There are veins in these lands, I

In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...

Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...

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...

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...

At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...

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...

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...

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...

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

Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...

In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...

Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...

In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...

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...

Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...

In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...

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...