Untitled
Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Information Request

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)
Robert Barry has created a work in eight parts. Each element has a defined orientation. As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.
Selected Works
Untitled
Etched blue glass mirror in two parts
Square: 36 x 36 inches (91.4 x 91.4 cm)
Circle: 36″ diameter (91.4 cm)
Signed and dated on accompanied certificate
(Inventory #28089)

Information Request

Etched blue glass mirror in two parts
Square: 36 x 36 inches (91.4 x 91.4 cm)
Circle: 36″ diameter (91.4 cm)
Signed and dated on accompanied certificate
(Inventory #28089)

Etched blue glass mirror in two parts
Square: 36 x 36 inches (91.4 x 91.4 cm)
Circle: 36″ diameter (91.4 cm)
Signed and dated on accompanied certificate
(Inventory #28089)

Etched blue glass mirror in two parts
Square: 36 x 36 inches (91.4 x 91.4 cm)
Circle: 36″ diameter (91.4 cm)
Signed and dated on accompanied certificate
(Inventory #28089)

Etched blue glass mirror in two parts
Square: 36 x 36 inches (91.4 x 91.4 cm)
Circle: 36″ diameter (91.4 cm)
Signed and dated on accompanied certificate
(Inventory #28089)
Untitled
48 x 48 inches (121.9 x 121.9 cm)
Signed and dated on accompanied certificate
(Inventory #28164)

Information Request

48 x 48 inches (121.9 x 121.9 cm)
Signed and dated on accompanied certificate
(Inventory #28164)

48 x 48 inches (121.9 x 121.9 cm)
Signed and dated on accompanied certificate
(Inventory #28164)

48 x 48 inches (121.9 x 121.9 cm)
Signed and dated on accompanied certificate
(Inventory #28164)

48 x 48 inches (121.9 x 121.9 cm)
Signed and dated on accompanied certificate
(Inventory #28164)

48 x 48 inches (121.9 x 121.9 cm)
Signed and dated on accompanied certificate
(Inventory #28164)
Red Cross (Painting)
70 x 70 inches (177.8 x 177.8 cm)
(Inventory #26675)

Information Request

70 x 70 inches (177.8 x 177.8 cm)
(Inventory #26675)

70 x 70 inches (177.8 x 177.8 cm)
(Inventory #26675)

70 x 70 inches (177.8 x 177.8 cm)
(Inventory #26675)
Untitled
Image/paper size: 36 x 36 inches (91.4 x 91.4 cm)
Frame size: 40 1/4 x 40 1/4 inches (102.2 x 102.2 cm)
Signed and dated on reverse
(Inventory #29647)

Information Request


Image/paper size: 36 x 36 inches (91.4 x 91.4 cm)
Frame size: 40 1/4 x 40 1/4 inches (102.2 x 102.2 cm)
Signed and dated on reverse
(Inventory #29647)
Untitled
Image/paper size: 41 1/8 x 26 1/8 inches (104.5 x 66.4 cm)
Signed and dated on reverse
(Inventory #29661)

Information Request


Image/paper size: 41 1/8 x 26 1/8 inches (104.5 x 66.4 cm)
Signed and dated on reverse
(Inventory #29661)
Untitled
Image/paper size: 30 1/4 x 30 1/4 inches (76.8 x 76.8 cm)
Signed and dated on reverse
(Inventory #29659)

Information Request


Image/paper size: 30 1/4 x 30 1/4 inches (76.8 x 76.8 cm)
Signed and dated on reverse
(Inventory #29659)
Untitled
Signed ‘R.Barry’ and dated on reverse
Image/paper size: 40 x 26 1/2 inches (101.6 x 67.3 cm)
(Inventory #26262)

Information Request


Signed ‘R.Barry’ and dated on reverse
Image/paper size: 40 x 26 1/2 inches (101.6 x 67.3 cm)
(Inventory #26262)
Untitled
Signed ‘R.Barry’ and dated on reverse
Image/paper size: 40 x 26 1/4 inches (101.6 x 66.7 cm)
(Inventory #26263)

Information Request


Signed ‘R.Barry’ and dated on reverse
Image/paper size: 40 x 26 1/4 inches (101.6 x 66.7 cm)
(Inventory #26263)
Untitled
12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

Information Request

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019

12 x 12 x 1 inches each (30.5 x 30.5 x 2.5 cm each)
Installation arrangement and installation dimensions are variable
Edition of 15
Signed and numbered on accompanying certificate
(Inventory #30391)
Exhibited September 21, 2019 – November 2, 2019
INCOMPLETE…
Signed ‘RB’ and dated on reverse
Image/paper size: 30 1/8 x 22 1/8 inches (76.5 x 56.2 cm)
(Inventory #26261)

Information Request


Signed ‘RB’ and dated on reverse
Image/paper size: 30 1/8 x 22 1/8 inches (76.5 x 56.2 cm)
(Inventory #26261)
INCOMPLETE…
Image/paper size: 22 1/2 x 29 15/16 inches (57.2 x 76 cm)
Signed and dated on reverse
(Inventory #29660)

Information Request


Image/paper size: 22 1/2 x 29 15/16 inches (57.2 x 76 cm)
Signed and dated on reverse
(Inventory #29660)
Untitled
Signed ‘R.Barry’ and dated on reverse
Image/paper size: 30 1/8 x 22 1/8 inches (76.5 x 56.2 cm)
(Inventory #26260)

Information Request


Signed ‘R.Barry’ and dated on reverse
Image/paper size: 30 1/8 x 22 1/8 inches (76.5 x 56.2 cm)
(Inventory #26260)
Turquoise Mirrorpiece
Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Information Request

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

Edition of 15
30 x 30 inches (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.
Blue Mirrorpiece
30 x 30 inches (76.2 x 76.2 cm)
Edition of 10
Signed and numbered on label on reverse
(Inventory #28963)

Information Request


30 x 30 inches (76.2 x 76.2 cm)
Edition of 10
Signed and numbered on label on reverse
(Inventory #28963)
Untitled
Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)

Information Request

Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)

Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)

Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)

Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)

Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)

Installation dimensions are variable: either 18 x 54 inches (45.7 x 137.2 cm) or 18 x 63 inches (45.7 x 160 cm)
each panel: 18 x 18 inches (45.7 x 45.7 cm) (spacing between panels is either 18 inches [45.7 cm] or 27 inches [68.6 cm]
Edition of 10
Signed and numbered on accompanying certificate
(Inventory #30009)
Untitled
60 1/4 x 60 1/4 inches (153 x 153 cm)
(Inventory #27391)

Information Request


60 1/4 x 60 1/4 inches (153 x 153 cm)
(Inventory #27391)
INCOMPLETE…
Signed and dated ‘RB ’14’ on verso
Image/paper size: 11 x 8 1/2 inches (27.9 x 21.6 cm)
(Inventory #25925)

Information Request


Signed and dated ‘RB ’14’ on verso
Image/paper size: 11 x 8 1/2 inches (27.9 x 21.6 cm)
(Inventory #25925)
THIS IS…
Image/paper size: 26 3/4 x 19 5/8 inches each (68 x 50 cm each)
Overall size: 26 3/4 x 78 3/4 inches (68 x 200 cm)
Edition of 20
Signed and numbered
(Inventory #29502)

Information Request


Image/paper size: 26 3/4 x 19 5/8 inches each (68 x 50 cm each)
Overall size: 26 3/4 x 78 3/4 inches (68 x 200 cm)
Edition of 20
Signed and numbered
(Inventory #29502)
SOMETHING THAT IS NOT LIKE ANYTHING ELSE…
Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Information Request

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)

Image/paper size: 11 5/8 x 8 1/4inches each (29.7 x 21 cm each)
Edition of 40
Signed and numbered on colophon
(Inventory #25579)
Untitled
Edition of 12
Signed and numbered
25 1/2 x 35 3/8 inches
(65 x 90 cm)
(Inventory #25580)

Information Request


Edition of 12
Signed and numbered
25 1/2 x 35 3/8 inches
(65 x 90 cm)
(Inventory #25580)
Untitled
Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Information Request

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here

Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here
Exhibition Views

Information Request

