One Wall, One Work Archive
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.
Information Request

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
