One Wall, One Work Archive
Lines in Four Directions over 450 Years
Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Information Request

Information Request (Inquiry)
Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
The Sky's Shadow, 2022
Etching with handcoloring on hahnemühle paper deckled edge
Edition 2 of 18
Image/plate size: 11 9/16 x 8 9/16 inches (29.4 x 21.7 cm)
Paper size: 18 1/4 x 14 1/2 inches (46.4 x 36.8 cm)
Frame size: 20 1/2 x 16 3/4 inches (52.1 x 42.5 cm)
Signed and dated lower right, numbered lower left in graphite

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Kiki Smith
The Sky's Shadow, 2022
Etching with handcoloring on hahnemühle paper deckled edge
Edition 2 of 18
Image/plate size: 11 9/16 x 8 9/16 inches (29.4 x 21.7 cm)
Paper size: 18 1/4 x 14 1/2 inches (46.4 x 36.8 cm)
Frame size: 20 1/2 x 16 3/4 inches (52.1 x 42.5 cm)
Signed and dated lower right, numbered lower left in graphite

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Nude Man (after Michelangelo), ca. 1580-1590
Engraving
Paper size: 12 1/2 x 8 1/4 inches (31.8 x 21 cm)
Frame size: 15 1/8 x 10 7/8 inches (38.4 x 27.6 cm)
Signed in the plate lower center recto, "Michelangelus pinxit in Vaticano / Cheribinus Albertus sculpsit. Philippus Thomassinus excudit."

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Cherubino Alberti
Nude Man (after Michelangelo), ca. 1580-1590
Engraving
Paper size: 12 1/2 x 8 1/4 inches (31.8 x 21 cm)
Frame size: 15 1/8 x 10 7/8 inches (38.4 x 27.6 cm)
Signed in the plate lower center recto, "Michelangelus pinxit in Vaticano / Cheribinus Albertus sculpsit. Philippus Thomassinus excudit."

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Untitled I, 2002
Etching with aquatint
Edition 20 of 40
Image size: 4 3/4 x 6 inches (12.1 x 15.2 cm)
Paper size: 12 5/8 x 14 inches (32.1 x 35.6 cm)
Frame size: 15 x 16 1/4 inches (38.1 x 41.3 cm)
Signed and dated lower right recto below image in graphite, "M.Puryear", numbered lower left recto below image in graphite, "20/40"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Martin Puryear
Untitled I, 2002
Etching with aquatint
Edition 20 of 40
Image size: 4 3/4 x 6 inches (12.1 x 15.2 cm)
Paper size: 12 5/8 x 14 inches (32.1 x 35.6 cm)
Frame size: 15 x 16 1/4 inches (38.1 x 41.3 cm)
Signed and dated lower right recto below image in graphite, "M.Puryear", numbered lower left recto below image in graphite, "20/40"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Heraldry Plate CCLXXVII, ca. 1842
Engraving
Paper size: 10 5/8 x 8 1/4 inches (27.7 x 21 cm)
Frame size: 13 1/8 x 10 5/8 inches (33.3 x 27 cm)
Signed in the plate lower right recto, "Engrd by G. Aikman, Edinr."

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
George Aikman
Heraldry Plate CCLXXVII, ca. 1842
Engraving
Paper size: 10 5/8 x 8 1/4 inches (27.7 x 21 cm)
Frame size: 13 1/8 x 10 5/8 inches (33.3 x 27 cm)
Signed in the plate lower right recto, "Engrd by G. Aikman, Edinr."

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Avaritia (an allegory on greed, after Abraham Bloemaert), 1625
Engraving
Image size: 7 1/4 x 5 3/8 (18.5 x 13.5 cm)
Paper size: 7 5/8 x 5 5/8 inches (19.4 x 14.3 cm)
Frame size: 12 1/4 x 9 1/2 inches (31.1 x 24.1 cm)
Initialed in the plate, lower right recto, "CB" Hollstein #286

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Cornelis Bloemaert
Avaritia (an allegory on greed, after Abraham Bloemaert), 1625
Engraving
Image size: 7 1/4 x 5 3/8 (18.5 x 13.5 cm)
Paper size: 7 5/8 x 5 5/8 inches (19.4 x 14.3 cm)
Frame size: 12 1/4 x 9 1/2 inches (31.1 x 24.1 cm)
Initialed in the plate, lower right recto, "CB" Hollstein #286

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Names and Arms of Those Gentlemen..., ca. 1725
Engraving
Paper size: 23 1/4 x 30 1/4 inches (59.1 x 76.8 cm)
frame size: 25 1/2 x 32 1/2 inches (64.8 x 82.6 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Unknown
Names and Arms of Those Gentlemen..., ca. 1725
Engraving
Paper size: 23 1/4 x 30 1/4 inches (59.1 x 76.8 cm)
frame size: 25 1/2 x 32 1/2 inches (64.8 x 82.6 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Unknown
Names and Arms of Those Gentlemen..., ca. 1725
Engraving
Paper size: 23 1/4 x 30 1/4 inches (59.1 x 76.8 cm)
frame size: 25 1/2 x 32 1/2 inches (64.8 x 82.6 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Untitled, 1966
Lithograph
Image/paper size: 9 x 22 1/8 inches (22.9 x 56.2 cm)
Frame size: 11 1/2 x 24 3/8 inches (29.2 x 61.9 cm)
Annotated, signed, noted, and dated lower left recto in graphite, "B.A.T. Gego 6 x 11 66"
Most likely never editioned. Variant of Tamarind #1846 and #1846ii

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Gertrude Goldschmidt (Gego)
Untitled, 1966
Lithograph
Image/paper size: 9 x 22 1/8 inches (22.9 x 56.2 cm)
Frame size: 11 1/2 x 24 3/8 inches (29.2 x 61.9 cm)
Annotated, signed, noted, and dated lower left recto in graphite, "B.A.T. Gego 6 x 11 66"
Most likely never editioned. Variant of Tamarind #1846 and #1846ii

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Portrait of Nicolas Poussin, ca. 1800
Etching and engraving
Image size: 11 1/8 x 8 5/8 inches (28 x 22 cm)
Paper size: 15 1/2 x 11 5/8 inches (39.4 x 29.5 cm)
Frame size: 20 1/2 x 14 5/8 inches (52.1 x 37.1 cm)
Proof before any lettering I.F.F XVIIIth, Volume IV, #126

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Chums, 1915-16
Drypoint and etching
Image size: 5 3/16 x 5 7/8 inches (13.2 x 14.9 cm)
Paper size: 8 3/4 x 10 1/2 inches (22.2 x 26.7 cm)
Frame size: 11 x 12 7/8 inches (27.9 x 32.7 cm)
Signed lower right recto in graphite, "Mortimer Menpes" Morgan #602

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Mortimer Menpes
Chums, 1915-16
Drypoint and etching
Image size: 5 3/16 x 5 7/8 inches (13.2 x 14.9 cm)
Paper size: 8 3/4 x 10 1/2 inches (22.2 x 26.7 cm)
Frame size: 11 x 12 7/8 inches (27.9 x 32.7 cm)
Signed lower right recto in graphite, "Mortimer Menpes" Morgan #602

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
The Portico next to the Palazzo Archivescovile (from the series of nine etchings illustrating the Festival Decorations on the Occasion of the Entry of Pope Clement VIII in Bologna (Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Con disegni de gli Archi, Statue, & Pitture), published in 1598 in Bologna by Vittorio Benacci.), 1598
Etching
Image size: x 8 3/4 inches (15.2 x 22.2 cm)
Paper size: 7 3/4 x 11 1/2 inches (19.6 x 29.4 cm)
Frame size: 10 1/8 x 13 7/8 inches (25.7 x 35.2 cm)
Watermark: Urn

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Guido Reni
The Portico next to the Palazzo Archivescovile (from the series of nine etchings illustrating the Festival Decorations on the Occasion of the Entry of Pope Clement VIII in Bologna (Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Con disegni de gli Archi, Statue, & Pitture), published in 1598 in Bologna by Vittorio Benacci.), 1598
Etching
Image size: x 8 3/4 inches (15.2 x 22.2 cm)
Paper size: 7 3/4 x 11 1/2 inches (19.6 x 29.4 cm)
Frame size: 10 1/8 x 13 7/8 inches (25.7 x 35.2 cm)
Watermark: Urn

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Mosque, Tangier, ca. 1910
Etching
Edition 49 of 120
Image size: 7 x 9 1/4 (17.8 x 23.5 cm)
Paper size: 10 7/8 x 13 1/4 inches (27.6 x 33.7 cm)
Frame size: 13 1/8 x 15 7/16 inches (33.3 x 39.2 cm)
Initialed lower right recto in plate, "T." Signed verso by Jesse Tanner over authentication stamp, "J Tanner. / Works of art by / Henry O Tanner / Authenticated by his son Jesse O. Tanner / Le Douhet . France" and numbered in graphite, "49/120"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Henry Ossawa Tanner
Mosque, Tangier, ca. 1910
Etching
Edition 49 of 120
Image size: 7 x 9 1/4 (17.8 x 23.5 cm)
Paper size: 10 7/8 x 13 1/4 inches (27.6 x 33.7 cm)
Frame size: 13 1/8 x 15 7/16 inches (33.3 x 39.2 cm)
Initialed lower right recto in plate, "T." Signed verso by Jesse Tanner over authentication stamp, "J Tanner. / Works of art by / Henry O Tanner / Authenticated by his son Jesse O. Tanner / Le Douhet . France" and numbered in graphite, "49/120"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Henry Ossawa Tanner
Mosque, Tangier, ca. 1910
Etching
Edition 49 of 120
Image size: 7 x 9 1/4 (17.8 x 23.5 cm)
Paper size: 10 7/8 x 13 1/4 inches (27.6 x 33.7 cm)
Frame size: 13 1/8 x 15 7/16 inches (33.3 x 39.2 cm)
Initialed lower right recto in plate, "T." Signed verso by Jesse Tanner over authentication stamp, "J Tanner. / Works of art by / Henry O Tanner / Authenticated by his son Jesse O. Tanner / Le Douhet . France" and numbered in graphite, "49/120"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
The Land Between Cannes and Mougins, 1934
Etching
Edition of 50 of this, the final state
Image size: 6 1/8 x 10 1/8 inches (15.6 x 25.7 cm)
Paper size: 12 5/8 x 19 3/4 inches (32.1 x 50.2 cm)
Frame size: 15 x 22 1/8 inches (38.1 x 56.2 cm)
Signed lower right recto in graphite, "Jacques Villon" and annotated lower left recto in graphite, "ep. d'artiste" Ginestet & Pouillon, #377

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Jacques Villon
The Land Between Cannes and Mougins, 1934
Etching
Edition of 50 of this, the final state
Image size: 6 1/8 x 10 1/8 inches (15.6 x 25.7 cm)
Paper size: 12 5/8 x 19 3/4 inches (32.1 x 50.2 cm)
Frame size: 15 x 22 1/8 inches (38.1 x 56.2 cm)
Signed lower right recto in graphite, "Jacques Villon" and annotated lower left recto in graphite, "ep. d'artiste" Ginestet & Pouillon, #377

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Temperantia, ca. 1650
Engraving Image size: 10 1/8 x 7 1/2 inches (25.7 x 19 cm)
Paper size: 10 x 7 1/2 inches (25.4 x 19.1 cm)
Frame size: 13 x 10 3/8 inches (33 x 26.4 cm)
Signed in the plate lower left recto, "Crisp: Pass:" Hollstein #432

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Crispijn de Passe the Younger
Temperantia, ca. 1650
Engraving Image size: 10 1/8 x 7 1/2 inches (25.7 x 19 cm)
Paper size: 10 x 7 1/2 inches (25.4 x 19.1 cm)
Frame size: 13 x 10 3/8 inches (33 x 26.4 cm)
Signed in the plate lower left recto, "Crisp: Pass:" Hollstein #432

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Lines in Four Directions, Superimposed , 1971
Etching with aquatint
Edition of 20, TP
Image size: 4 7/8 x 4 7/8 inches (12.4 x 12.4 cm)
Plate size: 7 x 7 inches (17.8 x 17.8 cm)
Paper size: 11 x 11 inches (27.9 x 27.9 cm)
Frame size: 13 5/16 x 13 1/4 inches (33.8 x 33.7 cm)
Signed lower right recto in graphite, "LeWitt", numbered lower left in graphite, "5/20"
Krakow 1971.10

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Sol LeWitt
Lines in Four Directions, Superimposed , 1971
Etching with aquatint
Edition of 20, TP
Image size: 4 7/8 x 4 7/8 inches (12.4 x 12.4 cm)
Plate size: 7 x 7 inches (17.8 x 17.8 cm)
Paper size: 11 x 11 inches (27.9 x 27.9 cm)
Frame size: 13 5/16 x 13 1/4 inches (33.8 x 33.7 cm)
Signed lower right recto in graphite, "LeWitt", numbered lower left in graphite, "5/20"
Krakow 1971.10

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Betendes Mädchen (Girl Praying), 1892
Etching, aquatint, drypoint, and sandpaper
Image size: 7 5/16 x 5 9/16 inches (18.6 x 14.1 cm)
Plate size: 7 11/16 x 5 7/8 inches (19.5 x 14.9 cm)
Paper size: 10 1/8 x 7 1/2 inches (25.7 x 19.1 cm)
Frame size: 12 3/8 x 9 3/4 inches (31.4 x 24.8 cm)
Etched in plate lower right recto under image, "Orig. Rad. von Käthe Kollwitz' and lower left recto under image, "Druck v. O.Felsing. Berlin-Chlttbg" Knesebeck iii/vb; Klipstein iv b

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Käthe Kollwitz
Betendes Mädchen (Girl Praying), 1892
Etching, aquatint, drypoint, and sandpaper
Image size: 7 5/16 x 5 9/16 inches (18.6 x 14.1 cm)
Plate size: 7 11/16 x 5 7/8 inches (19.5 x 14.9 cm)
Paper size: 10 1/8 x 7 1/2 inches (25.7 x 19.1 cm)
Frame size: 12 3/8 x 9 3/4 inches (31.4 x 24.8 cm)
Etched in plate lower right recto under image, "Orig. Rad. von Käthe Kollwitz' and lower left recto under image, "Druck v. O.Felsing. Berlin-Chlttbg" Knesebeck iii/vb; Klipstein iv b

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Heraldry. Plate 1 (from The New Cyclopaedia, London), ca. 1802
Engraving
Paper size 10 5/8 x 8 1/4 inches (27 x 21 cm)
Frame size: 12 3/4 x 10 1/2 inches (32.4 x 26.7 cm)
Signed in the plate lower right recto, "Milton Sc"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Thomas Milton
Heraldry. Plate 1 (from The New Cyclopaedia, London), ca. 1802
Engraving
Paper size 10 5/8 x 8 1/4 inches (27 x 21 cm)
Frame size: 12 3/4 x 10 1/2 inches (32.4 x 26.7 cm)
Signed in the plate lower right recto, "Milton Sc"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Papers on a table, 1931
Drypoint and etching
Edition of 20 of this state, 50 of the final state
Image size: 5 3/16 x 6 3/16 inches (13.2 x 15.7 cm)
Paper size: 10 x 12 7/8 inches (25.4 x 32.7 cm)
Frame size: 12 1/4 x 15 1/4 inches (31.1 x 38.7 cm)
Signed lower right recto in graphite, "Jacques Villon" and annotated lower left recto in graphite, "2 state" Ginestet & Pouillon, #349, ii/III

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Jacques Villon
Papers on a table, 1931
Drypoint and etching
Edition of 20 of this state, 50 of the final state
Image size: 5 3/16 x 6 3/16 inches (13.2 x 15.7 cm)
Paper size: 10 x 12 7/8 inches (25.4 x 32.7 cm)
Frame size: 12 1/4 x 15 1/4 inches (31.1 x 38.7 cm)
Signed lower right recto in graphite, "Jacques Villon" and annotated lower left recto in graphite, "2 state" Ginestet & Pouillon, #349, ii/III

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Lines in Four Directions, Superimposed in each quarter of the square progressively (Black), 1971
Etching with aquatint
Edition 5 of 20
Image size: 4 x 3 7/8 inches (10.2 x 9.8 cm)
Plate size: 7 x 6 7/8 inches (17.8 x 17.5 cm)
Paper size: 11 x 11 inches (28 x 28 cm)
Frame size: 13 5/16 x 13 1/4 inches (33.8 x 33.7 cm)
Signed lower right recto in graphite, "LeWitt", notated lower left in graphite, "TP"
Krakow 1971.13

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Sol LeWitt
Lines in Four Directions, Superimposed in each quarter of the square progressively (Black), 1971
Etching with aquatint
Edition 5 of 20
Image size: 4 x 3 7/8 inches (10.2 x 9.8 cm)
Plate size: 7 x 6 7/8 inches (17.8 x 17.5 cm)
Paper size: 11 x 11 inches (28 x 28 cm)
Frame size: 13 5/16 x 13 1/4 inches (33.8 x 33.7 cm)
Signed lower right recto in graphite, "LeWitt", notated lower left in graphite, "TP"
Krakow 1971.13

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
"Esther seated at a table to the left speaking with Ahasuerus and Haman" or "Aspasia, Socrates, and another philosopher", ca. 1560-1580
Engraving
Image size: 5 3/8 x 7 inches (13.7 x 17.8 cm)
Paper size: 5 3/4 x 7 1/4 inches (14.6 x 18.4 cm)
Frame size: 8 1/2 x 9 1/2 inches (21.6 x 24.1 cm)
Signed lower left recto in the plate, "DIANA" Bartsch / Le Peintre graveur (volume XV, p. 446, #32) Bellini 1991 / L'Opera incisa di Adamo e Diana Scultori (1.I), #248 First state of two, before the address of Giovanni Giacomo Rossi

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Diana Scultori
"Esther seated at a table to the left speaking with Ahasuerus and Haman" or "Aspasia, Socrates, and another philosopher", ca. 1560-1580
Engraving
Image size: 5 3/8 x 7 inches (13.7 x 17.8 cm)
Paper size: 5 3/4 x 7 1/4 inches (14.6 x 18.4 cm)
Frame size: 8 1/2 x 9 1/2 inches (21.6 x 24.1 cm)
Signed lower left recto in the plate, "DIANA" Bartsch / Le Peintre graveur (volume XV, p. 446, #32) Bellini 1991 / L'Opera incisa di Adamo e Diana Scultori (1.I), #248 First state of two, before the address of Giovanni Giacomo Rossi

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745), 1761
Engraving
Image size: 16 7/8 x 21 1/2 inches (42.9 x 54.6 cm)
Paper size: 16 1/2 x 21 1/2 inches (41.9 x 54.6 cm)
Frame size: 21 1/2 x 26 1/8 inches (54.6 x 66.4 cm)
Signed in the plate, lower right recto: "Engrav'd by Luke Sullivan. / Retouched and Improved by/ Wm. Hogarth, republished June 12th, 1761"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
William Hogarth
The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745), 1761
Engraving
Image size: 16 7/8 x 21 1/2 inches (42.9 x 54.6 cm)
Paper size: 16 1/2 x 21 1/2 inches (41.9 x 54.6 cm)
Frame size: 21 1/2 x 26 1/8 inches (54.6 x 66.4 cm)
Signed in the plate, lower right recto: "Engrav'd by Luke Sullivan. / Retouched and Improved by/ Wm. Hogarth, republished June 12th, 1761"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
William Hogarth
The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745), 1761
Engraving
Image size: 16 7/8 x 21 1/2 inches (42.9 x 54.6 cm)
Paper size: 16 1/2 x 21 1/2 inches (41.9 x 54.6 cm)
Frame size: 21 1/2 x 26 1/8 inches (54.6 x 66.4 cm)
Signed in the plate, lower right recto: "Engrav'd by Luke Sullivan. / Retouched and Improved by/ Wm. Hogarth, republished June 12th, 1761"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Barrera Rosa's, 1986
Drypoint and etching
Edition of 29, AP V/VI
Image size: 12 15/16 x 37 3/8 inches (32.9 x 94.9 cm)
Plate size: 13 1/2 x 37 3/4 inches (34.3 x 95.9 cm)
Paper size: 22 3/8 x 46 inches (56.8 x 116.8 cm)
Frame size: 24 3/4 x 48 3/8 inches (62.9 x 122.9 cm)
Signed and dated lower right recto in graphite, "Cottingham 1986, titled and numbered lower left recto in graphite, "Barrera Rosa's AP V/VI"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Robert Cottingham
Barrera Rosa's, 1986
Drypoint and etching
Edition of 29, AP V/VI
Image size: 12 15/16 x 37 3/8 inches (32.9 x 94.9 cm)
Plate size: 13 1/2 x 37 3/4 inches (34.3 x 95.9 cm)
Paper size: 22 3/8 x 46 inches (56.8 x 116.8 cm)
Frame size: 24 3/4 x 48 3/8 inches (62.9 x 122.9 cm)
Signed and dated lower right recto in graphite, "Cottingham 1986, titled and numbered lower left recto in graphite, "Barrera Rosa's AP V/VI"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Robert Cottingham
Barrera Rosa's, 1986
Drypoint and etching
Edition of 29, AP V/VI
Image size: 12 15/16 x 37 3/8 inches (32.9 x 94.9 cm)
Plate size: 13 1/2 x 37 3/4 inches (34.3 x 95.9 cm)
Paper size: 22 3/8 x 46 inches (56.8 x 116.8 cm)
Frame size: 24 3/4 x 48 3/8 inches (62.9 x 122.9 cm)
Signed and dated lower right recto in graphite, "Cottingham 1986, titled and numbered lower left recto in graphite, "Barrera Rosa's AP V/VI"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Lovers' Conversation (The Couple Seated at the Table), ca. 1670
Etching
Image size: 5 x 6 7/8 inches (12.7 x 17.6 cm)
Paper size: 5 x 7 inches (12.7 x 17.8 cm)
Frame size: 7 1/4 x 8 1/4 inches (18.4 x 21 cm)
Monogrammed in the plate lower left recto, "DT" Proof from the second state Hollstein #25

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
David Teniers the Younger
Lovers' Conversation (The Couple Seated at the Table), ca. 1670
Etching
Image size: 5 x 6 7/8 inches (12.7 x 17.6 cm)
Paper size: 5 x 7 inches (12.7 x 17.8 cm)
Frame size: 7 1/4 x 8 1/4 inches (18.4 x 21 cm)
Monogrammed in the plate lower left recto, "DT" Proof from the second state Hollstein #25

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
A Portrait of a Lady (after Giulio Romano), ca. 1655-1670
Engraving
Image size: 14 5/8 x 11 7/8 inches (37.1 x 30.2 cm)
Paper size: 16 1/8 x 12 5/16 inches (41 x 31.3 cm)
Frame size: 18 3/4 x 14 15/16 inches (47.6 x 37.9 cm)
Watermark: christogram Hollstein #9 first state (of two)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Pieter Holdsteijn the Younger
A Portrait of a Lady (after Giulio Romano), ca. 1655-1670
Engraving
Image size: 14 5/8 x 11 7/8 inches (37.1 x 30.2 cm)
Paper size: 16 1/8 x 12 5/16 inches (41 x 31.3 cm)
Frame size: 18 3/4 x 14 15/16 inches (47.6 x 37.9 cm)
Watermark: christogram Hollstein #9 first state (of two)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Pieter Holdsteijn the Younger
A Portrait of a Lady (after Giulio Romano), ca. 1655-1670
Engraving
Image size: 14 5/8 x 11 7/8 inches (37.1 x 30.2 cm)
Paper size: 16 1/8 x 12 5/16 inches (41 x 31.3 cm)
Frame size: 18 3/4 x 14 15/16 inches (47.6 x 37.9 cm)
Watermark: christogram Hollstein #9 first state (of two)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Pieter Holdsteijn the Younger
A Portrait of a Lady (after Giulio Romano), ca. 1655-1670
Engraving
Image size: 14 5/8 x 11 7/8 inches (37.1 x 30.2 cm)
Paper size: 16 1/8 x 12 5/16 inches (41 x 31.3 cm)
Frame size: 18 3/4 x 14 15/16 inches (47.6 x 37.9 cm)
Watermark: christogram Hollstein #9 first state (of two)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Heraldry - Plate I. (A page from "The Popular Encyclopedia," edited by Charles Annandale and published by Blackie & Son, Ltd, London, Glasgow, Edinburgh & New York), ca. 1892
Engraving
Paper size: 9 5/8 x 6 3/4 inches (24.5 x 17 cm)
Frame size: 11 7/8 x 9 3/4 inches (30.2 x 24.8 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Unknown
Heraldry - Plate I. (A page from "The Popular Encyclopedia," edited by Charles Annandale and published by Blackie & Son, Ltd, London, Glasgow, Edinburgh & New York), ca. 1892
Engraving
Paper size: 9 5/8 x 6 3/4 inches (24.5 x 17 cm)
Frame size: 11 7/8 x 9 3/4 inches (30.2 x 24.8 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Unknown
Heraldry - Plate I. (A page from "The Popular Encyclopedia," edited by Charles Annandale and published by Blackie & Son, Ltd, London, Glasgow, Edinburgh & New York), ca. 1892
Engraving
Paper size: 9 5/8 x 6 3/4 inches (24.5 x 17 cm)
Frame size: 11 7/8 x 9 3/4 inches (30.2 x 24.8 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
"Couple reading a book" and "Couple facing a window" (Two of the plates of the set of nine illustrations of the book by Johann Jakob Dusch entitled "Geschichte Carl Ferdiner (Histoire de Carl Ferdiner), Breslau and Leipzig"), ca. 1777 – 1780
Engraving
Image size (each): 4 5/8 x 2 1/2 inches (11.7 x 6.4 cm)
Paper size: 5 1/4 x 8 inches (13.3 x 20.3 cm)
Frame size: 7 1/2 x 10 1/4 inches (19.1 x 26 cm)
Numbered 189 and 190 in pen and brown ink in the lower corners

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Daniel Nicolaus Chodowiecki
"Couple reading a book" and "Couple facing a window" (Two of the plates of the set of nine illustrations of the book by Johann Jakob Dusch entitled "Geschichte Carl Ferdiner (Histoire de Carl Ferdiner), Breslau and Leipzig"), ca. 1777 – 1780
Engraving
Image size (each): 4 5/8 x 2 1/2 inches (11.7 x 6.4 cm)
Paper size: 5 1/4 x 8 inches (13.3 x 20.3 cm)
Frame size: 7 1/2 x 10 1/4 inches (19.1 x 26 cm)
Numbered 189 and 190 in pen and brown ink in the lower corners

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
A Piece by Shumann (Un Morceau de Schumann), 1864
Etching on laid paper
Beraldi 67; I.f.f. 166 third (final) state: Hédiard-Mason third (final) state (now correctly known as the fourth state of five) Plate size: 7 5/16 x 10 7/8 inches (18.6 x 27.6 cm)
Paper size: 10 5/8 x 13 7/16 inches (27 x 34.1 cm)
Frame size: 13 x 15 3/4 inches (33 x 40 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Henri Fantin-Latour
A Piece by Shumann (Un Morceau de Schumann), 1864
Etching on laid paper
Beraldi 67; I.f.f. 166 third (final) state: Hédiard-Mason third (final) state (now correctly known as the fourth state of five) Plate size: 7 5/16 x 10 7/8 inches (18.6 x 27.6 cm)
Paper size: 10 5/8 x 13 7/16 inches (27 x 34.1 cm)
Frame size: 13 x 15 3/4 inches (33 x 40 cm)

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Prophet Daniel (from a series of 72 studies after figures of the Sistine Chapel by Michelangelo Buonarroti), ca. 1563-1565
Engraving
Paper size: 5 3/4 x 4 inches (14.5 x 10.5 cm)
Frame size: 7 7/8 x 6 1/2 inches (20 x 16.5 cm)
Monogrammed lower left recto in the plate, titled lower center recto in the plate, and numbered lower right recto in the plate

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Adamo Scultori
Prophet Daniel (from a series of 72 studies after figures of the Sistine Chapel by Michelangelo Buonarroti), ca. 1563-1565
Engraving
Paper size: 5 3/4 x 4 inches (14.5 x 10.5 cm)
Frame size: 7 7/8 x 6 1/2 inches (20 x 16.5 cm)
Monogrammed lower left recto in the plate, titled lower center recto in the plate, and numbered lower right recto in the plate

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
Plate CCXCI., ca. 1817
Engraving
Paper size: 10 7/8 x 8 1/4 inches (27.5 x 21 cm)
Frame size: 13 1/8 x 10 5/8 inches (33.3 x 27 cm)
Signed in the plate lower right recto, "W. Charles"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
William Charles Heraldry
Plate CCXCI., ca. 1817
Engraving
Paper size: 10 7/8 x 8 1/4 inches (27.5 x 21 cm)
Frame size: 13 1/8 x 10 5/8 inches (33.3 x 27 cm)
Signed in the plate lower right recto, "W. Charles"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
William Charles Heraldry
Plate CCXCI., ca. 1817
Engraving
Paper size: 10 7/8 x 8 1/4 inches (27.5 x 21 cm)
Frame size: 13 1/8 x 10 5/8 inches (33.3 x 27 cm)
Signed in the plate lower right recto, "W. Charles"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
William Charles Heraldry
Plate CCXCI., ca. 1817
Engraving
Paper size: 10 7/8 x 8 1/4 inches (27.5 x 21 cm)
Frame size: 13 1/8 x 10 5/8 inches (33.3 x 27 cm)
Signed in the plate lower right recto, "W. Charles"

Current installation dimensions: 86 x 118 inches (218.4 x 299.7 cm)
(Inventory #34971)
“Lines in Four Directions over 450 Years” explores the conceptual, formal, and social aspects of one particular technique from a contemporary perspective. As such, the collection of 28 works by 26 artists hang together on one wall as the latest iteration of Krakow Witkin Gallery’s “One Wall, One Work.” The unifying characteristic in the group is “hatching,” a technique used in Western drawing and printmaking mostly from the 1300’s and on. Hatching uses closely spaced parallel lines and, traditionally, it provides an image with depth, shade, and/or tone. “Crosshatching” uses another set of parallel lines which overlap or cross the hatching to provide further variations in shading. In the late 1960’s, Sol LeWitt used the technique of crosshatching and isolated it from its illustrative purpose. This provided him a visual vocabulary with endless and powerful iterative potential. With LeWitt’s work as inspiration, Krakow Witkin Gallery’s presentation explores differences between artists, techniques, and time periods, all while highlighting issues of equality, innovation, power, and space.
The collection began by putting the above works together and then spending the next few years slowly assembling a family of works that could live together and expand on the works’ conversations, both visually and conceptually. The full list of artists included are George Aikman, Cherubino Alberti, Cornelis Bloemaert, Louis Jacques Cathelin, William Charles, Daniel Nicolaus Chodowiecki, Robert Cottingham, Henri Fantin-Latour, Gego, Pieter Holdsteijn the Younger, William Hogarth, Käthe Kollwitz, Sol LeWitt, Mortimer Menpes, Thomas Milton, Crispin De Passe the Younger, Martin Puryear, Guido Reni, Adamo Scultori, Diana Scultori, Kiki Smith, Henry Ossawa Tanner, David Teniers the Younger, and Jacques Villon, along with two that are unidentified at the present time.
Download the PDF of this project here
The Conversation
62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.
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Information Request (Inquiry)
62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.

62 x 72 x 3 1/4 inches (157.5 x 182.9 x 8.3 cm)
Signed, titled, and dated top left on reverse
(Inventory #34061)
Exhibited October 22, 2022 – December 17, 2022
Two small toy figurines sit, off to the left, on a long shelf, seemingly in repose or perhaps in mid-conversation. The shelf runs the full width of a white painter’s canvas that has been painted with large swirls of black. Are the figures, dressed in painter’s white, the creators of the circular marks or are they part of the “imagery”? To further complicate the scenario, embedded in the paint and on the shelf, are chairs, some wooden letters, a spoon, a silver ball and various other elements, all small in size, but varying in their specific scales. No linear narrative seems possible and yet the entire composition keeps a viewer looking and questioning. Porter suggests that absurdity can actually be the key to let one think deeply and she has been doing just that for the sixty years of her long and storied arc as an artist.
Liliana Porter (b. Argentina, 1941, resides in New York since 1964) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries. Recent solo shows include those at El Museo de Barrio in New York City; The Perez Art Museum in Miami; Savannah College of Art and Design in Savannah, GA; El Museo Nacional de Artes Visuales in Montevideo; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; and Museo de Arte de Zapopan in Guadalajara, Mexico. Porter’s work was featured in the traveling exhibition, “Radical Women: Latin American Art, 1960 – 1985,” at the Brooklyn Museum, NY and the Hammer in Los Angeles, CA. In 2017, Porter’s work was included in “Viva Arte Viva, La Biennale di Venezia, 57th International Art Exhibition” in Venice, Italy. Additionally, her work has been exhibited at El Museo Tamayo, México DF; the Blanton Museum of Art, Austin, TX; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museo de Arte Latinoamericano, Buenos Aires, Argentina; and in New York at the Museum of Modern Art, the Whitney Museum of American Art, and the New Museum. The artist’s works are held in public and private collections, among them are Tate Modern, London; Museo Nacional de Bellas Artes Buenos Aires; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Museo de Bellas Artes de Santiago; Metropolitan Museum of Art, NY; Guggenheim Museum of Art, NY; Smithsonian American Art Museum, Washington, DC; Fogg Art Museum at Harvard University, Cambridge; Museo de Arte Moderno de Bogota, Museum of Fine Art, Houston; Museum of Modern Art, NY; Whitney Museum of American Art, NY; and the Daros Latinamerica Collection Zürich.
The Address Book
Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.
Information Request

Information Request (Inquiry)
Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.

Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.

Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.

Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.

Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.

Edition of 45
Print size (approximately): 15 x 12 1/2 inches each (38.1 x 31.75 cm each)
Sleeve size: 14 7/8 x 11 3/8 inches each (37.8 x 29 cm each)
Binder size: 15 1/2 x 14 x 1 3/4 inches (39.4 x 35.5 x 4.4 cm)
Signed and dated lower right, numbered lower left on second row, last sheet colophon
(Inventory #31881)
Exhibited September 10, 2022 – October 15, 2022
“A remarkably poignant and tender portrait of a man she would never meet.”
Mary Kaye Schilling
“I found an address book on the Rue des Martyrs.
I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” I’ll ask them to tell me about the owner of the address book, whose name I’ll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him, and I will try to produce a portrait of him over an undetermined length of time that will depend on the willingness of his friends to talk about him—and on the turns taken by the events.
This project will be published daily in Libération. I have to turn my texts in three days before each publication.
The man’s name is Pierre D.”
Sophie Calle, “Libération”, Tuesday, August 2, 1983
Originally published as a serial in the newspaper, “Libération,” over the course of one month, Calle’s incisive written accounts with friends, family, and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusiveness of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death, which he accepted, and thus, only in 2009 did Calle create the work that is currently on exhibition. The project presented consists of images of each episode as it was laid out in the newspaper, but now absent of all surrounding context. The stories are isolated except by three additional objects. Exhibited to one side of the narratives is a sculptural, five-color lithograph with book cloth that references the physical object of the address book. On the other side are a blind-embossed (the numbers are visible but un-inked) list of all the interviewee’s addresses and a crisply etched, textual portrait summarizing the collective portrait of Pierre D. as described by the interviewees/entries in the address book. The exhibited project is a poetic collection both visually and textually, documenting a process of discovery that drifts between anonymity, transparency, presence, and dislocation.
Untitled
Edition of 50
Paper size: 38 x 46 1/4 inches (96.5 x 117.5 cm)
Frame size: 41 1/8 x 49 1/2 inches (104.5 x 125.7 cm)
Signed and dated lower right and numbered lower left in graphite
(Inventory #33959)
Exhibited June 4, 2022 – August 5, 2022
In 2000, Robert Gober created this large-scale stone lithograph. The imagery is of a dictionary page showing the juxtaposition of such entries as “betoken” (to give evidence of”) “betray” (to lead astray), and “betroth” (to promise to marry or give in marriage), but this is not a photographic reproduction. The drawing of the imagery (text, at an angle, selectively cropped) is noticeable upon careful viewing and thus Gober leads a viewer on a journey about fact, fiction, humanity, society and authority. Are all the definitions accurate? Is there a dictionary with these words, so loaded in meaning in their juxtaposition? What words has the artist left out? The questions mount as one looks closer. Questioning definitions and pondering order are important themes for Gober and for the viewer.
Information Request

Information Request (Inquiry)
Edition of 50
Paper size: 38 x 46 1/4 inches (96.5 x 117.5 cm)
Frame size: 41 1/8 x 49 1/2 inches (104.5 x 125.7 cm)
Signed and dated lower right and numbered lower left in graphite
(Inventory #33959)
Exhibited June 4, 2022 – August 5, 2022
In 2000, Robert Gober created this large-scale stone lithograph. The imagery is of a dictionary page showing the juxtaposition of such entries as “betoken” (to give evidence of”) “betray” (to lead astray), and “betroth” (to promise to marry or give in marriage), but this is not a photographic reproduction. The drawing of the imagery (text, at an angle, selectively cropped) is noticeable upon careful viewing and thus Gober leads a viewer on a journey about fact, fiction, humanity, society and authority. Are all the definitions accurate? Is there a dictionary with these words, so loaded in meaning in their juxtaposition? What words has the artist left out? The questions mount as one looks closer. Questioning definitions and pondering order are important themes for Gober and for the viewer.

Edition of 50
Paper size: 38 x 46 1/4 inches (96.5 x 117.5 cm)
Frame size: 41 1/8 x 49 1/2 inches (104.5 x 125.7 cm)
Signed and dated lower right and numbered lower left in graphite
(Inventory #33959)
Exhibited June 4, 2022 – August 5, 2022
In 2000, Robert Gober created this large-scale stone lithograph. The imagery is of a dictionary page showing the juxtaposition of such entries as “betoken” (to give evidence of”) “betray” (to lead astray), and “betroth” (to promise to marry or give in marriage), but this is not a photographic reproduction. The drawing of the imagery (text, at an angle, selectively cropped) is noticeable upon careful viewing and thus Gober leads a viewer on a journey about fact, fiction, humanity, society and authority. Are all the definitions accurate? Is there a dictionary with these words, so loaded in meaning in their juxtaposition? What words has the artist left out? The questions mount as one looks closer. Questioning definitions and pondering order are important themes for Gober and for the viewer.

Edition of 50
Paper size: 38 x 46 1/4 inches (96.5 x 117.5 cm)
Frame size: 41 1/8 x 49 1/2 inches (104.5 x 125.7 cm)
Signed and dated lower right and numbered lower left in graphite
(Inventory #33959)
Exhibited June 4, 2022 – August 5, 2022
In 2000, Robert Gober created this large-scale stone lithograph. The imagery is of a dictionary page showing the juxtaposition of such entries as “betoken” (to give evidence of”) “betray” (to lead astray), and “betroth” (to promise to marry or give in marriage), but this is not a photographic reproduction. The drawing of the imagery (text, at an angle, selectively cropped) is noticeable upon careful viewing and thus Gober leads a viewer on a journey about fact, fiction, humanity, society and authority. Are all the definitions accurate? Is there a dictionary with these words, so loaded in meaning in their juxtaposition? What words has the artist left out? The questions mount as one looks closer. Questioning definitions and pondering order are important themes for Gober and for the viewer.
Locations
Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.
Information Request

Information Request (Inquiry)
Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.

Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.

Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.

Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.

Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.

Edition of 90
Overall size: 14 7/8 x 10 5/8 x 4 7/8 inches (37.8 x 27 x 12.4 cm)
Signed and numbered in blue ball-point pen on a label affixed to the reverse of the wood sculptural container
(Inventory #32014)
Exhibited April 23, 2022 – June 1, 2022
Richard Artschwager’s work, “Locations” from 1969, utilizes his blp (pronounced “blip”) form that is lozenge-shaped and acts like a physical punctuation mark in space. Each of the blps in “Locations” is a different size, in varied proportions and vastly disparate materials (Formica, mirror, Plexiglas, wood, and/or horsehair). Seemingly familiar (after looking at the same sort of form six times, how can it not be?), “Locations” is a Minimalist icon as well as being confounding. A visual, rhyming mystery that, when taken as a whole, is both a uniform display and a polyphonic experience. Furthermore, by Artschwager deeming the work entirely open-ended in how/where the various elements can be arranged, a viewer can recognize the artist’s focus on eliminating hierarchies.
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)
Exhibited January 13, 2022 – April 14, 2022
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

Information Request (Inquiry)
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)
Exhibited January 13, 2022 – April 14, 2022
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)
Exhibited January 13, 2022 – April 14, 2022
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)
Exhibited January 13, 2022 – April 14, 2022
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)
Exhibited January 13, 2022 – April 14, 2022
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)
Exhibited January 13, 2022 – April 14, 2022
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)
Exhibited January 13, 2022 – April 14, 2022
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)
Exhibited January 13, 2022 – April 14, 2022
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.
Exhibited November 6, 2021 – December 18, 2021
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.
Exhibited November 6, 2021 – December 18, 2021
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

Information Request (Inquiry)
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)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.
Information Request

Information Request (Inquiry)
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)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.

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)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.

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)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.
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
The work of Peter Downsbrough (b. 1940, New Jersey, lives in Brussels) utilizes absence, edits, lines, space and words in architectural settings in order to further an observer’s experience of space, time and continuity. Since the 1960’s, Downsbrough’s work has meandered around, between and within architecture, Minimalism, conceptual art and visual poetry. His works take many forms, from architectural interventions to books, films, installation, multiples, prints, sculptures and more. “The word for me is an object,” he has said.
For Krakow Witkin Gallery’s One Wall, One Work, Downsbrough has created “OR”, a four part sculpture that utilizes the space between and among the elements as much as the metal parts, themselves. Over the years, he’s exhibited in numerous museums, galleries, and outdoor sites, mainly in Europe. In 2003, he was honored with a retrospective in Brussels, at the Palais des Beaux-Arts. This exhibition, curated by Marie-Thérèse Champesme, later traveled to Espace de l’Art Concret in Mouans-Sartoux, France (2003–04), and to the Muzeum Sztuki in Lódz, Poland (2004). He has published over 100 artist books, been in over 50 museum exhibitions and is in many public and private collections including Museum of Modern Art, New York, The Tate, London, SMAK, Stedelijk Museum voor Aktuele Kunst, Gent, Rose Art Museum, Waltham, along with more than forty other collections. The Centre national d’Art et de Culture Georges Pompidou, Paris has recently acquired a significant early sculpture from 1967.
Information Request

Information Request (Inquiry)
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
The work of Peter Downsbrough (b. 1940, New Jersey, lives in Brussels) utilizes absence, edits, lines, space and words in architectural settings in order to further an observer’s experience of space, time and continuity. Since the 1960’s, Downsbrough’s work has meandered around, between and within architecture, Minimalism, conceptual art and visual poetry. His works take many forms, from architectural interventions to books, films, installation, multiples, prints, sculptures and more. “The word for me is an object,” he has said.
For Krakow Witkin Gallery’s One Wall, One Work, Downsbrough has created “OR”, a four part sculpture that utilizes the space between and among the elements as much as the metal parts, themselves. Over the years, he’s exhibited in numerous museums, galleries, and outdoor sites, mainly in Europe. In 2003, he was honored with a retrospective in Brussels, at the Palais des Beaux-Arts. This exhibition, curated by Marie-Thérèse Champesme, later traveled to Espace de l’Art Concret in Mouans-Sartoux, France (2003–04), and to the Muzeum Sztuki in Lódz, Poland (2004). He has published over 100 artist books, been in over 50 museum exhibitions and is in many public and private collections including Museum of Modern Art, New York, The Tate, London, SMAK, Stedelijk Museum voor Aktuele Kunst, Gent, Rose Art Museum, Waltham, along with more than forty other collections. The Centre national d’Art et de Culture Georges Pompidou, Paris has recently acquired a significant early sculpture from 1967.

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
The work of Peter Downsbrough (b. 1940, New Jersey, lives in Brussels) utilizes absence, edits, lines, space and words in architectural settings in order to further an observer’s experience of space, time and continuity. Since the 1960’s, Downsbrough’s work has meandered around, between and within architecture, Minimalism, conceptual art and visual poetry. His works take many forms, from architectural interventions to books, films, installation, multiples, prints, sculptures and more. “The word for me is an object,” he has said.
For Krakow Witkin Gallery’s One Wall, One Work, Downsbrough has created “OR”, a four part sculpture that utilizes the space between and among the elements as much as the metal parts, themselves. Over the years, he’s exhibited in numerous museums, galleries, and outdoor sites, mainly in Europe. In 2003, he was honored with a retrospective in Brussels, at the Palais des Beaux-Arts. This exhibition, curated by Marie-Thérèse Champesme, later traveled to Espace de l’Art Concret in Mouans-Sartoux, France (2003–04), and to the Muzeum Sztuki in Lódz, Poland (2004). He has published over 100 artist books, been in over 50 museum exhibitions and is in many public and private collections including Museum of Modern Art, New York, The Tate, London, SMAK, Stedelijk Museum voor Aktuele Kunst, Gent, Rose Art Museum, Waltham, along with more than forty other collections. The Centre national d’Art et de Culture Georges Pompidou, Paris has recently acquired a significant early sculpture from 1967.
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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium.
Barry’s works are in, one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
The text in the new untitled work has a good number of words yet has no one specific narrative or point of departure. Barry has dispersed the words across, over and beyond the surfaces. Words such as “UNLIKE” and “SOMEHOW” give general feelings to the art, but don’t define it. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words to think about what the relationships may be.
The reflective quality of the black mirrors reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others.Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.
Information Request

Information Request (Inquiry)
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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium.
Barry’s works are in, one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
The text in the new untitled work has a good number of words yet has no one specific narrative or point of departure. Barry has dispersed the words across, over and beyond the surfaces. Words such as “UNLIKE” and “SOMEHOW” give general feelings to the art, but don’t define it. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words to think about what the relationships may be.
The reflective quality of the black mirrors reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others.Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium.
Barry’s works are in, one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
The text in the new untitled work has a good number of words yet has no one specific narrative or point of departure. Barry has dispersed the words across, over and beyond the surfaces. Words such as “UNLIKE” and “SOMEHOW” give general feelings to the art, but don’t define it. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words to think about what the relationships may be.
The reflective quality of the black mirrors reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others.Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium.
Barry’s works are in, one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
The text in the new untitled work has a good number of words yet has no one specific narrative or point of departure. Barry has dispersed the words across, over and beyond the surfaces. Words such as “UNLIKE” and “SOMEHOW” give general feelings to the art, but don’t define it. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words to think about what the relationships may be.
The reflective quality of the black mirrors reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others.Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium.
Barry’s works are in, one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
The text in the new untitled work has a good number of words yet has no one specific narrative or point of departure. Barry has dispersed the words across, over and beyond the surfaces. Words such as “UNLIKE” and “SOMEHOW” give general feelings to the art, but don’t define it. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words to think about what the relationships may be.
The reflective quality of the black mirrors reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others.Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium.
Barry’s works are in, one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.
The text in the new untitled work has a good number of words yet has no one specific narrative or point of departure. Barry has dispersed the words across, over and beyond the surfaces. Words such as “UNLIKE” and “SOMEHOW” give general feelings to the art, but don’t define it. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words to think about what the relationships may be.
The reflective quality of the black mirrors reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.
Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others.Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.

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 #30392)
Exhibited September 21, 2019 – November 2, 2019
Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed