R. H. Quaytman, Anne Tyng Pointing, 2001–11. Oil, silkscreen ink, gesso on wood, 20 × 32 in. Anne Tyng’s Bedroom, 2001. Oil, silkscreen ink, gesso on wood. 24 × 40 in. Courtesy the artist and Miguel Abreu Gallery, New York; Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware, 105 × 75 × 55 in. Courtesy the artist and Andrea Rosen Gallery, New York
Thomas Ruff, w.h.s. 04, 2001. Chromogenic print with Diasec, 70 × 94 inches. Courtesy of David Zwirner, New York and London; SUPERSTUDIO, Life, Supersurface (from The Fundamental Acts), 1972 and Ceremony (from The Fundamental Acts), 1973. Color film transferred on digital support, produced by Marchi, 14 min. Courtesy SUPERSTUDIO and pinksummer, Genoa
Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware, 105 × 75 × 55 in. Courtesy the artist and Andrea Rosen Gallery, New York; Thomas Ruff, h.t.b.. 05, 2000. Chromogenic print with Diasec, 37 × 43 in, and w.h.s. 04, 2001. Chromogenic print with Diasec, 70 × 94 in. Courtesy of David Zwirner, New York and London
SUPERSTUDIO, Life, Supersurface (from The Fundamental Acts), 1972 and Ceremony (from The Fundamental Acts), 1973, color film transferred on digital support, produced by Marchi, 14 min. Courtesy SUPERSTUDIO and pinksummer, Genoa; Fernanda Fragateiro, (Not) Reading the Last Line, 2011. Book fragments and acrylic. 94 × 4 × 3 in. Private collection, New York
Fernanda Fragateiro, (Not) Reading the Last Line, 2001. Book fragments and acrylic. 94 × 4 × 3 in. Private collection, New York; Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware, 105 × 75 × 55 in. Courtesy the artist and Andrea Rosen Gallery, New York; R. H. Quaytman, Anne Tyng Pointing, 2001–11. Oil, silkscreen ink, gesso on wood, 20 × 32 in. Anne Tyng’s Bedroom, 2001. Oil, silkscreen ink, gesso on wood. 24 × 40 in. Courtesy the artist and Miguel Abreu Gallery, New York
Martha Rosler, Vacuuming Pop Art, Escape Fantasy, and Family Portrait with Car from the series Body Beautiful, or Beauty Knows No Pain, c. 1966–72. Vacation Getaway and Balloons from the series House Beautiful: Bringing the War Home, c. 1967–72. Photomontages. Courtesy the artist and Mitchell-Innes & Nash, New York. Brian Zink, Composition series, 2013. Each colored Plexiglas mounted on board, 30 × 30 in. Courtesy Fidelity Investments Corporate Art Collection
Brian Zink, Composition series, 2013. Colored Plexiglas mounted on board, 30 × 30 in. Courtesy Fidelity Investments Corporate Art Collection. Martha Rosler, photomontages from the series House Beautiful: Bringing the War Home, c. 1967–72. Courtesy the artist and Mitchell-Innes & Nash, New York
Martha Rosler, How Do We Know What Home Looks Like?, 1993. Color video with sound, 31 min. Courtesy Electronic Arts Intermix (EAI), New York
Gerard Byrne, Subject, 2009. Installation view, three-channel video shown on monitors and vinyl wall text. 27 × 32 ft. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin
Gerard Byrne, Subject, 2009. Installation view, three-channel video shown on monitors and vinyl wall text. 27 × 32 ft. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin
Elizabeth Price, AT THE HOUSE OF MR X, 2007. Video, 20 min. Courtesy the artist and MOT International, London and Brussels
Ulla von Brandenburg, Singspiel, 2009. Black-and-white 16 mm film, sound, 14:34 min. Courtesy the artist and Art: Concept, Paris
Fernanda Fragateiro, Double Recliner (after MvdR), 2014. Polished stainless steel, 172 × 23 × 25 in. Courtesy the artist. Ulla von Brandenburg, Singspiel, 2009. Black-and-white 16 mm film, sound, 14:34 min. Courtesy the artist and Art: Concept, Paris
Cerith Wyn Evans, Untitled (Column), 16, 2009. Wood, fluorescent tubes, and lamp fixtures, 138 × ø 22 in. Courtesy White Cube and Carpenter Center for the Visual Arts
Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections, 144 × 192 × 192 in. Courtesy the artist and Carpenter Center for the Visual Arts
Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections, 144 × 192 × 192 in. Courtesy the artist and Carpenter Center for the Visual Arts
