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Emily’s Sassy Lime, Olympia, WA, ca. 1995.
Sarah Meyohas, Cloud of Petals, 2017, 16 mm transferred to 4K video, color, sound, 31 minutes 22 seconds.
Lin Onus, Taking the children away, 1992, fiberglass, pigment. Installation view. Photo: Christian Capurro.
Gordon Bennett, Big Romantic Painting (Apotheosis of Captain Cook), 1993, synthetic polymer paint on canvas, 5' 11 5⁄8" × 13' 1 3⁄4".
View of “Ed Atkins,” 2025, Tate Britain, London. Background and foreground: Masses, 2018. Center: Good Man, 2017.
View of “Jack Whitten: The Messenger,” 2025, Museum of Modern Art, New York. Photo: Jonathan Dorado. © Jack Whitten.
View of “Veronica Ryan: Unruly Objects,” 2025, Pulitzer Arts Foundation, Saint Louis. Two orange shelving units hold assorted sculptures, a crumpled blue fabric-like object rests on the floor, and large windows overlook water and greenery.
A black-winged bull sculpture stands on the left; a gray structure with doors, neon green signage, and workstations inside sits to the right. View of “Wafaa Bilal: Indulge Me,” 2025, Museum of Contemporary Art Chicago. From left: Lamassu (In a Grain of Wheat), 2025; In a Grain of Wheat: Cultivating Hybrid Futures in Ancient Seed DNA, 2021; Virtual Jihadi, 2008.
A lobby space with white industrial beams, an orange sign reading "The Michael Asher Lobby," and a wall displaying "Michael Heizer Geometric Extraction."
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