Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...

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...

Commissioned by the San Francisco Museum of Modern Art and riffing on the “I Want You” army recruitment campaigns of the 1930s and 1940s, Labat asked Bay Area residents to interpret the slogan and make their own demands of the public in a series of live performance auditions...

This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...

The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...

The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits...

In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...

In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...

In Jackass (2008) by Ari Marcopoulos, his two sons, Cairo and Ethan, are pictured relaxing in a disheveled bedroom in their Sonoma home...

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...

Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...

For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....

Retired Pillar represents the death and deterioration of legacy of colonial Shanghai...