One Wall, One Work Archive
Selections from Truisms
Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.
Information Request

Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.

Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.

Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.

Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.

Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.

Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.
Edition of 4
6 1/2 x 57 3/4 x 2 inches (16.5 x 146.7 x 5.1 cm)
Signed on affixed label on reverse
(Inventory #32051)
Jenny Holzer wrote “Truisms” to resemble existing truisms, maxims, and clichés. Each “Truism” distills difficult and contentious ideas into a seemingly straightforward fact. The terseness and resolve of the language invites easy agreement, but this feeling is complicated by the contradictions apparent when the various statements are read together. Privileging no single viewpoint, taken together, the “Truisms” examine the social construction of beliefs, mores, and truths. “There’d be left-wing ones, there’d be right-wing ones, there would be loony ones, there’d be heartland ones,” Holzer explained of the variety of phrases. Holzer hoped they would focus people’s awareness of the ‘usual baloney they are fed.’ “Truisms” confirms that how we read a phrase has everything to do with where it appears. The “Truisms” first were shown on anonymous street posters that were wheat pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. Krakow Witkin Gallery presents the 1984 LED, “Truisms” (one from the edition of four is also in the Tate Modern’s collection).
Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with her New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.
Between You, Me, and the Sea
Edition of 10
Runtime: 48 minutes
Signed and numbered on accompanying certificate
(Inventory #31028)
This is an abbreviated version of the film. Please inquire to view entire film.
BETWEEN YOU, ME, AND THE SEA – “Between You, Me, and the Sea” is the artist’s third and longest video at 45 minutes. It is an animation about geography, landscape, art, and language depicted through drawing, color, and sound. One by one the animated abbreviations of the fifty states of the United States emerge out of a matrix of vertical, horizontal, diagonal, and curved lines whose shapes are filled in with bright colors. The sequence of creation of the states is determined by its alphabetical architecture, its typography, not history. The states ‘join the union’/take their place on the list based upon the geometry of the lines in their abbreviated names: slanted as in WV, vertical and horizontal as in FL, diagonal as in KY, and circular as in CO. Art, as expressed by the alphabet, meets Manifest Destiny. The continuous chugging sound of a train moving at full speed provides the audio, reinforcing the continuous movement of the animation.
Edition of 10
Runtime: 48 minutes
Signed and numbered on accompanying certificate
(Inventory #31028)
This is an abbreviated version of the film. Please inquire to view entire film.
BETWEEN YOU, ME, AND THE SEA – “Between You, Me, and the Sea” is the artist’s third and longest video at 45 minutes. It is an animation about geography, landscape, art, and language depicted through drawing, color, and sound. One by one the animated abbreviations of the fifty states of the United States emerge out of a matrix of vertical, horizontal, diagonal, and curved lines whose shapes are filled in with bright colors. The sequence of creation of the states is determined by its alphabetical architecture, its typography, not history. The states ‘join the union’/take their place on the list based upon the geometry of the lines in their abbreviated names: slanted as in WV, vertical and horizontal as in FL, diagonal as in KY, and circular as in CO. Art, as expressed by the alphabet, meets Manifest Destiny. The continuous chugging sound of a train moving at full speed provides the audio, reinforcing the continuous movement of the animation.
The Shapes Project: Shapes to Paint
We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.
Information Request

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.

We are happy to report that all “Shapes to Paint” have sold. We are thrilled with such a positive response and thank you for supporting such a great cause !
For a $250 donation to Boston’s Artists for Humanity, you can purchase one of McCollum’s “Shapes to Paint”. Each “Shape” comes with a label card and unique identification number. They are purposefully left unpainted so that the owner can paint it how they see fit.
The artist originally made them as a benefit for Artists For Humanity at the time of his 2012 exhibition at Krakow Witkin Gallery which can be viewed here. Allan McCollum: The Shapes Project: Perfect Couples
To help understand where these works comes from, it may be useful to know that McCollum has designed a system to produce unique “shapes.” This system allows him to make enough unique shapes for every person on the planet to have one of their own. It also allows him to keep track of the shapes, so as to insure that no two will ever be alike. Previous parts of the project have been monoprints, embroideries and rubber stamps.
McCollum’s reasoning for the quantity of shapes comes from following the present rate of birth. It is generally estimated that the world population will “peak” sometime during the middle of the present century, and then possibly begin to decline. How many people will be alive at this peak are estimated at between 8 billion and 20 billion people, depending upon what factors are considered and who is doing the considering. The most recent estimate published by the United Nations puts the figure at around 9.1 billion in the year 2050. To make certain that his system will be able to accommodate everyone, McCollum has organized it to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. For the time being, a potential of around 214,000,000 shapes have been reserved within the system for creative experimentation. These can be used for many different purposes, not only for fine art and design projects, but also for various social practices: as gifts, awards, identity markers, emblems, insignias, logos, toys, souvenirs, educational tools, and so forth.
McCollum is presently using a home computer to construct Adobe Illustrator ‘vector’ files that allow the shapes to be produced in many possible ways. The shapes can be printed graphically as silhouettes or outlines, in any size, color or texture, using all varieties of graphics software; or, the files can be used by rapid prototyping machines and computer-numerically-controlled (CNC) equipment such as routers, laser and waterjet cutters to build, carve, or cut the shapes from wood, plastic, metal, stone, and other materials. For the “Shapes to Paint”, all the shapes were cut by hand on a scroll saw by Horace and Noella Varnum, founders of Artasia, in Sedgwick, Maine.
To see which “Shapes” are available, click on “view additional images” and scroll through the available “Shapes to Paint”.
Wood Chunk on Pieter Bruegel the Elder Book
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
Read more about this work here
Information Request

Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
Read more about this work here

Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
Read more about this work here

Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
Read more about this work here
OR
65 x 65 x 1.5 inches (165.1 x 165.1 x 3.8 cm)
Signed on accompanying certificate
(Inventory #30803)
Exhibited November 9, 2019 – December 21, 2019
Information Request

65 x 65 x 1.5 inches (165.1 x 165.1 x 3.8 cm)
Signed on accompanying certificate
(Inventory #30803)
Exhibited November 9, 2019 – December 21, 2019

65 x 65 x 1.5 inches (165.1 x 165.1 x 3.8 cm)
Signed on accompanying certificate
(Inventory #30803)
Exhibited November 9, 2019 – December 21, 2019
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
array I
Each of 2 shelves: 1 1/4 x 104 3/4 x 1 1/8 inches (3.2 x 266.1 x 2.9 cm)
Each of 99 cubes: 7/8 x 7/8 x 7/8 inches (2.2 x 2.2 x 2.2 cm)
Vinyl: 8 x 30 inches (20.3 x 76.2 cm)
Top shelf at: 59 inches (149.9 cm)
Bottom shelf at: 56 inches (142.2 cm)
Signed and dated on reverse of top shelf in graphite
(Inventory #30241)
Exhibited June 22, 2019 – July 26, 2019

Each of 2 shelves: 1 1/4 x 104 3/4 x 1 1/8 inches (3.2 x 266.1 x 2.9 cm)
Each of 99 cubes: 7/8 x 7/8 x 7/8 inches (2.2 x 2.2 x 2.2 cm)
Vinyl: 8 x 30 inches (20.3 x 76.2 cm)
Top shelf at: 59 inches (149.9 cm)
Bottom shelf at: 56 inches (142.2 cm)
Signed and dated on reverse of top shelf in graphite
(Inventory #30241)
Exhibited June 22, 2019 – July 26, 2019
Wall Drawing #815
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Information Request

First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019

First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019

First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019

First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019

First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Various Strata
Dimensions variable
This installation size: 78 x 78 inches (198.1 x 198.1 cm)
Signed on accompanying certificate
(Inventory #24255)
Exhibited February 16, 2019 – March 23, 2019

Dimensions variable
This installation size: 78 x 78 inches (198.1 x 198.1 cm)
Signed on accompanying certificate
(Inventory #24255)
Exhibited February 16, 2019 – March 23, 2019
The Flood from Triumphs and Laments
and six pieces of Somerset Soft White paper adhered by 30 aluminum pins
Overall size: 71 1/4 x 84 inches (181 x 213.4 cm)
Edition of 12
Signed and numbered on accompanying certificate
(Inventory #29857)
Exhibited January 5 – February 9, 2019

and six pieces of Somerset Soft White paper adhered by 30 aluminum pins
Overall size: 71 1/4 x 84 inches (181 x 213.4 cm)
Edition of 12
Signed and numbered on accompanying certificate
(Inventory #29857)
Exhibited January 5 – February 9, 2019
Queen of Spades
Image sizes vary for each
Paper size: 32 x 24 1/2 inches each (81.3 x 62.2 cm each)
Frame size: 34 3/4 x 27 3/8 inches each (88.3 x 69.5 cm each)
Edition of 18
Signed and dated lower right, numbered lower left and titled lower center in graphite on each sheet
(Inventory #30230)
Exhibited November 17, 2018 – December 22, 2018

Image sizes vary for each
Paper size: 32 x 24 1/2 inches each (81.3 x 62.2 cm each)
Frame size: 34 3/4 x 27 3/8 inches each (88.3 x 69.5 cm each)
Edition of 18
Signed and dated lower right, numbered lower left and titled lower center in graphite on each sheet
(Inventory #30230)
Exhibited November 17, 2018 – December 22, 2018
Consider listening
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30032)
Exhibited June 23 – August 3, 2018
Antwaun Sargent describes Sam Durant’s work this way: “When highly charged language is isolated and removed from its original context, does it have the same meaning? … [Sam Durant has] appropriated protest signs [and] colorfully reimagined [them as] light boxes … the artist isolates the language of protest as a way to expand its punch, while simultaneously highlighting that there are a range of issues on which the public and art can speak truth to power… To create the signs, Durant searched image archives of protest signs from around the world. He then transferred the handwritten vernacular statements onto colorful monochrome light boxes, typically used for commercial advertisement… Looking at the sign, one is reminded of how, over the course of the Black Lives Matter movement’s existence, the chant’s language has evolved to become more explicit…The statements may be decontextualized, mounted as they are on white walls in a gallery, but Durant brings together many voices seeking justice and equality. By exhibiting the anger, collective yearning, and optimism of the people, they are being heard clearly, even in a gallery.”

11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30032)
Exhibited June 23 – August 3, 2018
Antwaun Sargent describes Sam Durant’s work this way: “When highly charged language is isolated and removed from its original context, does it have the same meaning? … [Sam Durant has] appropriated protest signs [and] colorfully reimagined [them as] light boxes … the artist isolates the language of protest as a way to expand its punch, while simultaneously highlighting that there are a range of issues on which the public and art can speak truth to power… To create the signs, Durant searched image archives of protest signs from around the world. He then transferred the handwritten vernacular statements onto colorful monochrome light boxes, typically used for commercial advertisement… Looking at the sign, one is reminded of how, over the course of the Black Lives Matter movement’s existence, the chant’s language has evolved to become more explicit…The statements may be decontextualized, mounted as they are on white walls in a gallery, but Durant brings together many voices seeking justice and equality. By exhibiting the anger, collective yearning, and optimism of the people, they are being heard clearly, even in a gallery.”
Everyone deserves a dream!
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29769)
Exhibited May 12, 2018 – June 23, 2018

11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29769)
Exhibited May 12, 2018 – June 23, 2018
DUH!
on hand-dyed Twinrocker handmade paper
Image/paper size: 22 x 57 1/2 inches (55.9 x 146.1 cm)
Frame size: 26 3/8 x 61 3/4 inches (67 x 156.8 cm)
Signed and dated lower right in graphite
(Inventory #29554)
Exhibited March 31, 2018 – May 5, 2018

on hand-dyed Twinrocker handmade paper
Image/paper size: 22 x 57 1/2 inches (55.9 x 146.1 cm)
Frame size: 26 3/8 x 61 3/4 inches (67 x 156.8 cm)
Signed and dated lower right in graphite
(Inventory #29554)
Exhibited March 31, 2018 – May 5, 2018
Water Tower – Oxford, AL
76 x 36 x 12 inches (193 x 91.4 x 30.5 cm)
(Inventory #29397)
Exhibited February 17, 2018 – March 24, 2018

76 x 36 x 12 inches (193 x 91.4 x 30.5 cm)
(Inventory #29397)
Exhibited February 17, 2018 – March 24, 2018
Arno, Blue
76 7/8 x 5 1/4 x 3 inches (195.3 x 13.3 x 7.6 cm)
Edition of 6
(Inventory #27201)
Exhibited January 6, 2018 – February 10, 2018
Read more about this work here
76 7/8 x 5 1/4 x 3 inches (195.3 x 13.3 x 7.6 cm)
Edition of 6
(Inventory #27201)
Exhibited January 6, 2018 – February 10, 2018
Read more about this work here
15 Mouths
mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”
Information Request

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)
Exhibited: November 11, 2017 – December 23, 2018
“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”
Untitled
Square: 30 x 30 inches (76.2 x 76.2 cm)
Circle: 30″ diameter (76.2 cm)
Signed and dated on accompanied certificate
(Inventory #29251)
Exhibited: September 16, 2017 – November 4, 2017

Square: 30 x 30 inches (76.2 x 76.2 cm)
Circle: 30″ diameter (76.2 cm)
Signed and dated on accompanied certificate
(Inventory #29251)
Exhibited: September 16, 2017 – November 4, 2017
Everything is Different
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28940)
The above imagery is an abbreviated clip of a longer work.
Exhibited: April 29, 2017 – May 6, 2017
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28940)
The above imagery is an abbreviated clip of a longer work.
Exhibited: April 29, 2017 – May 6, 2017
Untitled
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28405)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 6, 2017 – May 13, 2017
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28405)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 6, 2017 – May 13, 2017
The Air Between Us
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28939)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 13, 2017 – May 19, 2017
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28939)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 13, 2017 – May 19, 2017
Train 1
face mounted on toughened glass in aluminum frame, unique
40 3/4 x 4 3/8 x 77 1/2 inches (103.6 x 11 x 197 cm)
Signed on label on reverse
(Inventory #28879)
Exhibited: May 19, 2017 – July 28, 2017
face mounted on toughened glass in aluminum frame, unique
40 3/4 x 4 3/8 x 77 1/2 inches (103.6 x 11 x 197 cm)
Signed on label on reverse
(Inventory #28879)
Exhibited: May 19, 2017 – July 28, 2017
Actualidades/Breaking News
Duration: 22 minutes
Edition of 8
Signed and numbered
Conceived & Directed by Liliana Porter
Co-Director: Ana Tiscornia
Music: Sylvia Meyer
Videography and editing: Federico Lo Bianco
© Liliana Porter, 2016
(Inventory #28472)
Exhibited April 8, 2017 – April 28, 2017
This film was included in a rotating program of works created in video by four artists: Christian Marclay, Liliana Porter, Suara Welitoff and Julian Opie. Instead of a group show where multiple videos are playing simultaneously, each artists work will be on view, on its own, for three weeks. The choice of these four artists was an active one – to show the breadth and depth of work being made in and with video.

Duration: 22 minutes
Edition of 8
Signed and numbered
Conceived & Directed by Liliana Porter
Co-Director: Ana Tiscornia
Music: Sylvia Meyer
Videography and editing: Federico Lo Bianco
© Liliana Porter, 2016
(Inventory #28472)
Exhibited April 8, 2017 – April 28, 2017
This film was included in a rotating program of works created in video by four artists: Christian Marclay, Liliana Porter, Suara Welitoff and Julian Opie. Instead of a group show where multiple videos are playing simultaneously, each artists work will be on view, on its own, for three weeks. The choice of these four artists was an active one – to show the breadth and depth of work being made in and with video.
Telephones
Running time 7:30 minutes
Edition of 250
Signed on accompanying certificate
(Inventory #27661)
Exhibited March 18, 2017 – April 7, 2017

Running time 7:30 minutes
Edition of 250
Signed on accompanying certificate
(Inventory #27661)
Exhibited March 18, 2017 – April 7, 2017
Wall Drawing #239
First Drawn by: Kazuko Miyamoto
First Installation: Paula Cooper Gallery, New York, NY
Location of a line
A straight line from the lower left corner of the wall to a point halfway between the center of the wall and the midpoint of the left side
(Inventory #28439)
Exhibited: February 14, 2017 – March 18, 2017

First Drawn by: Kazuko Miyamoto
First Installation: Paula Cooper Gallery, New York, NY
Location of a line
A straight line from the lower left corner of the wall to a point halfway between the center of the wall and the midpoint of the left side
(Inventory #28439)
Exhibited: February 14, 2017 – March 18, 2017
Wall Drawing #177
First Drawn by: Paula Cooper
First Installation: Paula Cooper Gallery, New York, NY
A 48″ (120 cm) horizontal line from the right side of the wall, 48″ (120 cm) above the floor
(Inventory #28437)
Exhibited: February 7, 2017 – February 11, 2017

First Drawn by: Paula Cooper
First Installation: Paula Cooper Gallery, New York, NY
A 48″ (120 cm) horizontal line from the right side of the wall, 48″ (120 cm) above the floor
(Inventory #28437)
Exhibited: February 7, 2017 – February 11, 2017
Wall Drawing #172
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
Lines through the center of the wall toward midpoints of sides and corners
(Inventory #28436)
Exhibited: January 31, 2017 – February 4, 2017

First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
Lines through the center of the wall toward midpoints of sides and corners
(Inventory #28436)
Exhibited: January 31, 2017 – February 4, 2017
Wall Drawing #167
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line from the center of the wall to the midpoint of the top side, and a line from the midpoint of the first line to the midpoint of the left side
(Inventory #28435)
Exhibited: January 25, 2017 – January 28, 2017

First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line from the center of the wall to the midpoint of the top side, and a line from the midpoint of the first line to the midpoint of the left side
(Inventory #28435)
Exhibited: January 25, 2017 – January 28, 2017
Wall Drawing #166
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line through the center of the wall toward the midpoint of the top side and a line from the midpoint of the left side to the midpoint of the right side
(Inventory #28434)
Exhibited: January 18, 2017 – January 21, 2017

First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line through the center of the wall toward the midpoint of the top side and a line from the midpoint of the left side to the midpoint of the right side
(Inventory #28434)
Exhibited: January 18, 2017 – January 21, 2017
Wall Drawing #126
First Drawn by: C. Kaufman, S. Kuffler, Matt Mullican, R. Rosenwasser, J. Stein, James Welling
First Installation: California Institute of the Arts, Valencia, CA
Not straight lines from corners to corners
A not straight line from the upper left corner to the lower right corner, and a not straight line from the upper right corner to the lower left corner
(Inventory #28433)
Exhibited: January 10, 2017 – January 14, 2017

First Drawn by: C. Kaufman, S. Kuffler, Matt Mullican, R. Rosenwasser, J. Stein, James Welling
First Installation: California Institute of the Arts, Valencia, CA
Not straight lines from corners to corners
A not straight line from the upper left corner to the lower right corner, and a not straight line from the upper right corner to the lower left corner
(Inventory #28433)
Exhibited: January 10, 2017 – January 14, 2017
Wall Drawing #121
First Drawn by: Saul Ostrow
First Installation: University of Massachusetts, Amherst, MA
Crossing lines
A not straight line from the upper left corner to the lower right corner and from the upper right corner to the lower left corner, a not straight line from the midpoint of the left side to the midpoint of the right side, and a not straight line from the midpoint of the top to the midpoint of the bottom, all crossing in the center of the wall.
(Inventory #28432)
Exhibited: January 3, 2017 – January 7, 2017

First Drawn by: Saul Ostrow
First Installation: University of Massachusetts, Amherst, MA
Crossing lines
A not straight line from the upper left corner to the lower right corner and from the upper right corner to the lower left corner, a not straight line from the midpoint of the left side to the midpoint of the right side, and a not straight line from the midpoint of the top to the midpoint of the bottom, all crossing in the center of the wall.
(Inventory #28432)
Exhibited: January 3, 2017 – January 7, 2017
Unexpected Variable Configurations: A Work in Situ
Plate size: 17 1/8 x 17 1/8 inches each (43.5 x 43.5 cm)
Installation size according to the wall
Signed and numbered on certificate
(Inventory #25030)
Exhibited: September 10, 2016 – December 10, 2016

Plate size: 17 1/8 x 17 1/8 inches each (43.5 x 43.5 cm)
Installation size according to the wall
Signed and numbered on certificate
(Inventory #25030)
Exhibited: September 10, 2016 – December 10, 2016
Section 88: Views from inner to outer compartment_ACT VI_Scene II
28 1/4 x 94 x 1 inches (71.8 x 238.8 x 2.5 cm)
Edition of 3
(Inventory #28132)
Exhibited: May 11, 2016 – July 29, 2016

28 1/4 x 94 x 1 inches (71.8 x 238.8 x 2.5 cm)
Edition of 3
(Inventory #28132)
Exhibited: May 11, 2016 – July 29, 2016
Crossed Mirage III
Overall size: 67 1/2 x 85 5/8 x 17 1/2 inches (171.5 x 217.5 x 44.5 cm)
Signed on reverse
(Inventory #27949)
Exhibited: January 12, 2016 – May 5, 2016

Overall size: 67 1/2 x 85 5/8 x 17 1/2 inches (171.5 x 217.5 x 44.5 cm)
Signed on reverse
(Inventory #27949)
Exhibited: January 12, 2016 – May 5, 2016
Untitled
Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016
Information Request

Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016

Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016

Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016

Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016

Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016
Rosa Parks
Image/paper size: 40 1/8 x 82 1/2 inches (102 x 209.5 cm)
Frame size: 43 x 85 1/2 inches (109.2 x 217.2 cm)
Edition of 30, 8 AP
Signed, dated and numbered on verso
(Inventory #22019)
Exhibited: April 2015 – June 2015
Read more about this work here

Image/paper size: 40 1/8 x 82 1/2 inches (102 x 209.5 cm)
Frame size: 43 x 85 1/2 inches (109.2 x 217.2 cm)
Edition of 30, 8 AP
Signed, dated and numbered on verso
(Inventory #22019)
Exhibited: April 2015 – June 2015
Read more about this work here
TRUISMS (selections from 1977-79)
Custom black box size: 8 x 5 1/2 x 3 3/4 inches (20.3 x 14 x 9.5 cm)
Edition of 12
Numbered and signed stamped on the bottom
(Inventory #27399)
Barbara Krakow Gallery
Exhibited: March 2015 – April 2015
Custom black box size: 8 x 5 1/2 x 3 3/4 inches (20.3 x 14 x 9.5 cm)
Edition of 12
Numbered and signed stamped on the bottom
(Inventory #27399)
Barbara Krakow Gallery
Exhibited: March 2015 – April 2015
The Clock Tower
Image/panel size: 33 3/8 x 22 1/4 inches each (84.8 x 56.5 cm each)
Text panel size: 8 x 6 inches (20.3 x 15.2 cm)
Overall size: 99 3/4 x 89 inches (253.4 x 226.1 cm)
Edition of 5, PP
Signed, titled and numbered on reverse on 12th panel
(Inventory #26602)
Exhibited: January 2015 – March 2015
TEXT PANEL:
He can hear sighs and conversations of people collecting in the hall waiting for elevators, heading out of the building, the telephone rings.
“Good, I hoped that you were still here.”
“Yeah, well I thought that it might be you.”
“Where do you want to meet?”
“Well, they are still under construction on the 15th floor and the union guys are out of there by now and I think they have finished a few of the offices with good views. Wait a second… I don’t hear the muffled power tools. Want to go there?”
“Sure, I have not been down there as yet.”
” What about the rooftop conference room? Was there anything scheduled there today?”
“I don’t think so, but we will have to take the stairs to get up there…the west staircase is always an option a little later if you still have work to do.”
“Naw, I’m almost finished.”
“What time do you have?”
“8:20.”
“I’ll meet you in the hall at a quarter to.”
“Okay.”

Image/panel size: 33 3/8 x 22 1/4 inches each (84.8 x 56.5 cm each)
Text panel size: 8 x 6 inches (20.3 x 15.2 cm)
Overall size: 99 3/4 x 89 inches (253.4 x 226.1 cm)
Edition of 5, PP
Signed, titled and numbered on reverse on 12th panel
(Inventory #26602)
Exhibited: January 2015 – March 2015
TEXT PANEL:
He can hear sighs and conversations of people collecting in the hall waiting for elevators, heading out of the building, the telephone rings.
“Good, I hoped that you were still here.”
“Yeah, well I thought that it might be you.”
“Where do you want to meet?”
“Well, they are still under construction on the 15th floor and the union guys are out of there by now and I think they have finished a few of the offices with good views. Wait a second… I don’t hear the muffled power tools. Want to go there?”
“Sure, I have not been down there as yet.”
” What about the rooftop conference room? Was there anything scheduled there today?”
“I don’t think so, but we will have to take the stairs to get up there…the west staircase is always an option a little later if you still have work to do.”
“Naw, I’m almost finished.”
“What time do you have?”
“8:20.”
“I’ll meet you in the hall at a quarter to.”
“Okay.”
EDGE/EDGES
Text: painted metal plate (1/4 inch thick)
Each element: 69 x 1 1/4 x 5 inches (175 x 3.2 x 12.5 cm)
Overall size dimensions variable
This installation size: 69 x 90 inches (175.3 x 228.6 cm)
Signed and dated on accompanying certificate
(Inventory #26898)
Exhibited: November 2014 – January 2015

Text: painted metal plate (1/4 inch thick)
Each element: 69 x 1 1/4 x 5 inches (175 x 3.2 x 12.5 cm)
Overall size dimensions variable
This installation size: 69 x 90 inches (175.3 x 228.6 cm)
Signed and dated on accompanying certificate
(Inventory #26898)
Exhibited: November 2014 – January 2015
The Top Ten Historical Similarities (and Differences) Between Prints and Photographs
Six at 16 x 20 inches each (40.6 x 50.8 cm each)
Four at 20 x 16 inches each (50.8 x 40.6 cm each)
Edition of 30Signed ‘A Ruppersberg’ lower center, numbered lower left and dated lower right on each sheet
(Inventory #24605)
Exhibited: October 2014 – November 2014
Read more about this work here

Six at 16 x 20 inches each (40.6 x 50.8 cm each)
Four at 20 x 16 inches each (50.8 x 40.6 cm each)
Edition of 30Signed ‘A Ruppersberg’ lower center, numbered lower left and dated lower right on each sheet
(Inventory #24605)
Exhibited: October 2014 – November 2014
Read more about this work here
Ten Feet
4 x 12 inches each (10.2 x 30.5 cm each)
This installation size is 4 inches x 120 inches
Signed ‘Mel Bochner’ on reverse on each piece
(Inventory #26687)
Barbara Krakow Gallery
Exhibited: September 2014 – October 2014

4 x 12 inches each (10.2 x 30.5 cm each)
This installation size is 4 inches x 120 inches
Signed ‘Mel Bochner’ on reverse on each piece
(Inventory #26687)
Barbara Krakow Gallery
Exhibited: September 2014 – October 2014
The Shapes Project: Shapes From Maine Shapes Ornaments
Each element: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
Installation dimensions are variable:
This installation: 57 x 90 3/4 inches (144.8 x 230.5 cm)
Each one with signed authentication card
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here
Information Request

Each element: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
Installation dimensions are variable:
This installation: 57 x 90 3/4 inches (144.8 x 230.5 cm)
Each one with signed authentication card
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here

Each element: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
Installation dimensions are variable:
This installation: 57 x 90 3/4 inches (144.8 x 230.5 cm)
Each one with signed authentication card
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here

Each element: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
Installation dimensions are variable:
This installation: 57 x 90 3/4 inches (144.8 x 230.5 cm)
Each one with signed authentication card
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here

Each element: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
Installation dimensions are variable:
This installation: 57 x 90 3/4 inches (144.8 x 230.5 cm)
Each one with signed authentication card
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here
The Shapes Project: Shapes From Maine Shapes Ornaments
Detail Image
Exhibited: June 2014 – September 2014

Detail Image
Exhibited: June 2014 – September 2014
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
Pastoral
Edition of 15
72 x 76 inches (183 x 193 cm)
(Inventory #14918)
Exhibited: February 2014 – May 2014
Read more about this work here

Edition of 15
72 x 76 inches (183 x 193 cm)
(Inventory #14918)
Exhibited: February 2014 – May 2014
Read more about this work here
Trees 1
Installation dimensions vary
This installation size: 96 5/8 x 128 1/2 inches (245.4 x 326.4 cm)
(Inventory #25684)
Barbara Krakow Gallery
Exhibited: October 2013 – February 2014

Installation dimensions vary
This installation size: 96 5/8 x 128 1/2 inches (245.4 x 326.4 cm)
(Inventory #25684)
Barbara Krakow Gallery
Exhibited: October 2013 – February 2014
Broken Bubbles
Signed on the back
Panel size: 16 x 16 inches each (40.6 x 40.6 cm each)
Overall size: 33 1/2 x 51 inches (85.1 x 129.5 cm)
(Inventory #24514)
Exhibited September 2013 – October 2013

Signed on the back
Panel size: 16 x 16 inches each (40.6 x 40.6 cm each)
Overall size: 33 1/2 x 51 inches (85.1 x 129.5 cm)
(Inventory #24514)
Exhibited September 2013 – October 2013
Constructed Landscape (Winter)
Installation measurements vary
This installation: 8′ x 10′ 8″
(Inventory #24818)
Exhibited: January 2013 – September 2013
Read more about this work here

Installation measurements vary
This installation: 8′ x 10′ 8″
(Inventory #24818)
Exhibited: January 2013 – September 2013
Read more about this work here
Reflections
Edition of 9
Signed, dated and numbered in box
Installation size: 4 3/8 inches x 33 1/2 inches overall
Letter size: 4 3/8 inches each
Box size: 11 x 39 x 1 5/8 inches
(Inventory #25505)
Exhibited: October 2012 – January 2013

Edition of 9
Signed, dated and numbered in box
Installation size: 4 3/8 inches x 33 1/2 inches overall
Letter size: 4 3/8 inches each
Box size: 11 x 39 x 1 5/8 inches
(Inventory #25505)
Exhibited: October 2012 – January 2013

Detail Image
Untitled
Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012
Information Request

Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012

Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012

Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012

Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012

Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012

Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012
Fragment: Figure VIII
Edition of 8
Signed, dated ’70 and numbered on reverse
37 x 20 x 10 inches (93.9 x 50.8 x 25.4 cm)
(Inventory #24134)
Exhibited April 2012 – September 2012

Edition of 8
Signed, dated ’70 and numbered on reverse
37 x 20 x 10 inches (93.9 x 50.8 x 25.4 cm)
(Inventory #24134)
Exhibited April 2012 – September 2012
OPALKA 1965 / 1 – ∞
Edition of 298
Signed and numbered on colophon page
Image/paper size (folded): 12 x 9 3/8 inches each (30.5 x 23.8 cm each)
Image/paper size (unfolded): 12 x 18 3/4 inches each (30.5 x 47.6 cm each)
Portfolio case: 12 5/8 x 10 1/8 x 2 inches (32.1 x 25.7 x 5.1 cm)
(Inventory #23902)
Exhibited: January 2012 – April 2012

Edition of 298
Signed and numbered on colophon page
Image/paper size (folded): 12 x 9 3/8 inches each (30.5 x 23.8 cm each)
Image/paper size (unfolded): 12 x 18 3/4 inches each (30.5 x 47.6 cm each)
Portfolio case: 12 5/8 x 10 1/8 x 2 inches (32.1 x 25.7 x 5.1 cm)
(Inventory #23902)
Exhibited: January 2012 – April 2012
STILL
Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011
Information Request

Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011

Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011

Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011

Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011
Here Comes the Sun
Edition of 10
Installation dimensions vary
(Inventory #22505)
Exhibited at Barbara Krakow Gallery
Edition of 10
Installation dimensions vary
(Inventory #22505)
Exhibited at Barbara Krakow Gallery
Untitled (Circle Mural), I From a series of Circle Murals
Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010
Information Request

Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010

Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010

Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010

Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010
Three Light Boxes for One Wall
Signed and numbered on label on verso of one box
Small box: 23 1/2 x 31 1/2 x 3 1/2 inches
Medium box: 31 1/2 x 31 1/2 x 3 1/2 inches
and Large box: 39 x 31 1/2 x 3 1/2 inches
(Inventory #19398)
Exhibited: March 20, 2010 – May 1, 2010

Signed and numbered on label on verso of one box
Small box: 23 1/2 x 31 1/2 x 3 1/2 inches
Medium box: 31 1/2 x 31 1/2 x 3 1/2 inches
and Large box: 39 x 31 1/2 x 3 1/2 inches
(Inventory #19398)
Exhibited: March 20, 2010 – May 1, 2010
Aphorism-Archimedes
Edition of 15
Signed and numbered on the certificate
Dimensions variable (size is made to fit any wall the work is allotted to)
(Inventory #22145)
Exhibited: January 23, 2010 – March 13, 2010

Edition of 15
Signed and numbered on the certificate
Dimensions variable (size is made to fit any wall the work is allotted to)
(Inventory #22145)
Exhibited: January 23, 2010 – March 13, 2010
Affresco – 5
Mirror fragments irregularly shaped and sized
Installation size varies according to the chosen wall
This installation size: 92 x 137 inches
Edition of 12
Signed and numbered on a printed certificate with collage
(Inventory #22640)
Exhibited: Missing: Featuring work by Barbara Broughel, Carrol Dunham, Joseph Grigely, Yayoi Kusama, Sol LeWitt, Allan McCollum, Michelangelo Pistoletto, Robin Rhode, Fred Sandback, Jonathan Seliger, and Sarah Sze, January 17, 2009 – March 4, 2009, Barbara Krakow Gallery, Boston

Mirror fragments irregularly shaped and sized
Installation size varies according to the chosen wall
This installation size: 92 x 137 inches
Edition of 12
Signed and numbered on a printed certificate with collage
(Inventory #22640)
Exhibited: Missing: Featuring work by Barbara Broughel, Carrol Dunham, Joseph Grigely, Yayoi Kusama, Sol LeWitt, Allan McCollum, Michelangelo Pistoletto, Robin Rhode, Fred Sandback, Jonathan Seliger, and Sarah Sze, January 17, 2009 – March 4, 2009, Barbara Krakow Gallery, Boston
Red and yellow styrofoam on a blue wall, December 1995
Dimensions variable, based on the wall. This installation: 7 feet, 11 inches tall x 11 feet, 3 inches wide
(Inventory #19684)
Exhibited: Sol LeWitt: Small Structures and Related Works, April 12, 2008 – May 21, 2008, Barbara Krakow Gallery, Boston

Dimensions variable, based on the wall. This installation: 7 feet, 11 inches tall x 11 feet, 3 inches wide
(Inventory #19684)
Exhibited: Sol LeWitt: Small Structures and Related Works, April 12, 2008 – May 21, 2008, Barbara Krakow Gallery, Boston
Wall Drawing #1212
First drawn by: Ben Chaffee, Jesse Good
First installation: Barbara Krakow Gallery, Boston, MA, August 2006
96 3/4 x 128 1/2 inches (245.7 x 326.4 cm)
Signed on accompanying certificate
(Inventory #17986)

First drawn by: Ben Chaffee, Jesse Good
First installation: Barbara Krakow Gallery, Boston, MA, August 2006
96 3/4 x 128 1/2 inches (245.7 x 326.4 cm)
Signed on accompanying certificate
(Inventory #17986)