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Created at a seminal point early in the artist’s career, Le Mont Riboudet a Rouen au Printemps by Claude Monet, depicts a beautiful landscape with flora, figures working in the fields, and haystacks. The aesthetic is comparable to that of Camille Pisarro and Alfred Sisley, Monet’s contemporaries also working en plein air at the time to capture nuances of the French countryside on canvas. The painting’s distinguished provenance includes Durand-Ruel and Gustave Caillebotte.

Le Mont Riboudet a Rouen au Printemps

21 1/2 x 28 5/8 in.

TOM WESSELMANN - Bedroom Breast - oil on cut-out aluminum - 80 x 76 x 10 in.

80 x 76 x 10 in.

oil on cut-out aluminum

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme.
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<br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906.
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<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.

FREDERICK CARL FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in.

ALEXANDER CALDER

39 ½ x 29 ¾ in.

WIFREDO LAM - Sans Titre - oil on canvas - 63 1/4 x 51 1/4 in.

63 1/4 x 51 1/4 in.

Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.

77 1/4 x 77 1/4 x 18 3/4 in.

acrylic and steel

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.

A Whirling Square

acrylic on canvas

Rothenberg created Diagonal (1975) in the year of her breakout exhibition at 112 Greene Street in New York. Her Horses series reintroduced representational imagery when the dominant trends were abstraction and Minimalism. The painting’s expressive brushwork, sense of movement, and simplified forms result in a triumphant blend of figuration and abstraction. As in many of Rothenberg's important works, Diagonal evokes the muted and enchanting colors and atmosphere of her adopted home in the American Southwest.

SUSAN ROTHENBERG

45 7/8 x 60 1/8 in.

acrylic and tempera on canvas

ANISH KAPOOR - Untitled - alabaster - 40 5/8 x 48 1/2 x 17 1/2 in.

40 5/8 x 48 1/2 x 17 1/2 in.

AD REINHARDT - Untitled - oil on canvas - 40 x 32 in.

Nectarine (c. 1976) is an example of the large-scale steel sculpture for which Anthony Caro is best known. Considered to be a major influence in the development of modern sculpture, Caro was once a studio assistant to Henry Moore and sought inspiration from American sculptor David Smith. Often recognized for the revolutionary contribution of removing sculpture from pedestals and installing them directly on the ground, Caro places his work directly in the viewer’s space.

79 x 110 x 51 in.

rusted and varnished steel

ROBERT HENRI - Girl with Muff - oil on canvas - 57 1/4 x 38 3/4 in.

57 1/4 x 38 3/4 in.

N.C. Wyeth created this painting as an illustration for Daniel Defoe’s Robinson Crusoe (p. 270), part of the Scribner’s Classics series. The painting represents a pivotal scene in the novel in which Crusoe meets and rescues Friday, the indigenous man who becomes his companion. The scene here depicts Friday expressing his gratitude to Crusoe. Among the most noteworthy illustrators the United States has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew Wyeth produced some of the most celebrated realist works of 20th-century American art, admired for the emotional impact of their stories. N.C. Wyeth's mastery of visual narrative is on full display in this 1920 scene from classic literature.

"- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi

40 3/4 x 30 in.

JAMES ROSENQUIST - Untitled - oil on canvas laid on panel - 101 3/4 x 85 in.

JAMES ROSENQUIST

101 3/4 x 85 in.

oil on canvas laid on panel

Robert Motherwell is admired for his gestural contributions to Abstract Expressionism. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 demonstrates Motherwell’s intuitive approach to painting influenced by the automatic drawing of the Surrealists. His gestures in this painting are characterized by a suggestion of chance and accident: “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he said. “Thus painting, like music, tends to become its own content.”

ROBERT MOTHERWELL

acrylic on canvas

RUDOLF BAUER - Larghetto III - oil and tempera on cardboard - 24 x 34 in.

oil and tempera on cardboard

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.

12 7/8 x 19 3/8 in.

charcoal on paper

FERNANDO BOTERO - Lovers - white marble - 20 1/8 x 12 1/2 x 13 1/8 in.

FERNANDO BOTERO

20 1/8 x 12 1/2 x 13 1/8 in.

Edward Hopper is considered one of the most important American realist painter, known for his studies of American life. While his process for oils was meticulous, involving extensive preparatory drawings to study the subject of a single painting, his watercolors were quick and spontaneous. Edward Hopper’s Rain on River captures an instant impression of nature. Part of the White River series he did while traveling in Vermont with his wife, Hopper captured the quiet resonance of America through the serenity of its landscape.

13 1/2 x 19 1/2 in

watercolor on paper

RICHARD DIEBENKORN - Untitled - welded scrap iron - 20 1/4 x 42 1/4 x 29 1/2 in.

RICHARD DIEBENKORN

20 1/4 x 42 1/4 x 29 1/2 in.

welded scrap iron

JULIAN SCHNABEL - Untitled - oil, resin, gesso, fabric and leather on seamed dropcloth - 96 x 120 in.

JULIAN SCHNABEL

oil, resin, gesso, fabric and leather on seamed dropcloth

JULIAN SCHNABEL - Untitled - oil, resin, gesso, fabric and leather on seamed dropcloth - 96 x 120 in.

JULIAN SCHNABEL

oil, resin, gesso, fabric and leather on seamed dropcloth

Andy Warhol, the most famous and infamous of Pop artists, first created his electric chair works in 1963, based on an image of the electric chair at Sing Sing Prison. He returned to the image for this 1971 set of prints and in which he put more prominence on the chair by cropping the image. Warhol repeats the image ten times and in different color combinations to produce a hypnotic and alluring effect. Warhol’s artworks helped define American culture while, like in Electric Chair, he meditated on the promises and dark-edge of media and consumer culture.

Electric Chairs

35 3/8 x 47 7/8 in. ea.

Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

JULIAN SCHNABEL

Pascin Pig Passin Time

48 x 40 x 6 in.

oil, plates, and bondo on board

Pre-eminent surrealist Frida Kahlo created paintings and drawings that conjured up a vision of herself and of her world. This drawing, a spontaneous creation and meditation of herself, was included in the major Kahlo retrospective in Berlin in 2010, the 2018 exhibition at the Victoria and Albert Museum in London, Frida Kahlo: Making Her Self Up, and the 2019 exhibition at the Brooklyn Museum of Art, Frida Kahlo: Appearances Can Be Deceiving. Her image and identity were central to her artwork as she defined herself through her ethnicity, disability, and politics in her paintings and drawings.

Triple Self-Portrait as a Toddler, Adolescent, Woman

pencil on paper

Jim Dine was an American Pop artist whose work meditated on objects with childlike appeal to find a universal and nostalgic language. Dine’s robes are among the most recognizable images to have emerged from his long and illustrious career. They were first shown at Sidney Janis gallery in the fall of 1964 – this is one such example. Double Silver Point Robes is a large-scale mixed media assemblage. The work is executed in silverpoint – a technique that utilizes a piece of silver as a drawing instrument over a specially prepared ground by which it oxidizes over a period of months to create a warm brown tone. The two joined canvases feature blocks of wood in place of where the heads should be and a hanging wood element that moves in response to air currents.

Double Silver Point Robes

53 1/2 x 96 in.

silverpoint and acrylic on 2 joined canvases, wood, knife, and string in artist's frame

GARY HUME - Seabird - gloss paint on aluminum in four panels - 87 x 48 1/2 x 1 1/4 in. ea.

87 x 48 1/2 x 1 1/4 in. ea.

gloss paint on aluminum in four panels

ANSELM KIEFER - The Fertile Crescent - mixed media on board - 39 1/2 x 29 1/2 in.

The Fertile Crescent

39 1/2 x 29 1/2 in.

mixed media on board

Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

EDWARD HOPPER - Old Ice Pond at Nyack - oil on canvas - 11 3/4 x 19 3/4 in.

Old Ice Pond at Nyack

11 3/4 x 19 3/4 in.

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

With a Quick, Noiseless Stride, He Crossed the Narrow Space

30 1/4 x 20 1/8 in.

Jasper Johns is a seminal figure of modern art in America for his association with Neo-Dadaism and Pop art. Johns utilized familiar iconography as well as contradictory or paradoxical elements in his works, including flags, targets, letters, and numbers. This piece is one of the few sculptures from an artist who has had a large impact on the development of American art after WWII. The sculpture is both a satirical comment on critics who speak more than they see but also an exploration of art and language.

The Critic Sees

3 1/4 x 7 x 2 in.

wood, aluminum foil, ink, paper, metal, plexiglass

Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

AUGUSTE HERBIN - Notre Dame, Paris - oil on canvas - 24 1/4 x 28 3/4 in.

Notre Dame, Paris

24 1/4 x 28 3/4 in.

EDWARD HOPPER - Church and Landscape - oil on canvas - 10 x 14 in.

Church and Landscape

Guenther Uecker and his avant-garde contemporaries experimented with monochromatic color, light, materiality, and repetition. For Uecker, this experimentation manifested in his noteworthy nail-covered canvases. The 1984 piece, Poesie der Destruktion – Poetry of Destruction – presents a tumultuous arrangement on a neat square background. The swarming bed of nails evokes a forceful action with violent connotations. Black and orange swaths of oil paint undulate on the rough surface beneath the exterior of hammered and bent metal. The composition suggests wreckage, yet it lives in the context of artistic creativity, urging the viewer to observe the coexistence of creative and destructive forces.

GUENTHER UECKER

Poesie der Destruktion

24 x 24 x 5 1/2 in.

mixed media on canvas

ANSELM KIEFER - Jericho - Emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.

25 x 17 1/2 x 2.25 in.

Emulsion, acrylic, sand, clay and photographic paper on cardboard

North Wall was exhibited at the Getty Museum in the Pacific Standard Time exhibition tracing the history of art in L.A. from 1945 to 1980, which reignited interest in Light and Space and brought fresh eyes to the work of Norman Zammitt. For this piece, the artist measured the width of each band and created parabolic graphs to calculate the exacting color progression — not only for aesthetic precision, but also for emotional and spiritual effect. The colors seem to radiate as they shift from dark bands of black and blue to fiery yellows, oranges and reds. The hard edges of these bands bring to mind the school of L.A. artists who worked in geometric abstraction during the same period, predominantly the 1960s and ’70s, particularly Karl Benjamin's classic stripe paintings. But Zammitt’s ethereal pictures defy any such classification. His edges appear seamless — a moment in space frozen in time. The expanse evokes a sky in its full coastal California drama, although that was not necessarily the artist’s intention. Rather, he might have used these as an approach to the sublime — portal to a mystical realm. His late, longtime dealer, Joni Gordon of Newspace, suggested the exacting bands of brilliant color relate to Native Indian sand paintings.

acrylic on canvas

SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in.

Untitled 1985, San Leandro

acrylic on canvas mounted on board

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Eulogy (Commission)

159 x 72 x 4 in.

acrylic on canvas

A leading artist of the Arte Povera movement in the 1960s and '70s, Jannis Kounellis challenged the traditional media of art making. His work often incorporates natural or everyday materials, installation, or performance. Untitled (2014) is a unique example of his sculptural work in iron, canvas, and enamel. A common thread in his work is a sense of isolation experienced in contemporary society, combining elements of the past and the present to address memory, detachment, history, and loss. Kounellis once explained, “[art] must be born of historical necessity: that is, it must be of a historical situation and constitute the indispensable language of that moment.”

JANNIS KOUNELLIS

78 3/4 x 70 7/8 x 4 3/4 in.

iron, canvas and enamel

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Ramos’s Peek-A-Boo portfolio is a well-known series by the artist, positioning the viewer to observe the pin-up girl figures through a keyhole shape surrounded by black. The series is noted for the confident and direct gazes of its subjects as well as the commentary it provides on the sexualization of a traditional art historical motif: the nude female figure. Alongside fellow Pop artists like Andy Warhol, James Rosenquist, and friend Roy Lichtenstein, Ramos provided a visual language for audiences to understand and experience the proliferation of commercial images that exploded in post-war America.

Peek-a-boo Chris: The Lost Painting of 1965 #56

ELAINE DE KOONING - Untitled (Totem Pole) - oil on canvas stretched over cardboard cylinders - 97 x 12 3/8 x 12 3/8 in.

ELAINE DE KOONING

Untitled (Totem Pole)

97 x 12 3/8 x 12 3/8 in.

oil on canvas stretched over cardboard cylinders

American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

Berm (Hoarfrost)

62 1/2 x 35 1/2 in.

solvent transfer on fabric with cardboard

Enoc Perez is a Puerto Rican artist who brings aesthetic pleasure to painting. Nude, an oil on canvas from 2012-2013, is a layered composition of shapes in a palette of soft colors. The work synthesizes Perez’s process of bringing sensual pleasure and vibrant color to nudes.

80 x 60 3/4 in.

WILLIAM KENTRIDGE - World on its Hind Legs - metal and wood - 64 x 26 x 30 in.

WILLIAM KENTRIDGE

World on its Hind Legs

64 x 26 x 30 in.

More than an artist, Theaster Gates also works as curator, urban planner, and project facilitator. From sculpture to painting, installation to public projects, Gates’s works are hubs in which to question labor and commodity while also bringing to the fore people and things that are often unseen and unheard. Convex Concave takes custom-made bricks that Gates had previously used for Black Vessel for a Saint at the Walker Art Center and repurposes it into a painting-like sculpture that references minimalist artist like Sol LeWitt, the labor of making bricks, and the original context of the bricks for the installation at the Walker.

34 1/2 x 35 31/2 x 3 1/8 in.

Richard Tuttle is a seminal American postminimalist artist. Tuttle’s work is conceptual and meditative, crossing the boundary of sculpture, painting, and poetry, and often challenging the viewer. Untitled (Cloth and Paint Work #2) from 1973, a pivotal period in the artist’s career, evokes the earlier minimalism of his career while pushing towards material-based conceptual art. In the work he pays homage to Marcel Duchamp’s readymades. Textiles, as in this piece, play a large role in his oeuvre and become sites on which to focus performance, engagement, and meaning.

Untitled (Cloth and Paint Work #2)

15 1/2 x 16 in.

rope and oil on canvas

Pre-eminent surrealist Frida Kahlo created paintings and drawings that conjured up a vision of herself and of her world. Kahlo’s drawings are rare owing to the fact they were meant as gifts and mementos for friends, as this drawing of Diego Rivera was. Rivera was Kahlo’s husband and with whom she had a strong but explosive relationship. This portrait is a playful example of her thoughts on her husband. This drawing was included in the Detroit Institute of Art’s exhibition on the year Frida Kahlo and Diego Rivera spent in the city and the drawing showcases Kahlo’s emerging voice as an artist.

Portrait of Diego Rivera

charcoal on paper

Pat Steir is a celebrated American painter and printmaker, best known for her Waterfall paintings of dripped, splashed, and poured paint. This large work on paper completed in 1985 is characterized by her usual sense of spontaneity and unpredictability, embracing nature as an active force in art. Recalling the explosive power of waves, the work on paper references the art historical tradition of 19th century artists Ando Hiroshige and Gustave Courbet, re-imagining their previous depictions of the irrepressible sea. This drawing was featured in the Museum of Modern Art’s 1985 exhibition, New Works on Paper 3. Steir’s large wave drawings comprise a distinct body of work from the mid 1980s, after which she began to experiment with the poured canvases that became waterfall paintings.

Untitled (After Courbet and Hiroshige)

colored pencil, pencil, gesso and charcoal on paper

ROLAND PETERSEN - Girl with Trees - oil on canvas - 71 x 59 1/2 in.

ROLAND PETERSEN

Girl with Trees

71 x 59 1/2 in.

Ross Bleckner is a celebrated American painter whose works reference loss, memory, and change such as explorations of the cell during the AIDS epidemic or in response to his father’s cancer diagnosis. The 1965 MoMA exhibition that brought Op Art to the fore, The Responsive Eye and included artists Richard Anuszkiewicz, Tadasky, and Francis Celentano, had a profound influence on him as an artist. This painting, like his other immersive, large-scale works, elicit a powerful, hypnotic, dizzying effect. Aesthetically pleasing, Bleckner’s canvases explore perception – visual, emotional, physical, time. Bleckner is part of the same generation of and friends with Julian Schnabel, David Salle, Eric Fischl, and Peter Halley, all of whom returned painterly technique to the canvas.

oil on linen canvas

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

glass hologram set

GERT AND UWE TOBIAS - Untitled (GUT/2053) - colored woodcut on canvas - 78 3/4 x 118 1/4 in.

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

$Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure.$

Mycenaean Goddess

61 x 22 x 15 1/2 in.

WILLIAM MORRIS - Fallow Deer Situla - blown glass - 16 x 23 1/2 x 13 in.

Fallow Deer Situla

16 x 23 1/2 x 13 in.

N.C. Wyeth is regarded as a father of American Illustration, and his prolific career was marked by artworks with distinctive personality and majestic storytelling. In Don, Pointer Dog (1902), the artist brings his sense of majesty to a personal context. Wyeth was twenty years old when he painted the charming canine portrait, a special commission for a family he met in Massachusetts while on a walking trip with his brothers.

Don, Pointer Dog

17 1/4 x 22 1/4 in.

oil on canvas board

Untitled (Hologram Suite) by Louise Bourgeois contains eight individual glass holograms initially created by the artist in 1998 and fully realized in 2014. The imagery includes lovers, chairs, a bell jar, and enclosures. These elements reoccur in many of the artist's installations and are related to her interest in physical and emotional isolation and sexuality. The images recorded within these holograms were created from original Bourgeois sculptures. Encoded on glass and activated by light, the images appear only when illuminated at a particular angle, and they come to life with a red glow.

LOUISE BOURGEOIS

dimension variable

suite of 8 glass holograms

AUGUSTE RODIN - Minotaure, version à la base carrée - bronze with brown and green patina - 24 x 28 1/2 x 27 in.

Minotaure, version à la base carrée

Conceived circa 18

24 x 28 1/2 x 27 in.

bronze with brown and green patina

THEASTER GATES - Lathe Black Box - wood, glass and lathe - 50 1/4 x 53 x 6 7/8 in.

Lathe Black Box

50 1/4 x 53 x 6 7/8 in.

wood, glass and lathe

CINDY SHERMAN - Untitled - color photograph - 34 x 23 1/4 in.

34 x 23 1/4 in.

color photograph

The Merger - Carte de Triunfo - stainless steel and aluminum - 46 x 40 x 23 1/2 in.

Carte de Triunfo

46 x 40 x 23 1/2 in.

stainless steel and aluminum

THOMAS DOWNING - Red Fours - acrylic on canvas - 85 1/4 x 87 1/4 in.

85 1/4 x 87 1/4 in.

acrylic on canvas

GEORGE CONDO - Girl With Bow Tie - oil on canvas - 39 1/4 x 28 3/4 in

Girl With Bow Tie

39 1/4 x 28 3/4 in

TAL R - Grim Kalding Fra Finland - acrylic, ink and paper collage on canvas - 67 3/4 x 55 in.

Grim Kalding Fra Finland

67 3/4 x 55 in.

acrylic, ink and paper collage on canvas

GRACE HARTIGAN - Matador - oil on linen - 48 x 72 in.

LOUISE BOURGEOIS - Plate 5 of 9 from He Disappeared Into Complete Silence - engraving - 8 x 6 in.

LOUISE BOURGEOIS

Plate 5 of 9 from He Disappeared Into Complete Silence

JAMES WEEKS - Two Children - oil on canvas - 411/2 x 35 in.

LOS CARPINTEROS COLLECTIVE - Basket (Diptych) - watercolor - 30 x 81 in.

LOS CARPINTEROS COLLECTIVE

Basket (Diptych)

WOLFGANG PAALEN - Composition - oil, tempera and ink on canvas - 14 3/4 x 18 in.

WOLFGANG PAALEN

14 3/4 x 18 in.

oil, tempera and ink on canvas

Zhu Yi Yong - Woman with a Fan - oil on canvas - 43 x 37 1/2 in.

Woman with a Fan

43 x 37 1/2 in.

ANISH KAPOOR - Untitled - gouache and acrylic on paper - 19 7/8 x 25 7/8 in.

19 7/8 x 25 7/8 in.

gouache and acrylic on paper

NANCY SPERO - The Modest Orgasms of the Middle Class - gouache, charcoal, and collage on paper - 25 x 20 in.

The Modest Orgasms of the Middle Class

gouache, charcoal, and collage on paper

ALEX KATZ - Untitled - oil on masonite - 11 7/8 x 15 3/4 in.

11 7/8 x 15 3/4 in.

oil on masonite

TOON KELDER - Untitled - oil on canvas - 44 1/2 x 57 1/2 in.

44 1/2 x 57 1/2 in.

THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

Untitled (flooring)

35 x 35 x 3 in.

white cement, debris, flooring

GUILLERMO KUITCA - Untitled - oil on plywood - 18 1/4 x 25 5/8 in.

GUILLERMO KUITCA

18 1/4 x 25 5/8 in.

EVAN PENNY - No One In Particular (Old) - silicone, pigment, hair on aluminum - 40 x 32 x 7 1/2 in.

No One In Particular (Old)

40 x 32 x 7 1/2 in.

silicone, pigment, hair on aluminum

HANS HOFMANN - Yellow Vase - oil on panel - 8 x 7 1/2 in.

JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in.

32 x 25 1/4 in.

screenprint with digital inkjet on Somerset paper

FRED MITCHELL - Untitled - oil on canvas - 72 x 72 in.

JOHN FRAME - Untitled - wood and mixed media - 53 x 40 x 6 3/4 in.

53 x 40 x 6 3/4 in.

wood and mixed media

YVES KLEIN - Untitled (IKB stamps) - IKB pigment on 6 postal stamps - 2 1/8 x 1 7/8 in.

Untitled (IKB stamps)

2 1/8 x 1 7/8 in.

IKB pigment on 6 postal stamps

GIORGIO DE CHIRICO - Il Trovatore - original lithograph in five colors on paper - 27 x 21 in.

GIORGIO DE CHIRICO

original lithograph in five colors on paper

WOJCIECH FANGOR - Red Moons 2 - oil on canvas - 71 x 26 in.

WOJCIECH FANGOR

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