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Abbas Akhavan, cast for a folly, 2019, Wattis Institute

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matthew barney, transexualis, 1991, walk-in cooler, formed and cast petroleum jelly decline bench, human chorionic gonadotropin, speculum, self-lubricating plastic flight blocks with videotapes: "Mile High Threshold: Flight with the Anal Sadistic Warrior" and "Delay of Game"

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uri aran, puddles, 2014

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http://zacharywaltman.com/

soundtrack music

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JEAN-LUC MOULÈNE, Standard et Ornement [Standard and Ornament] (Le Buisson), 2021

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Matt Paweski, TRANSLATOR, 2021, Aluminum, aluminum rivets, silicone, vinyl paint, 10.5 x 21 x 7"

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Richard Rezac, Untitled (08-02)

2008, aluminum, cast bronze, 22½ × 10 × 9½ inches

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Jean Luc Moulene, Rec & Mix (Le Buisson), 2022

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Pindell’s use of a predominantly abstract vocabulary gained her early praise within the established art world, but also brought resentment from certain members of the Black community. “Being abstract was also frowned on in the Black community in the ‘70s, and people like Bill Williams [William T. Williams (NA 2017)] and myself were thought of as almost kind of traitors, like we should be doing work that is specific to the Black community, and I remember both Bill and I on different occasions went to the Studio Museum in Harlem with our work and the Director told us to ‘Go downtown and show with the white boys.’”3

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Karen Kilimnik, Dusk, 1996

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Hans Bellmer, Girl, 19th c (undated)

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Enrico Donati, The Evil Eye, 1947

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Joan Wallace, Hidden Authoritarian, 2007

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Hans Bellmer, Machine Gunneress in a State of Grace, 1937

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Hans Bellmer, Eagle Miss, 1946

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Imi Knoebel, Raum 19, 1968