Artworks

Terry Allen

Terry Allen, Angel Whispers, 1981/82. Lithograph on paper, edition 7 of 30; 22 × 30 in. (55.9 × 76.2 cm). Collection Museum of Contemporary Art Chicago, gift of Jeanne Marienthal-Weislow, 1986.47. Photo: Nathan Keay, © MCA Chicago.
Inside album cover, Terry Allen Live at Al’s Grand Hotel: May 7th, 1971, 1971.

Carlos Almaraz

Carlos Almaraz, Por el pueblo “Seguimos luchando”/For the people “we are still fighting”, 1975. Offset print; paper: 8 5/8 × 13 7/8 in. National Museum of Mexican Art Permanent Collection, gift of Judithe Hernández in memory of Mr. and Mrs. Peter C. Hernández, 2009.24. Photo: NMMA staff.
Carlos Almaraz, Untitled (This poster is the story of change … ), 1973. Serigraph poster; paper: 25 ½ × 18 in. National Museum of Mexican Art Permanent Collection, gift of Judithe Hernández in memory of Mr. and Mrs. Peter C. Hernández, 2009.20. Photo: NMMA staff.

José Antonio Aguirre and José Alpuche

José Antonio Aguirre and José Alpuche, Mongo Santamaria, 1997. Serigraph, edition 16 of 20; paper: 20 × 26 in. National Museum of Mexican Art Permanent Collection, gift of Self Help Graphics, 1999.49. Photo: NMMA staff.

Garo Antreasian

Garo Antreasian, Untitled, 1961. Lithograph with embossing in violet and black on ivory wove paper; 30 × 22 2/10 in. (76 × 56.5 cm). Published by Tamarind Lithography Workshop. Collection Art Institute of Chicago, gift of Burt Kleiner 1963.1364. Photo: The Art Institute of Chicago/Art Resource, NY.

Judith Barry

Judith Barry, still from Space Invaders, 1982. Video, color, and stereo; 5 minutes. Photo: Judith Barry Studio, courtesy of the artist and Mary Boone Gallery, New York.
Judith Barry, still from Space Invaders, 1982. Video, color, and stereo; 5 minutes. Photo: Judith Barry Studio, courtesy of the artist and Mary Boone Gallery, New York.
Judith Barry, still from Space Invaders, 1982. Video, color, and stereo; 5 minutes. Photo: Judith Barry Studio, courtesy of the artist and Mary Boone Gallery, New York.
Judith Barry, still from Space Invaders, 1982. Video, color, and stereo; 5 minutes. Photo: Judith Barry Studio, courtesy of the artist and Mary Boone Gallery, New York.
Judith Barry, still from Space Invaders, 1982. Video, color, and stereo; 5 minutes. Photo: Judith Barry Studio, courtesy of the artist and Mary Boone Gallery, New York.

Andrea Bowers

Andrea Bowers, Code Pink - Woman’s Building Flyer 1974, 2006. Colored pencil and graphite on paper; 50 × 36 in. (127 × 91.4). Collection of Jack and Sandra Guthman. Image courtesy of the artist and Andrew Kreps Gallery, New York.
Andrea Bowers, Nonviolent Civil Disobedience Drawing–Elvira Arellano in Sanctuary at Adalberto United Methodist Church in Chicago as Protest Against Deportation, 2007, 2007. Colored pencil on paper; 30 × 22 ¼ in. (76.2 × 56.52 cm). Hammer Museum. Los Angeles. Purchase. Image courtesy of the artist and Andrew Kreps Gallery, New York.

Vija Celmins

Vija Celmins, Untitled (Ocean), 1968. Graphite on paper; sheet: 14 × 18.7 in. (35.5 × 47.5 cm). Collection Art Institute of Chicago, gift of Lannan Foundation, 1997.106. Photo: The Art Institute of Chicago/Art Resource, NY.

Judy Chicago

Judy Chicago, Sky Sun from the Flesh Gardens series, 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco. Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco.

Bruce Conner

Bruce Conner, 10/15/74, 1974. Ink on paper; sheet: 22 × 20 ¼ in. (55.9 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.25. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Bruce Conner, 7/29/74, 1974. Ink on paper; sheet: 21 13/16 × 20 ¼ in. (55.4 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.23. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Bruce Conner, 8/16/74, 1974. Ink on paper; sheet: 21 7/8 × 20 ¼ in. (55.6 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.24. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.

Jean Conner

Jean Conner, FORMAL GARDEN, 1966. Paper collage; image: 12 ¾ x 9 in; framed: 21 × 16 ¼ in. Collection of the artist. © Conner Family Trust, San Francisco and Artists Rights Society (ARS), New York. Courtesy of Anglim Gilbert Gallery, San Francisco, CA.

Robert Cumming

Robert Cumming, Bill Wegman’s Screen Sculpture, Milwaukee, WI, 1968. Gelatin silver print; image: 9 3/5 × 7 3/5 in. (24.5 × 19.5 cm); paper: 10 × 7.8 in. (25.2 × 19.9 cm); mount: 20 × 16 in. (50.9 × 40.6 cm). Collection Art Institute of Chicago, gift of Arnold and Temmie Gilbert, 1984.1279. Photo: The Art Institute of Chicago/Art Resource, NY.
Robert Cumming, Four Corrugated Boxes in One (from the portfolio Five Still Lifes), 1980. Internal dye diffusion transfer process print; 20 × 24 in. (50.8 × 61 cm). Collection Museum of Contemporary Art Chicago, gift of Mr. and Mrs. Myron J. Hokin, 1981.10.1. Photo: Nathan Keay, © MCA Chicago.

Aaron Curry and Richard Hawkins

Aaron Curry and Richard Hawkins, Trophy, brown, 2011. Acrylic on rubber mask with wire on board, and silkscreen on cardboard; installation: 144 × 132 × 3 in. (365.8 × 335.3 × 7.6 cm); collage: 37 × 26 ½ × 3 in. (94 × 67.3 × 7.6 cm). Collection Museum of Contemporary Art Chicago, gift of Mrs. E.A. Bergman by exchange, 2012.3. Photo: Nathan Keay, © MCA Chicago.

Aaron Curry

Aaron Curry, Figure Drawing, 2009. Wood, spray paint, acrylic, colored pencil, paper, painter’s tape, and steel base; 122 × 38 × 39 in. (310 × 97 × 99 cm). Collection Museum of Contemporary Art Chicago, gift of Helen and Sam Zell, 2013.1. Photo: Nathan Keay, © MCA Chicago.

Roy De Forest

Roy De Forest, The Dual Life of a Horse Girl, 1971. Acrylic and varnish on canvas; 64 × 63 7/8 in. (162.6 × 162.2 cm). Collection Museum of Contemporary Art Chicago, gift of Joseph and Jory Shapiro, 1992.59. Photo: Nathan Keay, © MCA Chicago.

Emory Douglas

Emory Douglas, All Power to the People, 1969. Offset print. Collection of the Center for the Study of Political Graphics. © 2018 Emory Douglas/Artists Rights Society (ARS), New York.
Emory Douglas, 5000 Blacks May Go to Prison by December, 1971. Newspaper. Collection of the Center for the Study of Political Graphics. © 2018 Emory Douglas/Artists Rights Society (ARS), New York.
Emory Douglas, See Revolutionary Art Exhibit, 1969. Offset print. Collection of the Center for the Study of Political Graphics. © 2018 Emory Douglas/Artists Rights Society (ARS), New York.

Los Four

Carlos Almaraz, Roberto de la Rocha, Judithe Hernández, and Frank Romero (Los Four), Untitled (Poster for Self-Help fundraiser), 1974. Serigraph poster; paper: 16 × 11 5/8 in. National Museum of Mexican Art Permanent Collection, gift of Judithe Hernández in memory of Mr. and Mrs. Peter C. Hernández, 2009.25. Photo: NMMA staff.

Joe Goode

Joe Goode, Cuquenan (Waterfall #4), 1989. Oil on board; 90 × 21 in. (228.6 × 50.8 cm). Collection Museum of Contemporary Art Chicago, restricted gift of Angela and Rudolf Rossmann, 1992.102. Photo © MCA Chicago.

Anna Halprin and Lawrence Halprin

Anna Halprin and Lawrence Halprin, “Driftwood City,” Sea Ranch, CA. Halprin Summer Workshop, day eight, July 4, 1966. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Walk In the Woods, Meeting on Dance Deck,” Kentfield, CA. Halprin Summer Workshop, day fifteen, July 11, 1966. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Blindfold Walk,” Kentfield, CA. Halprin Summer Workshop, day two, July 2, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Driftwood Village,” Sea Ranch, CA. Halprin Summer Workshop, day five, July 5, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Driftwood Village Rebuilt,” Sea Ranch, CA. Halprin Summer Workshop, day six, July 6, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.
Anna Halprin and Lawrence Halprin, “Ritual Celebration,” Kentfield, CA. Halprin Summer Workshop, day thirteen, July 13, 1968. The Architectural Archives, University of Pennsylvania, by the gift of Lawrence Halprin.

Anna Halprin

Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.
Documentation of Anna Halprin, City Dance, 1977. Photographs transferred to digital video. Photographs by Constance Beeson, Bry Photography, Buck O’Kelly, and unknown photographers. Anna Halprin Papers, The Elyse Eng Dance Collection, Museum of Performance + Design.

David Hammons

David Hammons, Untitled, 1989–90. Rubber inner tube, frying pan, and gold paint; 66 × 39 ½ × 13 in. Collection of Liz and Eric Lefkofsky. Photo: Tom Powell Imaging.

Judithe Hernández and Carlos Almaraz

Judithe Hernández and Carlos Almaraz, La Mujer de Aztlán, 1976. Acrylic; 16 × 26 ft. University of Southern California Digital Library. Photo: Robin Dunitz.

Judithe Hernández

Judithe Hernández, El Encuentro/The Encounter, 1983. Pastel on paper; paper: 30 × 39 ¾ in. National Museum of Mexican Art Permanent Collection, gift of Judithe Hernández in memory of Mr. and Mrs. Peter C. Hernández, 2011.5. Photo: Nathan Keay, © MCA Chicago.

Dennis Hopper

Dennis Hopper, Billy Al Bengston, 1964. Gelatin silver print; image: 16 × 24 in., framed: 23 × 30 ½ in. © Dennis Hopper. Courtesy of The Hopper Art Trust.
Dennis Hopper, Bruce Conner (in tub), Toni Basil, Teri Garr, and Ann Marshall, 1965. Gelatin silver print; image: 24 × 16 in., framed: 28 ½ × 20 ½ in. © Dennis Hopper. Courtesy of The Hopper Art Trust.
Dennis Hopper, Ed Ruscha, 1964. Gelatin silver print; image: 20 × 29 ½ in., framed: 26 × 36 in. © Dennis Hopper. Courtesy of The Hopper Art Trust.

Jim Isermann

Jim Isermann, Flower Painting, 1986. Enamel on wood; 48 × 48 × 2 in. (121.9 × 121.9 × 5.1 cm). Collection Museum of Contemporary Art Chicago, gift of Hudson, 1997.5. © 1986 Jim Isermann. Photo: Nathan Keay, © MCA Chicago.
Suzanne Jackson, Sundown, 1974. Acrylic wash on canvas; 9 ¼ × 12 ¼ in. (23.5 × 31.1 cm). Collection of Marguerite Ray, Los Angeles. Photo: Ed Glendinning.

Stephen Kaltenbach

Stephen Kaltenbach, Slant Step 2, c. 1969. Fiberglass and rubber mat; 14 ¾ x 16 × 14 in. (37.47 × 40.64 × 35.56 cm). Collection The Museum of Contemporary Art, Los Angeles, gift of Michael Asher and Pamela Allen.

Barbara Kasten

Barbara Kasten, Untitled 75/36 from the series Photogenic Painting, 1975. Cyanotype; 30 × 40 in. (76.2 × 101.6 cm). Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange, 2011.44. Photo: Nathan Keay, © MCA Chicago.

Mike Kelley

Mike Kelley, Craft Morphology Flow Chart, 1991. Dolls and figures, gelatin silver prints, acrylic on paper, folding banquet tables, and folding card tables; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.41. Photo: Nathan Keay, © MCA Chicago.

Mary Kelly

Mary Kelly, Untitled, 1992. Graphite on paper; 42 × 34 in. (106.6 × 86.4 cm). Collection Museum of Contemporary Art Chicago, anonymous gift, 1997.113. Photo: Nathan Keay, © MCA Chicago.

Jerry McMillan

Jerry McMillan, Untitled, 1961. Collage with photograph (Patty Sleeping, 1959, gelatin silver print), construction paper, and red thread; 10 × 8 in. Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, “24 Young L.A. Artists”, Los Angeles County Museum of Art, 1971. Gelatin silver print; 10 × 8 in. (25.4 × 20.3 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Billy Al Bengston, Ed Ruscha, Ken Price, and Joe Goode at Boxing Match, 1972. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Ed Ruscha Covered with 12 of his Books, 1970. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Joe Goode in front of his studio on Western Avenue, Los Angeles, CA, c. 1965. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Judy Chicago as a Boxer, to announce her name change and show at CalState Fullerton, 1970. Gelatin silver print; 10 × 10 in. (25.4 × 25.4 cm). Pictured, left to right: Jack Glenn, Judy Chicago, and Alona Hamilton-Cooke. Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Larry Bell for “L.A. 6” Catalogue, Vancouver, Canada, 1968. Gelatin silver print; 10 × 10 in. (25.4 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Mason Williams, Sunrise, Downtown Los Angeles, 1964. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.
Jerry McMillan, Spontaneous Happening in Jerry’s Studio. Mason Williams, Thelma Camacho, Ed Ruscha, and Jerry McMillan, 1969. Gelatin silver print; 8 × 10 in. (20.3 × 25.4 cm). Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica.

Rodney McMillian

Rodney McMillian, Carpet Painting (Bedroom and TV Room), 2012. Carpet and ink; 272 × 166.5 × .5 in. (691 × 423 × 1.3 cm); installed dimensions variable. Collection Museum of Contemporary Art Chicago, gift of the Albert A. Robin Estate by exchange, 2017.1. Courtesy of the artist and Maccarone, New York. Photo: Jeffrey Sturges.

Rebecca Morris

Rebecca Morris, Untitled (#04-04), 2004. Oil and spray paint on canvas; 82 5/8 × 73 ½ × 2 5/8 in. (209.8 × 186.7 × 6.8 cm). Collection Museum of Contemporary Art Chicago, gift of Burt Aaron in honor of Shane Campbell Gallery, 2005.3. © 2004 Rebecca Morris. Photo: Nathan Keay, © MCA Chicago.

Bruce Nauman

Bruce Nauman, Mold for a Modernized Slant Step,1966. Plaster; installed: 18 ¼ × 14 ½ × 13 3/8 in. (46.4 × 36.8 × 34 cm). Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection, 1995.70.a–b. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago.
Bruce Nauman, Self-Portrait as a Fountain (from the portfolio Eleven Color Photographs), 1966–67/1970/2007. Ink-jet print exhibition copy (originally chromogenic development print); image: 19 7/8 × 23 ¾ in. (50.9 × 60.3 cm). Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection, 1994.11.k. Photo: Nathan Keay, © MCA Chicago.

Senga Nengudi

Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick “Quaku” Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York. Photo: Roderick ‘Quaku’ Young.
Senga Nengudi, R.S.V.P. Fall 1976, 1976/2017. Nylon mesh, sand, and pins; 41 × 19 ½ × 2 ½ in. (104.1 × 49.5 × 6.4 cm). Collection Museum of Contemporary Art Chicago, gift of Irving Stenn, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Jackson Tang in honor of Naomi Beckwith, 2017.17. © Senga Nengudi. Photo: Elisabeth Bernstein, courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York.
Senga Nengudi, R.S.V.P. Fall 1976 (detail), 1976/2017. Nylon mesh, sand, and pins; 41 × 19 ½ × 2 ½ in. (104.1 × 49.5 × 6.4 cm). Collection Museum of Contemporary Art Chicago, gift of Irving Stenn, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Jackson Tang in honor of Naomi Beckwith, 2017.17. © Senga Nengudi. Photo: Elisabeth Bernstein, courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York.
Senga Nengudi, R.S.V.P. Fall 1976 (detail), 1976/2017. Nylon mesh, sand, and pins; 41 × 19 ½ × 2 ½ in. (104.1 × 49.5 × 6.4 cm). Collection Museum of Contemporary Art Chicago, gift of Irving Stenn, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Jackson Tang in honor of Naomi Beckwith, 2017.17. © Senga Nengudi. Photo: Elisabeth Bernstein, courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York.
Senga Nengudi, Swing Low, 1977/2014. Nylon mesh and sand; 30 × 60 × 5 in. (76.2 × 152.4 × 12.7 cm). Collection of Kerry James Marshall and Cheryl Lynn Bruce. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York.

Kori Newkirk

Kori Newkirk, Suggett, 2002. Nickel-plated basketball hoops, pony beads, and synthetic hair; overall: 108 × 18 × 23 in. (274.3 × 45.7 × 58.4 cm). Collection Museum of Contemporary Art Chicago, gift of Howard and Donna Stone, 2013.27. Photo: Nathan Keay, © MCA Chicago.

Gladys Nilsson

Gladys Nilsson, The Big Green Man, 1972. Acrylic on canvas; canvas: 84 7/8 × 72 7/8 in. (215.6 × 185.1 cm). Collection Museum of Contemporary Art Chicago, gift of Dr. and Mrs. Peter W. Broido, 1985.29. Courtesy of the artist and Garth Greenan Gallery, New York. Photo: Nathan Keay, © MCA Chicago.

Jim Nutt

Jim Nutt, She Seams Up Set, 1971. Acrylic on paper; sheet: 7 ¾ × 7 in. (19.7 × 17.8 cm). Collection Museum of Contemporary Art Chicago, gift of Gerald S. Elliott, 1989.1. Photo: Nathan Keay, © MCA Chicago.

Catherine Opie

Catherine Opie, Fall, Winter, Spring, Summer (Lake Michigan), 2004–5. Chromogenic development prints; 4 prints, each: 49 ¼ × 39 ¼ in. (125.1 × 99.7 cm); framed: 51 × 41 × 2 in. (129.5 × 104.1 × 5.1 cm). Collection Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund by exchange, 2006.1.a–d. Photo: Nathan Keay, © MCA Chicago.
Catherine Opie, Ron Athey seated smoking, 2000. Color Polaroid; framed: 107 ¼ × 43 ½ in. (272.4 × 110.5 cm). Collection Museum of Contemporary Art Chicago, gift of Gary Heiferman, Chip Tom and Michael W. Rabkin, C. Bradford Smith, and Donald L.Davis, in honor of the birth of Oliver Hill Opie; and gift in memory of John S. Baran, 2003.2. Photo: Michael David Rose, © MCA Chicago.

John Outterbridge

John Outterbridge, Jive Ass Bird, Rag Man Series, 1971. Mixed media; 22 ¼ × 31 × 12 ½ in. Private collection, courtesy of Tilton Gallery. New York.

Laura Owens

Laura Owens, Untitled, 1998. Acrylic and oil on canvas; 168 × 132 in. (426.7 × 335.3 cm). Collection Museum of Contemporary Art Chicago, restricted gift of Andrea and Jim Gordon, 2000.4. Photo: Nathan Keay, © MCA Chicago.

Jorge Pardo

Jorge Pardo, Vince Robbins, 1997. Plastic, steel, lightbulb, and electric wire; overall dimensions variable; plastic shade: 20 in. diameter, 17 in. height. Collection Museum of Contemporary Art Chicago, restricted gift of Carlos and Rosa de la Cruz, 1998.29. Photo: James Isberner, © MCA Chicago.

Stephen Prina

Stephen Prina, Exquisite Corpse: The Complete Paintings of Manet, No.   of 556, 1988–present. Ink wash on rag, barrier paper, and offset lithography on paper; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of the William J. Hokin Family, 2014.14.a–b. Photo: Nathan Keay, © MCA Chicago.

Amanda Ross-Ho and Allen Ruppersberg

Amanda Ross-Ho and Allen Ruppersberg, The Meaning of Plus and Minus, 2011. Mixed-media installation: green pedestal, fabricated binder sculpture, random-sequence digital slide show, and moving-image projection with audio (music); overall dimensions variable. Courtesy of the artists. © Al Ruppersberg and Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.
Amanda Ross-Ho and Allen Ruppersberg, The Meaning of Plus and Minus, 2011. Mixed-media installation: green pedestal, fabricated binder sculpture, random-sequence digital slide show, and moving-image projection with audio (music); overall dimensions variable. Courtesy of the artists. © Al Ruppersberg and Amanda Ross-Ho. Courtesy of the artists; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.
Amanda Ross-Ho and Allen Ruppersberg, The Meaning of Plus and Minus, 2011. Mixed-media installation: green pedestal, fabricated binder sculpture, random-sequence digital slide show, and moving-image projection with audio (music); overall dimensions variable. Courtesy of the artists. © Al Ruppersberg and Amanda Ross-Ho. Courtesy of the artists; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.

Amanda Ross-Ho

Amanda Ross-Ho, CRADLE OF FILTH, 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.
Amanda Ross-Ho, CRADLE OF FILTH (detail), 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.
Amanda Ross-Ho, CRADLE OF FILTH (detail), 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.
Amanda Ross-Ho, CRADLE OF FILTH, 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago.

Sterling Ruby

Sterling Ruby, Basin Theology/The Poacher 2, 2013. Fired ceramic and glaze; 32 × 36 × 41 in. (81.3 × 91.4 × 104.1 cm). Collection Museum of Contemporary Art Chicago, restricted gift of the Simkins Family, 2014.30. Photo: Robert Wedemeyer, courtesy of Sterling Ruby Studio.
Sterling Ruby, Basin Theology/The Poacher 2, 2013. Fired ceramic and glaze; 32 × 36 × 41 in. (81.3 × 91.4 × 104.1 cm). Collection Museum of Contemporary Art Chicago, restricted gift of the Simkins Family, 2014.30. Photo: Robert Wedemeyer, courtesy of Sterling Ruby Studio.
Sterling Ruby, SP104, 2010. Spray paint on canvas; 125 × 185 in. (317.5 × 469.9 cm). Collection Museum of Contemporary Art Chicago, restricted gift of the Simkins Family, 2011.7. Photo: Robert Wedemeyer, courtesy of Sterling Ruby Studio.

Allen Ruppersberg

Allen Ruppersberg, Al’s Grand Hotel brochure, 1971. One brochure with promotional description of the Hotel; 3 9/10 × 9 in. (10 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel brochure, 1971. One brochure with promotional description of the Hotel; 3 9/10 × 9 in. (10 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel brochure, 1971. One brochure with promotional description of the Hotel; 3 9/10 × 9 in. (10 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel catalogue, 1971. One exhibition catalogue (illustrated); 6 3/10 × 9 1/10 in. (16 × 23 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel, 1971. Lithograph on Starwhite Vellum paper, edition 22/100; sheet: 15 × 19 7/8 in. (38.1 × 50.5 cm), image: 15 × 19 7/8 in. (38.1 × 50.5 cm). Los Angeles County Museum of Art, Purchased with funds provided by the Ducommun and Gross Endowment Income Fund, and gift of Cirrus Editions (AC1994.114.15).
Allen Ruppersberg, Al’s Grand Hotel ephemera, 1971. Two blank sheets of stationary and one envelope; each: 7 ½ × 10 3/5 in. (19 × 27 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, Al’s Grand Hotel ephemera, 1971. One typewritten letter; 7 ½ × 10 3/5 in. (19 × 27 cm). Los Angeles County Museum of Art, Balch Art Research Library.
Allen Ruppersberg, The Impossible Girl, 1985. Wood; three parts, part a: 20 ¾ in. (52.7 cm) length; 9 ½ in. (24.1 cm) diameter; part b: 61 ½ in. (156.2 cm) length; 9 ½ in. (24.1 cm) diameter; part c: 24 ¼ in. (62.2 cm) length; 14 ½ in. (36.8 cm) diameter. Collection Museum of Contemporary Art Chicago, gift of Hudson, 1997.11.a–c. Photo: Nathan Keay, © MCA Chicago.

Ed Ruscha and Billy Al Bengston

A black-and-white photograph of two men shaking hands is mounted to a light-colored piece of wood.
Ed Ruscha and Billy Al Bengston, Business Cards, 1968. Offset on paper with business card and gold-backed paper stapled on final page; punched and tied with leather cord with silver gelatin print and photo corners adhered to wood-grained Bristol board; 7 1/16 × 5 9/16 in. (18 × 14 cm). Collection Museum of Contemporary Art Chicago, gift of Robert L. Mollers, 2012.95. © Ed Ruscha and Billy Al Bengston. Photo: Nathan Keay, © MCA Chicago.

Ed Ruscha

Ed Ruscha, Mint (Red), 1968. Oil on canvas; 60 × 55 in. (152.4 × 139.7 cm). Private Collection. © Ed Ruscha. Courtesy of the artist and Gagosian.
Ed Ruscha, Mason Williams, and Patrick Blackwell, Royal Road Test, 1980. Offset printing; spiral bound with color card-stock. 3 copies: 9 9/16 × 6 ½ in (24.2 × 16.5 cm), 60 pp. Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Purchase Grant and gift of the MCA Men’s Council, 2012.94. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.
Ed Ruscha, Twentysix Gasoline Stations, 1969. Offset print on paper; perfect bound, softcover; 7 1/16 x 5 9/16 in. (18 x 14 cm). Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Museum Purchase Grant and gift of the Men’s Council, 2012.84. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.
Ed Ruscha, Words Without Thoughts, 1986. Acrylic on canvas; 54 × 60 in. (137.2 × 152.4 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.49. © Ed Ruscha. Photo: Nathan Keay, © MCA Chicago.

Miriam Schapiro

Miriam Schapiro, Computer Series, 1969. Acrylic and spray paint on canvas; 49 × 50 in. © 2018 Estate of Miriam Schapiro/Artists Rights Society (ARS), New York. Courtesy of Eric Firestone Gallery.

Melanie Schiff

Melanie Schiff, Spit Rainbow, 2006. Chromogenic development print; 29 × 39 ½ in. (73.7 × 100.3 cm). Collection Museum of Contemporary Art, restricted gift of Kay and Malcolm Kamin and Kay Torshen in honor of the MCA’s 40th Anniversary, 2007.34. © 2006 Melanie Schiff. Photo: Nathan Keay, © MCA Chicago.

Jim Shaw

Jim Shaw, Untitled (2 Figures in Teargas) from the aestheticized disaster series, 1991. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.6. Photo: Nathan Keay, © MCA Chicago.
Jim Shaw, Untitled (Bikini H-Bomb Test) from the aesheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.4. Photo: Nathan Keay, © MCA Chicago.
Jim Shaw, Untitled (Tickertape Parade for Nixon & Eisenhower) from the aestheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.12. Courtesy of the artist. Photo: Nathan Keay, © MCA Chicago.
Jim Shaw, Untitled (Woodstock Garbage Heap) from the aestheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.13. Photo: Nathan Keay, © MCA Chicago.

William T. Wiley

William T. Wiley, Bad Balance, 1979. Acrylic, and ink and charcoal on canvas; 94 ½ × 130 ½ in. (240 × 331.5 cm). Collection Museum of Contemporary Art Chicago, gift from the Collection of Kay and Craig Tuber, 2012.15.a-b. Photo: Nathan Keay, © MCA Chicago.
William T. Wiley, Slant Step Becomes Rhino/Rhino Becomes Slant Step, 1966. Plaster, acrylic, paint, and chain; 22 × 12 × 12 in. (55.8 × 30.5 × 30.5 cm). Collection Ron Wagner and Bonnie Ruder.

June Wayne

June Wayne, Tenth Memory, 1961. Lithograph on paper; 30 × 22 2/10 in. (76.4 × 56.6 cm). Published by Tamarind Lithography Workshop, printed by Bohuslav Horak. Collection Art Institute of Chicago, gift of Burt Kleiner, 1963.1772. Photo: The Art Institute of Chicago/Art Resource, NY.

William Wegman

William Wegman, Airedale Sitting, 1981. Internal dye diffusion transfer process print; 24 × 20 in. (61 × 50.8 cm). Collection Museum of Contemporary Art Chicago, gift of William J. Hokin, 1985.37. Photo: Nathan Keay, © MCA Chicago.

Charles White

Charles White, Wanted Poster Series #15 or Hasty B, 1970. Lithograph in brown on cream wove paper; 21 × 27 in. (53.5 × 68.7 cm). Published by Tamarind Lithography Workshop, printed by Edward Hamilton. Collection Art Institute of Chicago, Margaret Fisher Fund, 2017.286. Photo: The Art Institute of Chicago/Art Resource, NY.

Karl Wirsum

Karl Wirsum, Icabod Cranes His Neck in Plumb Thumb Bumper Tag, 1978. Airbrushed acrylic on canvas; canvas: 35 × 25 7/8 × ¾ in. (91.4 × 65.7 × 1.9 cm). Collection Museum of Contemporary Art Chicago, gift of The Robert A. Lewis Fund in honor of William and Polly Levey, 1982.9. Photo: Nathan Keay, © MCA Chicago.

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