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764 results for

HOR_Group III:1 (Space Buttress) — Roni Horn

Group III:1 (Space Buttress), 1984

HOR_Group III:2 (Space Buttress) — Roni Horn

Group III:2 (Space Buttress), 1983–84

HOR_Group III:3 (Space Buttress) 1983–85 — Roni Horn

Group III:3 (Space Buttress), 1983–85

Red-brown arrangement of metal resting on wooden block. — John Chamberlain

H. and S. Roth, 1959 c.

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Hamptonwick, 1843

A black structure that resembles an upside-down U-shape with a leather-like overlay is suspended from a wire. — Louise Bourgeois

Hanging Janus with Jacket, 1968

Square, beige, framed painting with horizontal, pale orange and pale blue stripes at center. — Agnes Martin

Happiness, 1999

The words — Walter De Maria

Hard Core, 1969

A crumpled-and-folded, white, metallic object with red details rests on a wooden floor in front of a white background. — John Chamberlain

Hidden Face, 1962

A vertically oriented sculpture with three standing sections made of multicolored metal parts rests on a wooden floor. — John Chamberlain

Hit Height Lear, 1979

HOL_Holes of Light_Dia:Chelsea — Nancy Holt

Holes of Light, 1973

Placeholder — Jervis McEntee, Nineteenth Century American Drawings

Hudson River at Oak Hill, 1858

Dan Flavin

icon VII (via crucis), 1962–64

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SON_In Between, 1968 — Keith Sonnier

In Between, 1968

A gray, round sculpture sits on a concrete floor in front of brick wall. — Louise Bourgeois

Inner Ear, 1962

Square, white, framed painting with four evenly spaced, horizontal, light blue stripes. — Agnes Martin

Innocent Happiness, 1999

Square, framed painting with seven alternating horizontal bands of pale yellow, blue, and gray. — Agnes Martin

Innocent Living, 1999

Square, framed painting with five alternating horizontal bands of light gray and pale blue. — Agnes Martin

Innocent Love, 1999

Riley, Interrupted Circle, 1963 — Bridget Riley

Interrupted Circle, 1963

Placeholder — Carl Andre

Inverted Henge (Meditation on the Year 1960), 1971

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Iona Island, 1857

Placeholder — John Chamberlain

It Ain't Cheap, 1965

A black canvas with centered white sans-serif type that reads — On Kawara

JAN. 1, 1993, 1993

A navy-blue canvas with centered white sans-serif type that reads — On Kawara

JAN. 21, 1982, 1982

A charcoal gray canvas with centered white sans-serif type that reads — On Kawara

JAN. 28, 1987, 1987

A black structure that resembles an upside-down U-shape with a leather-like overlay is suspended from a wire. — Louise Bourgeois

Janus, 1968

A black structure that resembles an upside-down U-shape with a leather-like overlay is suspended from a wire. — Louise Bourgeois

Janus in Leather Jacket, 1968

A crumpled ball-like sculpture made from reflective silvery green metal parts rests on a wooden floor. — John Chamberlain

Joe and Mary, 1973

A black canvas with centered white sans-serif type that reads — On Kawara

JUNE 16, 1966, 1966

A black canvas with centered white sans-serif type that reads — On Kawara

JUNE 7, 1994, 1994

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

Kensett, Killarney, 1856 — John Frederick Kensett, Nineteenth Century American Drawings

Killarney, 1856

A vertically oriented sculpture made of red, white, and silver-striped red metal parts rests on a wooden floor. — John Chamberlain

King King Minor, 1982

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Kingston, 1857

Maroon diamond with central grid of overlaid blue, sparkly silver, and black squares. — John Chamberlain

Kinks, 1965

Placeholder — John Chamberlain

Kiss, 1974 c.

Palermo, Kleiner Geist, 1962 — Blinky Palermo

Kleiner Geist, 1962

Placeholder — Blinky Palermo

Koepfe fuer Iris-Jasmin (2 Heads for Iris-Jasmin), 1963

DAR_Installation view 2 2016 crop — Hanne Darboven

Kulturgeschichte 1880–1983, 1980–83

A rectangular silver form with various appendages rests on a white surface. — Louise Bourgeois

La Patte, 1965

A bronze tower curves upward and rests on a white surface. — Louise Bourgeois

Labyrinthine Tower, 1962

A white tower of concentric rings that diminish in size rests on a dark surface. — Louise Bourgeois

Lair, 1962

A roughly spherical, white, plaster form with irregular gaps rests on a gray surface. — Louise Bourgeois

Lair, 1962

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Lake George, 1858

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Lake George, 1858

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Lake George, 1858

Shattuck, Lake George, 1858 — Aaron Draper Shattuck, Nineteenth Century American Drawings

Lake George, 1858

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Lake of Albano, 1846

Folded, metallic form. — John Chamberlain

Le Molé, 1971

Gifford, Leander's Tower-Bosphorus, 1869 — Sanford Robinson Gifford, Nineteenth Century American Drawings

Leander's Tower-Bosphorus, 1869

A mound of sand on a concrete floor with a rectangular mirror sticking out of it. — Robert Smithson

Leaning Mirror, 1969

Placeholder — Blinky Palermo

Liegender Akt mit Schwarzer Wolke, 1963

Placeholder — Meg Webster

Lifted Conical Depression, 1990

Placeholder — Bernd and Hilla Becher

Lime Kilns, Jemelle, Belgium, 1996

Placeholder — Bernd and Hilla Becher

Lime Kilns, Jemelle, Belgium, 1996

Placeholder — Bernd and Hilla Becher

Lime Kilns, Kaltestal, Harz Mountains, Germany, 1997

Placeholder — Bernd and Hilla Becher

Lime Kilns, Kaltestal, Harz Mountains, Germany, 1997

Placeholder — Bernd and Hilla Becher

Lime Kilns, Marche-les-Dames, Belgium, 1996

Black-and-white photograph of two interconnected towers atop a smaller building and below an open-air tiered structure within a larger industrial setting. — Bernd and Hilla Becher

Lime Kilns, near Diez/Lahn, Germany, 1992

Black-and-white photograph of a windowless building below eight cylindrical towers, topped with scaffolding and tall ventilation tubes within a larger industrial complex. — Bernd and Hilla Becher

Lime Kilns, Rübeland, Harz Mountains, Germany, 1997

Six sheets of creased paper are evenly spaced along the horizon of two white walls and an open doorway. — Dorothea Rockburne

Locus, 1972

Folded, beige, foam form. — John Chamberlain

Lop Nor, 1967

Square, framed painting with six alternating horizontal bands of pale yellow and blue. — Agnes Martin

Love, 1999

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Lovely Golden Meadow, 1859

Placeholder — John Chamberlain

Lovin' Spoonful, 1965

A crumpled ball-like sculpture made of reflective silvery green metal rests on a wooden floor. — John Chamberlain

Lucy and Ricky, 1973

An oblong red, white, and silver sculpture made of metal is placed in a white and brick room. — John Chamberlain

Luftschloss, 1979

Glass, prism-like mass with blue hues. — John Chamberlain

Luna, Luna, Luna (In Memory of Elaine Chamberlain), 1970

Two rectangular metal sheets lie flat across the tops of eight vertical metal poles. — Louise Bourgeois

Maisons Fragiles, 1978

Light-green arrangment of metal with green and red markings resting on steel plates. — John Chamberlain

Manitou, 1959

Smithson, Map of Broken Clear Glass (Atlantis), 1969 — Robert Smithson

Map of Broken Clear Glass (Atlantis), 1969

Large industrial space under green light with projection screens serving as walls, displaying images of a small room containing various debris including furniture. — Bruce Nauman

Mapping the Studio I (Fat Chance John Cage), 2001

HOR_Mass Removal III — Roni Horn

Mass Removal III, 1982–83

A black canvas with centered white sans-serif type that reads — On Kawara

MAY 22, 1979, 1979

A black canvas with centered white sans-serif type that reads — On Kawara

MAY 25, 1970, 1970

A black canvas with centered white sans-serif type that reads — On Kawara

MAY 9, 1985, 1985

A square black board is painted nearly to the edges with small, rough strokes of white paint. — Robert Ryman

Measure, 1987

A square sheet of cream-colored paper painted off-white is taped to a white wall at the top and bottom edges. The edges are unpainted. — Robert Ryman

Medway, 1968 c.

A stack of twenty-seven bronze blocks of different sizes rests above a thin stainless-steel platform. — Louise Bourgeois

Memling Dawn, 1951

Placeholder — John Chamberlain

Memorial to Lost Souls at Sea, 1980–81

Placeholder — Imi Knoebel

Mennigebild A1, 1976/2017

Placeholder — Imi Knoebel

Mennigebild A2 (für Palermo), 1976/2017

Placeholder — Imi Knoebel

Mennigebild A3, 1976/2017

Placeholder — Imi Knoebel

Mennigebild A4, 1976/2017

Placeholder — Imi Knoebel

Mennigebild B5, 1976/2017

Placeholder — Imi Knoebel

Mennigebild C4, 1976/2017

Placeholder — Imi Knoebel

Mennigebild D1, 1976/2017

Placeholder — Imi Knoebel

Mennigebild D2-2, 1976/2017

Placeholder — Imi Knoebel

Mennigeskulptur C7, 1976/2017

Placeholder — Imi Knoebel

Mennigeskulptur D3, 1976/2017

Stump-like, beige foam form resting on multiple, multicolored carpet squares of various sizes. — John Chamberlain

Mesa, 1981

Placeholder — A. J. Davis, Nineteenth Century American Drawings

Millbrook, 1838

Black-and-white photograph of metallic vertical, diagonal, and horizontal trusses and arches across a space. — Bernd and Hilla Becher

Mines of Giraumont, Lorraine, France, 1985

MOU_Monochromes/Samples 2 — Jean-Luc Moulène

Monochromes/Samples 2, 2011

Red fluorescent horizontal tubes hang in the corner of a room. — Dan Flavin

monument 4 for those who have been killed in ambush (to P.K. who reminded me about death), 1966

Placeholder — Meg Webster

Mother Mound, 1990

Placeholder — Meg Webster

Mound, 1988

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Mountain Study, 1858

ROC_Mozart and Mozart Upside Down and Backwards — Dorothea Rockburne

Mozart and Mozart Upside Down and Backwards, 1985–86

Shattuck, Mt. Desert — Aaron Draper Shattuck, Nineteenth Century American Drawings

Mt. Desert "August 31, 1858", 1858

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Mt. Desert "September 6, 1858", 1858

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Mt. Desert, Ironbound Island, 1858

Placeholder — Frank Anderson, Nineteenth Century American Drawings

Mt. St. Gabriel, 1878

Lutter, Nabisco Factory, Beacon VI: October 21-December 22, 1999, 1999 — Vera Lutter

Nabisco Factory, Beacon VI: October 21-December 22, 1999, 1999

Shattuck, Near Iona Island, 1857 — Aaron Draper Shattuck, Nineteenth Century American Drawings

Near Iona Island, 1857

Placeholder — Meg Webster

Nearest Forest Soil, 1987

A large gray-brown rock sits upright in a rectangular cutout of a white wall. — Michael Heizer

Negative Megalith #5, 1998

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Niagara Falls, 1852 c.

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Niagara Falls Scene (?), 1852 c.

A crumpled sculpture made of black metal rests on a wooden floor. — John Chamberlain

Norma Jean Risen, 1967/1984

A wall-like, rectangular, dark sculpture with two vertical seams is centered on a wooden floor in front of a square white wall. — Anne Truitt

North, 1963

Heizer, Drawing for North, East, South, West, 1999 — Michael Heizer

North, East, South, West, 1999

A black canvas with centered white sans-serif type that reads — On Kawara

NOV. 20, 1969, 1969

A black canvas with centered white sans-serif type that reads — On Kawara

NOV. 3 1989, 1989

HOR_Object of Constancy — Roni Horn

Object of Constancy, 1980

A black canvas with centered white sans-serif type that reads — On Kawara

OCT. 13, 1973, 1973

A navy-blue canvas with centered white sans-serif type that reads — On Kawara

OCT.11, 1980, 1980

Placeholder — Henry Farrer, Nineteenth Century American Drawings

On the Long Island Sound, 1890 c.

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

On the Winooski River, Vermont, 1856–60 c.

Placeholder — Carl Andre

one hundred sonnets, 1963

Green stenciled text placed high on a white wall reads: — Lawrence Weiner

ONE QUART EXTERIOR GREEN INDUSTRIAL ENAMEL THROWN ON A BRICK WALL, 1968

Placeholder — Alighiero e Boetti

Opera Postale, 1980

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

Opposite West Point, 1857

ROC_Oxymoron 1987–88 — Dorothea Rockburne

Oxymoron, 1987–88

Small aluminum tower on left side of an aluminum platform. — Walter De Maria

Palladio, 1966

Black-and-white photograph of outdoor tiered metal structure with multilevel railings and walkways and large cylindrical pipes connecting to other structures. — Bernd and Hilla Becher

Partial View of Blast Furnace, Duisburg-Bruckhausen, Germany, 1991

Black-and-white photograph of a factory setting with numerous sets of pipes, support beams, and staircases. — Bernd and Hilla Becher

Partial View of Blast Furnace, Rombas, Lorraine, France, 1992

Black-and-white photograph of a tiered metal structure with tubes, railings, and a staircase surrounding a blast furnace. — Bernd and Hilla Becher

Partial View of Blast Furnace, Uckange, Lorraine, France, 1992

Black-and-white photograph of a tiered metal structure with railings, platforms, and diagonal support beams. — Bernd and Hilla Becher

Partial View of Blast Furnace, Unterwellenborn, Thüringen, Germany, 1991

Black-and-white photograph of a multilevel factory interior with platforms, staircases, railings, and a metal support structure surrounding a blast furnace. — Bernd and Hilla Becher

Partial View of Blast Furnace, Unterwellenborn, Thüringen, Germany, 1991

Close-up black-and-white photograph of a gas tank, showing geometric external ladders, staircases, and metal beams. — Bernd and Hilla Becher

Partial View of Gas Tank, Coal Mine "Anna," Alsdorf/Aachen, Germany, 1992

Black-and-white photograph of pipes, shafts, ladders, grills, lattices, and other factory parts, emphasizing diagonal, vertical, and horizontal intersections of items. — Bernd and Hilla Becher

Partial View of Lime Plant, Dugny/Verdun, France, 1992

Placeholder — Bernd and Hilla Becher

Partial View of Lime Plant, Dugny/Verdun, France, 1992

Black-and-white photograph of a corner of a brick building's exterior featuring a lattice of vertical, horizontal, and diagonal metal beams affixed to the brick. — Bernd and Hilla Becher

Partial View of Preparation Plant, coal Mine, Waterschei, Belgium, 1988

Black-and-white photograph of two building structures on stilts above a pool of liquid flanking an open central passageway filled with sets of diagonal crossbeams extending into the background. — Bernd and Hilla Becher

Partial View of Water Cooler, Coal Mine "Anna," Alsdorf/Aachen, Germany, 1992

Black-and-white photograph of a brick building behind a massive set of intersecting vertical and diagonal metal trusses and four metal pipes suspended from the building in mid-air. — Bernd and Hilla Becher

Partial View of Winding Tower, Coal Mine "Amalie," Bochum-Werne, Germany, 1968

Black-and-white photograph of brick factory building featuring an open-air diagonal metal support structure and an aboveground upper-story brick passageway. — Bernd and Hilla Becher

Partial view of Winding Tower, Coal Mine "Friedrich Heinrich," Kamp-Lintfort, Germany, 1982

Black-and-white photograph of a glass and brick factory building behind a large metallic scaffolding. — Bernd and Hilla Becher

Partial View of Winding Tower, Coal Mine "Minister Stein," Dortmund, Germany, 1987

Black-and-white photograph of a large vertical tower encased in an open-air metal support structure, outside a rectilinear brick building. — Bernd and Hilla Becher

Partial View of Winding Tower, Coal Mine "Minister Stein," Dortmund, Germany, 1987

Black-and-white photograph, taken at an angle, of the underside of a staircase and other diagonal building supports. — Bernd and Hilla Becher

Partial View of Winding Tower, Coal mine "Minister Stein," Dortmund, Germany, 1991

Black-and-white photograph of a vertical and diagonal metal support structure in front of a brick building. — Bernd and Hilla Becher

Partial View of Winding Tower, Coal Mine, Winterslag, Belgium, 1988

Crushed pink and light brown paper streaked with dark brown marks. — John Chamberlain

Penthouse #46, 1969

Crushed gold-colored paper with dark brown marks at top and pink spots in the middle. — John Chamberlain

Penthouse #47, 1969

Crushed gold-colored paper streaked with dark brown marks and pink dots. — John Chamberlain

Penthouse #48, 1969

Crushed gold-colored paper with dark brown marks. — John Chamberlain

Penthouse #49, 1969

Off-white paper crushed into a cylindrical shape lying on its side. — John Chamberlain

Penthouse #50, 1969

Square, framed painting with thin, horizontal, bluish-white stripes alternating with thick, pale-yellow bands. — Agnes Martin

Perfect Happiness, 1999

Placeholder — Kishio Suga

Perimeter, 1985

A white square hangs on a white wall using four gray bolts and fasteners, affixed to the bottom and top of the work and near the corners. — Robert Ryman

Phoenix, 1979

A box-shaped sculpture made of yellow, blue, and silver metal parts rests on a wooden floor. — John Chamberlain

Pigmeat's E b Bluesong, 1981

A tall, green column is placed on a wooden floor in front of two white walls. — Anne Truitt

Pith, 1969

An off-white square is painted white with two thin parallel horizontal lines drawn in pencil near the center. The letter — Robert Ryman

Place IV, 1998

Fifteen upright, rectangular blocks of speckled granite are bound together with steel wire. The sculpture sits on a concrete floor in front of a brick wall. — Kishio Suga

Placement of Condition, 1973/2016

Becher-BHB-557 — Bernd and Hilla Becher

Plant for Styrofoam Production, Wesseling near Cologne, Germany, 1997

Placeholder — John Chamberlain

Portrait of a Nude with a Chrome Fan, 1979

HOR_Post Work III, 1986–87 — Roni Horn

Post Work III, 1986–87

Whitman, Prune Flat, 1965 — Robert Whitman

Prune Flat, 1965

Placeholder — Dan Flavin

Puerto Rican light (to Jeanie Blake) 2, 1965

A vertically oriented sculpture made of multicolored metal parts rests on a wooden floor. — John Chamberlain

Rainier Falls, 1977

Placeholder — Charlotte Posenenske

Raumteiler Serie E (Partitions Series E), 1967–68/2018

Placeholder — John Chamberlain

Red Drawing with Kline in Mind, 1958

Placeholder — Carl Andre

Redoubt, 1977

GAI_Regression: Drawing #1, Group #2 — Charles Gaines

Regression: Drawings #1–7, Group #2, 1973–74

A long wooden log hangs from a thick rope above a large rectangular steel plate with small rocks sandwiched between the plate and concrete floor. — Lee Ufan

Relatum, 1974/2019

UFA_Relatum 1974/2011 — Lee Ufan

Relatum, 1974/2011

Thousands of tightly arranged, thin steel rods stand upright in a bed of sand on a concrete floor surrounded by three white walls. — Lee Ufan

Relatum (formerly Iron Field), 1969/2019

Seven large rocks rest on beige pillows and are arranged in a loose circle on a concrete floor with a single lightbulb hanging above and a spotlight to the right. — Lee Ufan

Relatum (formerly Language), 1971/2011

Four steel plates bent at 90-degree angles sit on the floor in an open rectangular configuration near two more plates that are situated by gallery corners. — Lee Ufan

Relatum (formerly System), 1969

An aerial-view blueprint illustrates four side-by-side rectangular decks. — Robert Irwin

Rendering for Deck at Dia:Beacon, 1999 c.

A rendering illustrates two mirrored, nearly triangular, orange shapes with black outlines that intersect at their center points. Measurements, a horizontal line drawing, and the workÕs title accompany the shapes. — Robert Irwin

Rendering of "Butterfly" Entrance Gates, Dia Beacon, 2002

A blueprint illustrates two exterior views of a long, two-story building. — Robert Irwin

Rendering of Administration Building, Stand of Hawthornes, 1998

Three renderings of a buildingÕs entrance are marked with measurements and drawn in red, blue, and purple. The workÕs title is listed toward the bottom right corner. — Robert Irwin

Rendering of Dia Beacon Building Entrance, 2001

Irwin, Rendering of Dia:Beacon, c. 1999 — Robert Irwin

Rendering of Dia:Beacon, 1999 c.

A rendering of an entrance to a building is drawn with purple, blue, and yellow. — Robert Irwin

Rendering of entrance building for Dia:Beacon, 2000

An aerial-view blueprint illustrates a rectangular entryway with brick detail. — Robert Irwin

Rendering of entrance building for Dia:Beacon, 2000

An aerial-view blueprint illustrates the edge of an L-shaped building on the right and landscaping on the left. — Robert Irwin

Rendering of forecourt for Dia:Beacon, 2002

Irwin, Rendering of iron gate for Dia:Beacon, 2001–02 — Robert Irwin

Rendering of iron gate for Dia:Beacon, 2001–02

A rendering illustrates two mirrored, nearly triangular, orange shapes with black-and-blue outlines that intersect at their center points. A horizontal line drawing appears beneath the shapes. — Robert Irwin

Rendering of iron gate for Dia:Beacon, 2001

A blueprint illustrates an aerial view of a rectangular deck on the left and a frontal view of a tree-lined courtyard on the right. — Robert Irwin

Rendering of platform with European hornbeam trees for Dia:Beacon, 1999

A blueprint illustrates two interior views of a long, two-story building and its staircases, roll-up doors, and windows. — Robert Irwin

Rendering of South Facing Elevation Nabisco Box Factory, 2000

Four renderings illustrate multiple views of a stairwell drawn with blue, black, and orange with type indicating — Robert Irwin

Rendering of stairway to West Garden, 1999

A blueprint illustrates various rectangular forms representing elevators, windows, doors, and fire exits. — Robert Irwin

Rendering of Visual Axis through Building North, South on Center Post, Dia/Beacon, 2000

A rendering of a stairwell, doors, and windows is drawn in blue, black, and red with type indicating architectural notes. — Robert Irwin

Rendering of West Elevation Additional Window Treatment Entrance/Exits, Garden Staircase, 2000

Irwin, Rendering of West Garden for Dia:Beacon, 2001 — Robert Irwin

Rendering of West Garden for Dia:Beacon, 2001

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Rocky Shore, 1850 c.

A large glass structure sits on a rooftop where people mill about. — Dan Graham

Rooftop Urban Park Project/Two Way Mirror Cylinder Inside Cube, 1981/1991

A round brown and silver metal sculpture in front of a white wall. — John Chamberlain

Royal Ventor, 1967

Placeholder — Joseph Beuys

Sandzeichnungen (Sand drawings), 1978

A room with a window, white walls, and debris scattered across the cement floor. — Richard Serra

Scatter Piece, 1967

Placeholder — Blinky Palermo

Schwarze Blumen, 1962

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

scrapbook, 1860s

Placeholder — Henry Farrer, Nineteenth Century American Drawings

Seaside House, 1880 c.

Square, green-speckled painting overlaid with two 3 x 3 grids of dark orange squares at center left and sparkly red squares at center right. — John Chamberlain

Sensations, 1965

Placeholder — Kishio Suga

Separating Dependence, 1973/2013

A black canvas with centered white sans-serif type that reads — On Kawara

SEPT. 12, 1977, 1977

A black canvas with centered white sans-serif type that reads — On Kawara

SEPT. 8, 1996, 1996

POS Series B Reliefs 1967/2008–11 — Charlotte Posenenske

Series B Reliefs, 1967/2008–11

Posenenske, Series B Reliefs, 1967/2008–11 — Charlotte Posenenske

Series B Reliefs, 1967/2008–11

Posenenske, Series B Reliefs, 1967/2018 — Charlotte Posenenske

Series B Reliefs, 1967/2018

POS Series C Reliefs, 1967/2018 — Charlotte Posenenske

Series C Reliefs, 1967/2018

Posenenske, Series D Vierkantrohre (Square Tubes) [Angular pieces], 1967/2018 — Charlotte Posenenske

Series D Vierkantrohre (Square Tubes) [Angular pieces], 1967/2018

Posenenske, Series D Vierkantrohre (Square Tubes) [Cubic tubes], 1967/2018 — Charlotte Posenenske

Series D Vierkantrohre (Square Tubes) [Cubic tubes], 1967/2018

Posenenske, Series D Vierkantrohre (Square Tubes) [Rectangular tubes], 1967/2018 — Charlotte Posenenske

Series D Vierkantrohre (Square Tubes) [Rectangular tubes], 1967/2018

Posenenske, Series D Vierkantrohre (Square Tubes) [Square tubes], 1967/2018 — Charlotte Posenenske

Series D Vierkantrohre (Square Tubes) [Square tubes], 1967/2018

Posenenske, Series D Vierkantrohre (Square Tubes) [T-pieces], 1967/2018 — Charlotte Posenenske

Series D Vierkantrohre (Square Tubes) [T-pieces], 1967/2018

Posenenske, Series D Vierkantrohre (Square Tubes) [Transition pieces], 1967/2018 — Charlotte Posenenske

Series D Vierkantrohre (Square Tubes) [Transition pieces], 1967/2018

Posenenske, Series DW Vierkantrohre (Square Tubes) [Angular pieces], 1967/2018 — Charlotte Posenenske

Series DW Vierkantrohre (Square Tubes) [Angular pieces], 1967/2018

Posenenske, Series DW Vierkantrohre (Square Tubes) [Rectangular tubes], 1967/2018 — Charlotte Posenenske

Series DW Vierkantrohre (Square Tubes) [Rectangular tubes], 1967/2018

Posenenske, Series DW Vierkantrohre (Square Tubes) [Square tubes], 1967/2018 — Charlotte Posenenske

Series DW Vierkantrohre (Square Tubes) [Square tubes], 1967/2018

Posenenske, Series DW Vierkantrohre (Square Tubes) [Transition pieces], 1967/2018 — Charlotte Posenenske

Series DW Vierkantrohre (Square Tubes) [Transition pieces], 1967/2018

Placeholder — Bridget Riley

Serif, 1964

A vertically oriented, rectangular, white-and-brown work on paper is placed near the ceiling and stretches along a white wall down to a wooden floor. Next to it is a horizontally oriented, rectangular, white, brown, and black work on paper that is placed on the wall just above the floor. A plus sign is placed on the wall between the two works on paper. — Dorothea Rockburne

Set, 1970/2018

Placeholder — Franz Erhard Walther

Seven Directions, 1976

Placeholder — Franz Erhard Walther

Seven Directions, 1976

GAI_Shadows IX, Set 1 — Charles Gaines

Shadows IX, Set 1, 1980

GAI_Shadows IX, Set 3 — Charles Gaines

Shadows IX, Set 3, 1980

GAI_Shadows IX, Set 4 — Charles Gaines

Shadows IX, Set 4, 1980

A square silver plaque featuring a grid of silver dots lies flat on a wood floor. — Walter De Maria

Silver Meters, 1976

Placeholder — John Chamberlain

Slippery Axis, 1981

A sculpture made of red, pink, yellow, green, blue, gray, black, and white metal parts that twist together rests on a wooden floor. — John Chamberlain

Slow Dancing to the News, 1981

Small arrangement of metal in red, green, blue, and purple. — John Chamberlain

Socket, 1978

Crumpled red metal cylinder. — John Chamberlain

Socket, 1978

Angular crumpled metal object, painted sparkly purple with some small orange splotches. — John Chamberlain

Socket, 1978

Crumpled metal cylinder painted pastel blue, pink, green, and yellow. — John Chamberlain

Socket, 1978

Crushed metal cylinder painted green, with black, red, cream, and blue splotches of paint. — John Chamberlain

Socket, 1978

Crushed metal cylinder painted red, with splotches of turquoise and white. — John Chamberlain

Socket, 1978

Crushed yellow metal cylinder with navy, turquoise, and red splotches. — John Chamberlain

Socket, 1978

Crushed yellow metal cylinder with mauve, pink, white, and blue splotches, the inside painted green. — John Chamberlain

Socket, 1978

Placeholder — John Chamberlain

Softer Sticks, 1979

Placeholder — Robert Whitman

Solid Red Line/The Thin Red Line, 1967

Folded, beige, foam form. — John Chamberlain

Soopad, 1967

An aerial view of a large spiral made of rocks that runs counterclockwise from the shore into a pink lake. — Robert Smithson

Spiral Jetty, 1970

Whitman, Spyglass (Film Images, 1960-1976), 1976-2003 — Robert Whitman

Spyglass (Film Images, 1960-1976), 1976–2003

Placeholder — Joan Jonas

Stage Sets, 1970/2018

Placeholder — Larry Bell

Standing Walls I, 1968/2017

WEB_Steel Containing Salt — Meg Webster

Steel Containing Salt, 1990

Kensett, Stolzenfels, 1845 — John Frederick Kensett, Nineteenth Century American Drawings

Stolzenfels, 1845

A sculpture made of purple, green, and yellow metal parts that twist together rests on a wooden floor. — John Chamberlain

Stoneyknob, 1981

Thin black lines are painted in a grid over a square beige canvas. — Robert Ryman

Stretched Drawing [2 x 2 grid], 1963 c.

Thin black lines are painted in a grid over a square beige canvas. — Robert Ryman

Stretched Drawing [5 x 5 grid], 1963

Thin black lines are painted in a grid over a square beige canvas. — Robert Ryman

Stretched Drawing [Square], 1963 c.

Havell, Jr., Studies from Garrisons, c. 1848 — Robert Havell, Jr., Nineteenth Century American Drawings

Studies from Garrisons, 1848 c.

Lutter, Studio, IX: November 5 - December 15, 2003, 2003 — Vera Lutter

Studio, IX: November 5 - December 15, 2003, 2003

Shattuck, Study for a Valley Scene, 1860 — Aaron Draper Shattuck, Nineteenth Century American Drawings

Study for a Valley Scene, 1860

Placeholder — Henry Farrer, Nineteenth Century American Drawings

Study of Long Island (A beached sloop, New York Harbor), 1880 c.

Placeholder — Henry Farrer, Nineteenth Century American Drawings

Study of Long Island (A lighthouse on Long Island), 1880 c.

Placeholder — Henry Farrer, Nineteenth Century American Drawings

Study of Long Island (New York Harbor, three boats beached on shore), 1880 c.

Folded, beige, foam form. — John Chamberlain

Stuffed Dog 1, 1967

Folded, beige, foam form. — John Chamberlain

Stuffed Dog 2, 1970

Folded, beige, foam form. — John Chamberlain

Stuffed Dog 3, 1970

Folded, beige, foam form with red speckles and various red-hued markings. — John Chamberlain

Stuffed Dog 4, 1970

Folded, beige, foam form resembling a barrel of hay. — John Chamberlain

Stuffed Dog 5, 1970

Folded, beige, foam form with various multicolored markings. — John Chamberlain

Stuffed Dog 6, 1970

Folded, beige, foam form with dark markings on its underside. — John Chamberlain

Stuffed Dog 7, 1970

Folded, beige, foam form with various red markings. — John Chamberlain

Stuffed Dog 8, 1970

Folded, beige, foam form with various multicolored markings. — John Chamberlain

Stuffed Dog 9, 1970

Shattuck, Sunlight in Depth Forest, 1861 — Aaron Draper Shattuck, Nineteenth Century American Drawings

Sunlight in Depth Forest, 1861

Placeholder — Henry Farrer, Nineteenth Century American Drawings

Sunset near Great South Bay, Long Island, 1902

A columnar sculpture made of red metal parts that twist together rests on a wooden floor. — John Chamberlain

SWIFT WI T, 1979

A foam square with curved forms carved into its top rests on a wooden floor in front of a white background. — John Chamberlain

Table Sandwich, 1970

A foam square with curved forms carved into its top rests on a wooden floor in front of a white background. — John Chamberlain

Table Sandwich, 1970

MER_Tavola a spirale, 1982 — Mario Merz

Tavola a spirale (Spiral Table), 1982

MER_Teatro cavallo — Mario Merz

Teatro cavallo (Horse Theater), 1967

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

The Binnie Water Near Hurley, 1857

Five vertical columns of sections of brass rods on a wood floor. — Walter De Maria

The Broken Kilometer, 1979

Fluorescent yellow light installed at a 45-degree angle to the right and with the left corner touching floor. — Dan Flavin

the diagonal of May 25, 1963 (to Constantin Brancusi), 1963

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Twelve pairs of metal circles and squares laid flat on a wood floor. — Walter De Maria

The Equal Area Series, 1976–77

Flavin, The European Couples series, 1971–73 — Dan Flavin

The European Couples series, 1971–73

Placeholder — Dan Flavin

The final finished diagram of the triangularly massed cool white circular fluorescent light dedicated, "(to a man, George McGovern) 1", 1972

A rectangular, black base is topped with bronze cylindrical forms and placed next to a nearly identical object. — Louise Bourgeois

The Fingers, 1968

Vertical, beige forms of different sizes and shapes protrude from a square, wooden base. — Louise Bourgeois

The Goodies, 1961

Placeholder — James David Smillie, Nineteenth Century American Drawings

The Gothic Range, 1869

A crumpled-and-folded, white-and-yellow, metallic object rests on a wooden floor in front of a white background. — John Chamberlain

The Hot Lady from Bristol, 1979

Tall silver poles sticking up out of a grassy landscape, with purple storm clouds in the sky. — Walter De Maria

The Lightning Field, 1977

Many crumpled-and-folded metallic objects that have been painted in various colors and patterns are lined up, placed on a cement floor, and rest against a white wall. — John Chamberlain

The Line Up (Dedicated to the Sarasota Police Department), 1982

Placeholder — Aaron Draper Shattuck, Nineteenth Century American Drawings

The Narrows, Lake George, "September 27, 1858", 1858

A white room filled halfway with dirt, entry is blocked by a glass barrier. — Walter De Maria

The New York Earth Room, 1977

Three sets of fluorescent white tubes installed vertically along a wall, one tube at left corner, two in the middle, three at right corner. — Dan Flavin

the nominal three (to William of Ockham), 1963

An irregular bronze form with several oddly shaped protuberances rests on a white surface. — Louise Bourgeois

The Open Hand (variant), 1966

Freestanding tall curtain-like sculpture composed of multicolored thin, twisting vertical metal strips. — John Chamberlain

The Privet, 1997

An irregular form is suspended from the ceiling. It has a thin cylindrical top with a thicker cylindrical middle, and round base. There are two openings in the middle and two cup-like protuberances near the base. — Louise Bourgeois

The Quartered One, 1964–65

Square, beige, framed painting with three horizontal, blue-gray stripes at center and two horizontal, gold rectangles outlined in white placed above and below the stripes. — Agnes Martin

The Spring, 1958

A grassy park featuring four red-dirt paths that intersect at a square silver plate flush to the ground. — Walter De Maria

The Vertical Earth Kilometer, 1977

Placeholder — Roni Horn

THINGS THAT HAPPEN AGAIN: For A This and A That, 1990

Angled view of a room where fourteen evenly spaced white squares are hung from a white wall. Two blue lines run vertically near the edges of each square. — Robert Ryman

Third Prototype, Dia:Beacon, Wall Installation, 2003, 2003

A large-scale, couch-like object is covered with a soft white material in a room with wooden floors and large square windows. — John Chamberlain

Thordis' Barge, 1980–81

This candelabra-like, bronze object includes two handhold-like protuberances on each side. — Louise Bourgeois

Three Roses, 1968

A crumpled-and-folded metallic object in white, brown, silver, and various shades of red rests on a wooden floor in front of a white background. — John Chamberlain

Three-Cornered Desire, 1979

The facade of a brick building and a grass lawn. — Max Neuhaus

Time Piece Beacon, 2005

A horizontally oriented, large, gray rectangle that contains a drawing of a multicolored triangular shape is adjacent to a vertically oriented, small, gray rectangle that displays a column of handwritten phrases. — Max Neuhaus

Time Piece Beacon, 2005

Four multicolored squares hang n a row on a white wall. — Blinky Palermo

Times of the Day II, 1975

Two adjacent beige rectangular pieces of paper, the left displaying a multicolored line drawing, the right a block of handwritten text — Max Neuhaus

Times Square, 1992

Four multicolored squares hang in a row on a white wall in a large room. — Blinky Palermo

To the People of New York City, 1976

A columnar sculpture made of red metal parts that twist together rests on a wooden floor. — John Chamberlain

Toasted Hitlers (from E.J.), 1977

Square, black-speckled painting overlaid with two intersecting grids of 3 x 3 squares, blue atop purple. — John Chamberlain

Tom and Jerry, 1965

Seven people with safety helmets are gathered around and within two large, curved forms that overlap at one point to create a circular shape in this black-and-white image. — Richard Serra

Torqued Ellipses II, 1996

A tall, narrow orange pole with small white and gray rectangles dotted on its surface hangs on a white wall. — Blinky Palermo

Totem, 1964

A white square with dark edges hangs on a white wall using four exposed fasteners with bolts, two on the top and two on the bottom. — Robert Ryman

Tower I, 1976

A white square hangs on a white wall using four exposed fasteners with bolts, two on the top and two on the bottom. — Robert Ryman

Tower II, 1976

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

Placeholder — John Chamberlain

Towns of My Ancestors, 1978

A square black board painted white with thin strip of black appearing at the bottom right corner. Small black bolts are affixed near each corner. — Robert Ryman

Transfer, 1987

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Tree Study, Franconia Notch, 1850

Placeholder — John Frederick Kensett, Nineteenth Century American Drawings

Tree Study, Franconia Notch, 1850

A columnar sculpture made of red, silver, white, and dark red metal parts that twist together rests on a wooden floor. — John Chamberlain

Two Dark Ladies, 1979

Placeholder — Carl Andre

TX Steel Inside-Outside Piece, 1975

A sculpture made of brown and silver metal parts that twist together rests on a wooden floor. — John Chamberlain

Ultrafull Private, 1967

This small bronze sculpture includes seven round masses of various sizes that are coming out of its base. — Louise Bourgeois

Unconscious Landscape, 1967–68

Placeholder — Mary Nimmo Moran, Nineteenth Century American Drawings

Under the Oaks, Georgica Pond, 1887

A central, slanted, steel form is placed on a cement floor and consumes the visible space of a room with high ceilings and two rows of windows above the form. — Richard Serra

Union of the Torus and the Sphere, 2001

Placeholder — Fred Sandback

Untitled, 1983

Placeholder — Fred Sandback

Untitled, 1983

Flourescent tubes form a horizontal ladder with 18 rungs against a wall in front of large windows. The room is dark except for the neon light; the horizontal tubes are white, and the vertical tubes are red. — Dan Flavin

untitled, 1970

Placeholder — Donald Judd

Untitled, 1976

A central, circular, bright shape casts four intersecting shadows on a nondescript background. — Robert Irwin

Untitled, 1965–67

Two wooden slats joined in the middle, running from one wall to another. — Donald Judd

Untitled, 1976

Flavin, untitled, 1973 — Dan Flavin

untitled, 1973

Placeholder — Imi Knoebel

Untitled, 1969–75

Knoebel, Untitled, 1973–75 — Imi Knoebel

Untitled, 1973–75

Placeholder — Imi Knoebel

Untitled, 1978–79

Brightly colored collages on a white background. — Imi Knoebel

Untitled, 1977

Placeholder — Blinky Palermo

Untitled, 1963

Palermo, Untitled, 1962 — Blinky Palermo

Untitled, 1962

Palermo, Untitled, c. 1962 — Blinky Palermo

Untitled, 1962 c.

Palermo, Untitled, c. 1962 — Blinky Palermo

Untitled, 1962 c.

Palermo, Untitled, c. 1962 — Blinky Palermo

Untitled, 1962 c.

Palermo, Untitled, c. 1962 — Blinky Palermo

Untitled, 1962 c.

Palermo, Untitled, 1963 — Blinky Palermo

Untitled, 1963

Palermo, Untitled, 1963 — Blinky Palermo

Untitled, 1963

Palermo, Untitled, 1963 — Blinky Palermo

Untitled, 1963

Palermo, Untitled, 1964 — Blinky Palermo

Untitled, 1964

Placeholder — Fred Sandback

Untitled, 1967

Placeholder — Fred Sandback

Untitled, 1967

Placeholder — Fred Sandback

Untitled, 1967

Placeholder — Fred Sandback

Untitled, 1970

Placeholder — Fred Sandback

Untitled, 1971

Placeholder — Fred Sandback

Untitled, 1972

Placeholder — Fred Sandback

Untitled, 1973

Placeholder — Fred Sandback

Untitled, 1974

Placeholder — Fred Sandback

Untitled, 1974

Placeholder — Fred Sandback

Untitled, 1978

Placeholder — Fred Sandback

Untitled, 1981

Sandback, Untitled, 1978 1980.269 — Fred Sandback

Untitled, 1978

Sandback, Untitled, 1978 1980.270 — Fred Sandback

Untitled, 1978

Sandback, Untitled, 1978 1980.271 — Fred Sandback

Untitled, 1978

Placeholder — Fred Sandback

Untitled, 1974

Placeholder — Fred Sandback

Untitled, 1968

A long, orange, fluorescent lightbulb leans against an illuminated corner of a room that appears green, blue, and pink. — Dan Flavin

untitled, 1976

Placeholder — Dan Flavin

untitled, 1971

Two fluorescent artworks in corners on two floors of a stairwell, the lower piece is blue and the upper piece is green. — Dan Flavin

untitled, 1996

A central black diamond on a metallic-brown background is interrupted by a vertical white stripe in this framed square painting. — Agnes Martin

Untitled, 1957 c.

Square, beige, framed painting with two vertical, lighter rectangles at center. — Agnes Martin

Untitled, 1959

Rectangular, vertical, beige, framed painting with grid of thin, gray lines. — Agnes Martin

Untitled, 1959 c.

Placeholder — Donald Judd

Untitled, 1975

Square, gray, framed painting with two mirrored squares at center, with horizontal bands of brown, light brown, and beige. — Agnes Martin

Untitled, 1959 c.

Five white threads, spaced evenly apart, are suspended between the top of the wall and the concrete floor. — Fred Sandback

Untitled, 1996

Square framed painting with thick, textured white paint and a tan upper right corner, with — Robert Ryman

Untitled, 1959

Square painting with thick, textured white paint with blue speckles showing through, on a tan canvas which is visible on the bottom edge. — Robert Ryman

Untitled, 1960

A square tan canvas has three horizontal bands of white paint, the top bands at almost equal size and the bottom band occupying half of the square, and the canvas is visible around the edges of the painting and where the bands meet. — Robert Ryman

Untitled, 1965–66 c.

A large, square canvas painted entirely white hangs on a white wall above a wood floor. — Robert Ryman

Untitled, 1965

Square, gray, framed painting with thin, horizontal, black stripe at center with four horizontal, gray bands and two white dots above and below the stripe. — Agnes Martin

Untitled, 1960

Rectangular, horizontal, beige, framed painting with grid of thin, gray lines. — Agnes Martin

Untitled, 1959 c.

Placeholder — Dan Flavin

untitled, 1969

Judd, Untitled, 1992 2013.006 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.005 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.007 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.008 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.009 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.010 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.011 — Donald Judd

Untitled, 1992

Judd, Untitled, 1992 2013.012 — Donald Judd

Untitled, 1992

SMI_Untitled — Robert Smithson

Untitled, 1966

Balanced on a bronze pole and attached to a flat base is a thin vertical sculpture made of several wooden blocks of varying sizes that are stacked on top of one another. — Louise Bourgeois

Untitled, 1954

Balanced on a bronze pole and attached to a flat base is a thin vertical sculpture made of several wooden blocks of varying sizes that are stacked on top of one another. Each block is painted in multiple shades of brown. — Louise Bourgeois

Untitled, 1954 c.

Balanced on a bronze pole and attached to a flat base is a thin vertical sculpture made of several painted corks stacked on top of one another. — Louise Bourgeois

Untitled, 1954

A line drawing on a gray background is framed by a larger gray sheet of paper. The drawing consists of various abstract lines and shapes. — Fred Sandback

Untitled, 1975

A line drawing on a gray background is framed by a larger gray sheet of paper. Two horizontal lines are centrally placed and interrupted by a vertical line. — Fred Sandback

Untitled, 1975

A line drawing on a beige background is framed by a larger beige sheet of paper. A vertical line is split in half by a smaller horizontal line. — Fred Sandback

Untitled, 1975

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