The American War

Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...

The small drawings that comprise Study from May Day March, Los Angeles 2010 (Immigration Reform Now) and We Are Immigrants Not Terrorists are based on photographs taken at a political rally in downtown Los Angeles in which thousands of individuals demonstrated for immigrants’ rights...

Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...

Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...

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...

Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...

Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...

Sound of Ice Melting is based on the ancient Zen Buddhist koan about the sound of one hand clapping...

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

Parked on the shoulder of a single lane highway running through a desert landscape, Marlene looks over her shoulder from inside the car at a fierce storm looming over a distant horizon...

The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...

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...

The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...

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...

Erin Shirreff’s A...

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...

The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...

Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...