• Diptych of two abstract panels. Left panel has abstract brushstrokes in black and gray. Right panel has abstract textured brushstrokes in orange and yellow layered over white and purple sections of the canvas.
    Bernard Lokai
    Untitled, 2019
    acrylic on canvas (2)
    each 11 3/4 x 15 3/4 inches/30 x 40 cm
  • Birgit Jensen, KANALUA I, 2020
    Birgit Jensen
    KANALUA I, 2020
    acrylic on canvas
    27 1/2 x 24 1/8 in
    70 x 61 cm
  • Light brown totem-like drawings in orderly columns on a beige background.
    Bruce Conner
    INKBLOT DRAWING DECEMBER 25, 1993, 1993
    ink and pencil on paper
    7 1/2 x 7 1/4 in
    19.1 x 18.3 cm
  • Intimate digital photograph of a gray wolf wading through water taken from the perspective that the viewer is in front of and looking down at the wolf
    Christian Houge
    Untitled 3, Norway, 2011
    ink on Canson Baryta paper
    47 x 33 inches/119.4 x 83.8 cm
  • Cornelius Völker, Hunde (Dog), 1999
    Cornelius Völker
    Hunde (Dog), 1999
    oil on canvas
    19 3/4 x 23 5/8 in
    50 x 60 cm
  • Crystal Liu, in the dead of winter, 'when night falls', 2005
    Crystal Liu
    in the dead of winter, 'when night falls', 2005
    chromogenic print
    29 x 29 inches/73.7 x 73.7 cm
  • Video of ​​Driss Ouadahi creating Oppressed Blessing The artist is dressed in all black with white chalk on his hands jumping to create handprints on large black canvas
    Driss Ouadahi
    Oppressed Blessing, 2016
    video
    2 minutes 27 seconds
  • Blonde woman with hair in chignon faces away from viewer in front of blue and exposed canvas background. Her body below the shoulders is cropped out of the composition.
    Gideon Rubin
    Blonde (Chignon), 2020
    oil on linen
    10 1/8 x 8 1/8 in
    25.5 x 20.5 cm
  • Harry Bertoia, Untitled, c. 1963
    Harry Bertoia
    Untitled, c. 1963
    bronze
    1 1/2 x 2 7/8 x 2 3/4 in
    3.8 x 7.3 x 7 cm
  • Hanging vine surrounded with/by several species of flora and fauna typically found in the rainforest in Emergent level in front of humid rainforest.
    Isabella Kirkland
    Emergent, 2009
    oil on canvas over wood panel
    60 x 48 in
    152.4 x 121.9 cm
  • Paper collage of various cut outs from early twenty tens magazines display a commercial street of a small town with a tanned individual suspended in the upper center performing a flip dive In the foreground and towards the bottom of the piece lies a dirty boardwalk with a mound of charred scraps lying to the right
    Jean Conner
    OUT OF THE BLUE MAY 25, 2015, 2015
    paper collage
    10 7/8 x 8 1/8 in
    27.6 x 20.6 cm
  • Sepia Pacific Telephone advertisement depicting man and woman in domestic setting with woman on phone. Greyscale man pasted in, affectionately intertwined with man and woman.
    Jess (Collins)
    Share a Party Line?, n.d.
    pasteup
    10 3/4 x 8 1/2 in
    27.3 x 21.6 cm
  • Gif of rectangular piece with multiple multi-colored LEDs behind Plexiglass that displays a blurred scene of protesters from the Women’s March in twenty seventeen
    Jim Campbell
    Edition 27 (Women’s March), 2018
    custom electronics, 384 LEDs, treated plexiglas
    15 1/2 x 22 3/4 x 2 7/8 in
    39.4 x 57.8 x 7.3 cm
  • Judith Belzer, Untitled, 2025
    Judith Belzer
    Untitled, 2025
    gouache and pencil on paper
    19 x 24 in
    48.3 x 61 cm
  • Front view of a multicolored, brightly colored abstract painting.
    Jutta Haeckel
    Haze, 2022
    acrylic on jute
    39 3/8 x 31 1/2 in
    100 x 80 cm
  • Print with white border of sand with sphere, circle cut into sand, and cut circle matching print.
    Liliana Porter
    Untitled (with circle), 1975
    photo etching and collage on paper
    plate 8 3/4 x 11 3/4 inches/22.2 x 29.8 cm
    sheet 26 x 23 1/2 inches/66 x 59.7 cm
  • Black paint on oval canvas with smooth matte effect At the top of the painting there is evidence of brush stroke and the left-center most of the work fades to a beige
    Max Gimblett
    Pool, 1991-92
    acrylic polymer and silica on canvas
    20 x 12 inches/50.8 x 30.5 cm
  • Still from video; a girl in a pink dress stands in a sand flat, watching bubbles blossom from three white, alien plants.
    Patricia Piccinini
    We Travel Together, 2021
    single channel HD video with audio
    Duration: 10 minutes
  • Rina Banerjee, Standing trial by man and the family of Man denied she wore the hardest but turtle shells on her mossy back heels dug on hers alone a golden island with foaming waters at edge, exhausted by humanity his fears of others, mothers, girls and boys that could , 2019
    Rina Banerjee
    Standing trial by man and the family of Man denied she wore the hardest but turtle shells on her mossy back heels dug on hers alone a golden island with foaming waters at edge, exhausted by humanity his fears of others, mothers, girls and boys that could , 2019
    acrylic and gold leaf on wood panel
    20 x 16 in
    50.8 x 40.6 cm
  • Tim Hawkinson, Mary-Louise Reading My Cup (Woodpecker), 2021
    Tim Hawkinson
    Mary-Louise Reading My Cup (Woodpecker), 2021
    oil on panel
    10 1/2 x 7 5/8 in
    26.7 x 19.4 cm
  • William T. Wiley, We Eat the Berries and Blush after Bruegel (Sort Of), 1994
    William T. Wiley
    We Eat the Berries and Blush after Bruegel (Sort Of), 1994
    acrylic, charcoal and graphite on canvas
    35 x 27 1/2 in
    88.9 x 69.8 cm
    stretched 39 x 31 in
  • Dark blue turquoise and red paint layered to create multiple wavy and circular moiré effects
    Anoka Faruqee
    2012P-17, 2012
    acrylic on linen on panel
    11.25 x 10.25 inches
  • Multi-colored paint layered to create pink blue and orange circular moiré effects
    Anoka Faruqee & David Driscoll
    2017P-30, 2017
    acrylic on linen on panel
    33 3/4 x 33 3/4 in
    85.7 x 85.7 cm
  • Four plastic chairs surround small round white table against a black background.
    Ben McLaughlin
    Recognizing The Planets, 2017
    oil on panel
    7 3/4 x 12 in
    19.7 x 30.5 cm
  • Birgit Jensen, CANNA, 2022
    Birgit Jensen
    CANNA, 2022
    acrylic on canvas
    27 1/2 x 24 1/8 in
    70 x 61 cm
  • A sepia-toned multimedia collage featuring a white half-circle shell as the focal point.
    Bruce Conner
    BIRTH OF VENUS, 1959
    paper, gold foil, metal tacks, shell, beads, fabric, thread, hair, twine, cherry pit, cigarette butt, glass, metal, plastic, fabric and nylon stocking on Masonite
    12 x 9 1/2 in
    30.5 x 24.1 cm
  • Still life of lit candle to the left of jar of preserved asparagus with green lid.
    Cornelius Völker
    Kerze mit Spargel (Candle with Asparagus), 2021
    oil on canvas
    29 1/2 x 19 3/4 in
    75 x 50 cm
  • Abstract chalk drawing of white diamond wire fence with several white handprints scattered across black canvas
    Driss Ouadahi
    Oppressed Blessing (3), 2016
    chalk pastel and fixative on paper
    15 3/4 x 39 3/8 in
    40 x 100 cm
  • Faceless woman in white nightgown hugs herself while seated on a brown bench in front of a white background.
    Gideon Rubin
    Untitled, 2018
    oil on linen
    35 3/8 x 31 1/2 in
    90 x 80 cm
  • Harry Bertoia, Untitled, 1960s
    Harry Bertoia
    Untitled, 1960s
    melt-pressed, welded and patinated bronze
    2 1/2 x 2 x 2 1/2 in
    6.3 x 5.1 x 6.3 cm
  • Six round phasmid insect egg cases in different shapes and color on black background.
    Isabella Kirkland
    Phasmid Eggs II, 2021
    oil on panel
    12 x 12 in
    30.5 x 30.5 cm
  • Mixed media work depicts a still life of a bouquet of pink flowers made with parallel, cross hatched lines The bottom edge is lined with pink fringe
    Jean Conner
    PAINTING WITH FRINGE, 1964
    mixed media collage
    16 3/8 x 11 inches
    41.6 x 27.9 cm
  • A vintage lamp made of found materials, featuring a canine statuette, pull chain, and flower bud-like bulb
    Jess (Collins)
    Assembly Lamp Seven, 1963
    mixed media assemblage
    29 x 18 x 18 in
    73.7 x 45.7 x 45.7 cm
  • Large light box depicting multiple high resolution layers of people at the twenty seventeen Women’s March in Washington DC
    Jim Campbell
    Women's March on Washington 3, 2017
    color photographic transparency mounted in lightbox
    32 x 48 x 5 in
    81.3 x 121.9 x 12.7 cm
  • Judith Belzer, Edgelands #27, 2013
    Judith Belzer
    Edgelands #27, 2013
    oil on canvas
    42 x 80 in
    106.7 x 203.2 cm
  • Several layers of multi-colored acrylic paint overlap to display several patterns against a dark faded maroon painted panel The symbols depict various geometric and vegetal motifs along with elements from the artist’s own Asian American upbringing in the primarily white suburb of Orange County California
    Julie W. Chang
    Pony Argyle Sun Discs, 2011
    acrylic on panel
    28 x 22 x 3 inches
  • Front view of a multicolored abstract painting.
    Jutta Haeckel
    Contemplation IV, 2022
    acrylic on jute
    59 1/8 x 47 1/4 in
    150 x 120 cm
  • Digital photograph of an installation piece in which a light blue pile of sheer fabric has been piled and placed onto a white painted shelf. Towards the left of the shelf, a tiny human figurine dressed in gray sits on the ledge and is knitting. A single strand from the large light blue pile is connected to the figure leaving us to assume that the figurine has create the blue sheer fabric pile
    Liliana Porter
    Tejedora (Gris) / Weaver (Grey), 2018
    figurine, fabric and painted wooden shelf
    7 x 43 1/2 x 11 inches/17.8 x 110.5 x 27.9 cm
  • A thick platinum brush stroke creates a cursive-like line across a quatrefoil shaped canvas In the background are four drippy sections of blue and pink which alternate within the quatrefoil shape
    Max Gimblett
    Secret, 2020
    gesso, acrylic, resin, size and platinum leaf on canvas
    15 x 15 x 2 in
    38.1 x 38.1 x 5.1 cm
  • A cushion-like blown-glass sculpture, top two-thirds translucent blue, bottom one-third opaque blue.
    Patricia Piccinini
    Cobalt Message, 2022
    hand blown glass
    8 x 12 3/8 x 12 1/4 in
    20.2 x 31.5 x 31.2 cm
  • Rina Banerjee, I am not afraid of you said the Elephant to the Rodent, 2022
    Rina Banerjee
    I am not afraid of you said the Elephant to the Rodent, 2022
    acrylic and ink on paper
    15 x 12 in
    38.1 x 30.5 cm
  • Horizontal and vertical straight black ink lines form a mirrored geometric pattern. At the center of the pattern is a circle which is then surrounded by various curves and ridges. Throughout the piece lines get closer to create optical illusions of depth and recession into space
    Tim Hawkinson
    Olabli, 2020
    India ink on Yupo paper
    60 x 60 inches/152.4 x 152.4 cm
  • Multi-colored paint layered to create multiple wavy moiré effects
    Anoka Faruqee
    2012P-16, 2012
    acrylic on linen on panel
    11.25 x 10.25 inches
  • Multi-colored paint layered to create multi-hued blue circular moiré effects
    Anoka Faruqee & David Driscoll
    2017P-24, 2017
    acrylic on linen on panel
    22 1/2 x 22 1/2 in
    57.1 x 57.1 cm
  • Bernard Lokai, Landscape Block O, 2020
    Bernard Lokai
    Landscape Block O, 2020
    oil and acrylic on canvas (18)
    51 1/8 x 135 7/8 in
    130 x 345 cm
  • Birgit Jensen, FOG IX, 2022
    Birgit Jensen
    FOG IX, 2022
    acrylic on linen
    66 7/8 x 55 1/8 in
    170 x 140 cm
  • Black ink on paper which was folded in half creates a large mirrored abstract organic form
    Bruce Conner
    INKBLOT DRAWING OCTOBER, 1991, 1991
    ink on paper
    22 1/2 x 30 3/8 in
    57.1 x 77.2 cm
  • Intimate digital photograph of the silhouette river reflections of two wolves bending down to drinking water on top of two gray rocks
    Christian Houge
    Untitled 6 (Shadow Within), Norway, 2010
    ink on Canson Baryta paper
    30 x 63 in
    76.2 x 160 cm
  • Three dark green leaves attached to a single red stem cast shadows onto the white surface they rest on.
    Cornelius Völker
    Blatt (Leaf), 2021
    oil on paper
    15 3/4 x 21 5/8 in
    40 x 55 cm
  • Abstract mixed media piece in which several variously sized chrysanthemums and shiny droplets made out of multiple tiny gold dots cascade down from the top center of the piece to the bottom
    Crystal Liu
    the flowers, 'downpour', 2014
    ink, gouache and watercolor on paper
    39 3/4 x 26 inches/101 x 66 cm
  • Green and blue Urban landscape with several grayscale highrise buildings and streets Two large blue an purple grids of alternating thin and thick horizontal and vertical lines form the illusion of foreground scaffolding
    Driss Ouadahi
    Pierre liquide, V, 2013
    graphite pigment and oil on canvas
    23 5/8 x 19 3/4 in
    60 x 50 cm
  • Gray horizontal faded ink stains with two seperate clusters of overlapping dark ink trails at the bottom
    Emil Lukas
    lost photograph #83 circa 1915 #1983, 2020
    hand-ground Sumi on glass over paper and graphite in painted wood frame
    12 x 15 x 2 in
    30.5 x 38.1 x 5.1 cm
  • Girl with blonde hair in low ponytail wearing red shirt faces away from the viewer, hunched over, in front of blue background. Her lower body is cropped out of the composition.
    Gideon Rubin
    Red Shirt, 2020
    oil on board
    16 x 12 1/8 in
    40.5 x 30.5 cm
  • Harry Bertoia, Untitled, 1960s
    Harry Bertoia
    Untitled, 1960s
    melt-pressed bronze
    2 x 2 1/2 x 1 3/4 in
    5.1 x 6.3 x 4.4 cm
  • Highly detailed and realistic oil still life on panel depicts a variety of native species to the United States and parts of Central America which are now endangered or believed to be extinct. Some of these species include Oak acorns the hawksbill sea turtle and western lily
    Isabella Kirkland
    Descendant, 1999
    oil on panel
    48 x 36 in
    121.9 x 91.4 cm
  • Paper collage of various cut outs from nineteen eighties magazines creates a surreal scene of a brown and white dog running in front of a young cow which is running in front of two Native Americans in traditional clothing whom are also running In the center of the scene is a large yellow rose The entire image of the running figures is framed by a vibrant yellow background
    Jean Conner
    ROSE OF SAN ANTONIO, 1980
    paper collage
    19 7/8 x 16 in
    50.5 x 40.6 cm
  • Jim Campbell, Data Transformation 1, 2017
    Jim Campbell
    Data Transformation 1, 2017
    custom electronics, 1,069 LEDs, treated Plexiglas
    33 x 65 1/2 x 2 1/2 inches/83.8 x 166.4 x 6.3 cm
  • Judith Belzer, All That Is Solid #33, 2022
    Judith Belzer
    All That Is Solid #33, 2022
    oil on canvas
    30 x 30 in
    76.2 x 76.2 cm
  • Several layers of multi-colored acrylic paint overlap to display multiple patterns against a light yellow painted panel The symbols depict vegetal and central asian suzani motifs with luxury brand icons
    Julie W. Chang
    Racquet Link Double Suzani, 2011
    acrylic on panel
    28 x 22 x 3 inches
  • A multicolored abstract painting with fingerprint-like line work.
    Jutta Haeckel
    Contemplation II, 2022
    acrylic on jute
    59 1/8 x 47 1/4 in
    150 x 120 cm
  • Dark grainy etching depicting a cube that casts a dramatic shadow to its left. The contours of a podium have been drawn in pencil over the etching creating the illusion that the cube is resting on top of the podium
    Liliana Porter
    Untitled (with cube - low), 1974
    photo etching and pencil on paper
    plate 9 x 11 3/4 inches/22.9 x 29.8 cm
    sheet 31 x 24 inches/78.7 x 61 cm
  • Gold leaf background with thick black brushstroke in the shape of vertical rectangle that is not completed.
    Max Gimblett
    The Doorway to Heaven, 2020-21
    acrylic and 23.75kt Rosanoble gold leaf on burlap
    30 x 22 in
    76.2 x 55.9 cm
  • Sculpture of seal-like hybrid creature with blonde hair, eyelashes and human skin. Creature’s hands and feet appear to be like that of a human baby, except that feet are conjoined like a dolphin’s tail. Creature’s face is like that of a giraffe.
    Patricia Piccinini
    The Naturalist, 2017
    silicone, fiberglass, hair
    10 1/4 x 13 3/8 x 10 5/8 in
    26 x 34 x 27 cm
  • Rina Banerjee, Relocation? is this a dislocation? An undercover twisted formation? migration trapped in geography and distress of growing garbage of plastic bags in the sea, she in sea to shining sea, America reminded her, her of her or he as she not to be confused by a, 2019
    Rina Banerjee
    Relocation? is this a dislocation? An undercover twisted formation? migration trapped in geography and distress of growing garbage of plastic bags in the sea, she in sea to shining sea, America reminded her, her of her or he as she not to be confused by a, 2019
    acrylic and copper leaf on paper
    30 x 22 in
    76.2 x 55.9 cm
  • Tim Hawkinson, Loboli, 2020
    Tim Hawkinson
    Loboli, 2020
    India ink on Yupo paper
    84 x 56 inches/213.4 x 142.2 cm
  • Red yellow and navy paint layered to create multiple wavy and circle moiré effects
    Anoka Faruqee
    2012P-15, 2012
    acrylic on linen on panel
    11.25 x 10.25 inches
  • Multi-colored paint layered to create red copper and gray circular moiré effects
    Anoka Faruqee & David Driscoll
    2018P-21, 2018
    acrylic on linen on panel
    45 x 45 in
    114.3 x 114.3 cm
  • A lone chair sits in a classroom in front of a chalkboard displaying a simple graph in chalk of a line curved upward.
    Ben McLaughlin
    The Eagle and the Dolphin, 2017
    oil on panel
    12 x 8 inches/30.5 x 20.3 cm
  • Birgit Jensen, FOG VIII, 2022
    Birgit Jensen
    FOG VIII, 2022
    acrylic on linen
    66 7/8 x 55 1/8 in
    170 x 140 cm
  • Print from an original collage of black and white photos creates the image of a uniformed military member whose head has been replaced with the cloud of a large nuclear explosion In the background is a sky full of clouds
    Bruce Conner
    BOMBHEAD, 2002/1989
    pigment and acrylic on paper
    a printer's proof aside from the edition of 20
    38 3/8 x 31 1/8 in
    97.5 x 79.1 cm
  • Intimate black and white digital photograph of two wolves snarling in mid fight while looking at the viewer
    Christian Houge
    Untitled 17 (Shadow Within), Norway, 2010
    ink on Canson Baryta paper
    47 x 33 in
    119.4 x 83.8 cm
  • Cornelius Völker, Raspberries, 2018
    Cornelius Völker
    Raspberries, 2018
    oil canvas
    31 1/2 x 47 1/4 inches
    80 x 120 cms
  • Mixed media landscape of multiple black and white marbled mountain tops. A gigantic gold metallic moon peeks out from behind the mountains while silver and gold pointillism clouds blotch out parts of the moon and mountain
    Crystal Liu
    the moon and the tides, ''wash over me', 2017
    watercolor, gouache, and collage on paper
    48 x 48 inches/121.9 x 121.9 cm
  • Dirty white and blue tiled hallway with dark floor ceiling and stairs
    Driss Ouadahi
    Random tiles, 2016
    oil on canvas
    70 7/8 x 86 5/8 in
    180 x 220 cm
  • Bubble wrap indents cast into plaster and painted in various vibrant colors
    Emil Lukas
    on soft event #1448, 2015
    paint on plaster over wood panel
    52 x 64 x 3 inches/132.1 x 162.6 x 7.6 cm
  • Woman grabs the ends of her white dress while walking away from the viewer towards blue and beige background. Her upper body is cropped out of the composition.
    Gideon Rubin
    Untitled, 2019
    oil on linen
    12 1/8 x 9 7/8 in
    30.5 x 25 cm
  • Harry Bertoia, Untitled, 1950s
    Harry Bertoia
    Untitled, 1950s
    ink on Japanese paper
    13 x 24 in
    33 x 61 cm
  • Several varieties of butterfly species in shallow cardboard box. Some are blue, light blue and black, and black and tan. they're arranged in vertical columns.
    Isabella Kirkland
    Junonia sp., 2019
    oil on wood panel
    16 x 20 in
    40.6 x 50.8 cm
  • Still image of a spread out grid of twelve square pieces with multi-colored LEDs behind Plexiglass. The LEDs display pixelated scenes of protestors from the twenty seventeen Women’s March in Washington DC
    Jim Campbell
    Scattered 12x (Women's March on Washington), 2017
    custom electronics, 432 LEDs, treated Plexiglas
    47 x 64 x 3 in
    119.4 x 162.6 x 7.6 cm
  • An image of painted boulders and rocks with an orange yellow background.
    Judith Belzer
    All That is Solid #6, 2019
    oil on canvas
    80 x 98 in
    203.2 x 248.9 cm
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