manuel arturo abreu
Untitled (Herramienta, FamilySearch), 2018–ongoing
Digitized Dominican civil records printed on canvas
manuel arturo abreu
Untitled (Herramienta, FamilySearch), 2018–ongoing
Digitized Dominican civil records printed on canvas
16 x 20.6 in. (40.6 x 52.3 cm)
Carlos Agredano
Gregory Ain Publication Subscriptions, 2026
Plywood, metal fasteners, reproductions of Gregory Ain FBI dossier, The Daily Worker, National Guardian, The Daily Compass, and the Bulletin of the Atomic Scientists.
Carlos Agredano
Gregory Ain Publication Subscriptions, 2026
Paul Berger (b. 1948)
From mathematics series
Paul Berger (b. 1948)
Seattle Subtext, Cover and Back, 1981-82
Paul Berger (b. 1948)
Warp & Weft, Bread-2B, 2000-05
Archival ink on rag paper
Approx 30” x 32”
Hannah Black
No one shall be arbitrarily deprived of his nationality (First Intifada), 2026
39.4 in (100cm)
Oil, cotton and nails on canvas
Hannah Black
No one shall be arbitrarily deprived of his nationality (First Intifada), 2026. Detail view.
Hannah Black
Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference (American Revolution), 2025
39.4 in (100cm)
Oil, cotton and nails on canvas
Hannah Black
Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference (American Revolution), 2025. Detail view.
Oil, cotton and nails on canvas
Raymond Boisjoly
Always Some Number of Things, 2021
beer can on wall, 118 x 148 in. (300 x 376 cm)
Nolan Oswald Dennis
further notes 4 a planet (24-dash), 2025
Digital print on 24-panel grid with beaded connectors, hanging hardware.
Nolan Oswald Dennis
further notes 4 a planet (24-dash), 2025. Detail view.
Digital print on 24-panel grid with beaded connectors, hanging hardware.
Nolan Oswald Dennis
black liberation zodiac (Kgositsile’s Folly), 2022
Pippa Garner (b. 1942)
Pippa Garner (b. 1942)
Pippa Garner (b. 1942)
Jasmine Gregory
Divorce
Jeff Guess (b. 1965)
Mindful, 2025
A sound installation in which a succession of AI voices materialize in space, inviting the listener to imagine unseen images.
These ekphrastic invitations have the particularity of being generated in real-time: evocatively critical visual descriptions grounded in up-to-the-minute events from the tech world and its imagined futures.
It is a contemplative work for one person, giving the uncanny impression that the site of enunciation emanates from within the listener's own body. This embodied sonic experience echoes a meditative practice widely embraced by Silicon Valley's tech elite. But here, instead of focusing consciousness toward a palliative sense of wholeness within a fragmented corporate attention economy, the listener is encouraged to engage with mental images of a dystopian power grab.
Jason Hirata
Debt Sale Agreement, 2023
Jason Hirata
Accumulator (private use), 2025
Wooden box, various paper materials and personal notes collected by Ilja Zaharov
David Horvitz
?
David Horvitz
Give Us Back Our Stars, 2020-21
Fabric in woven cotton. Hand-sewn in Kosovo by Shkurte Halilaj
157 1/2 x 275 5/8 inches
somewhere in between the jurisdiction of time, 2014
Installation of 32 unique glass vessels holding seawater collected in the Pacific Ocean at longitude line
127.5° west
dimensions variable
In 2013, Horvitz sailed into the Pacific Ocean to the longitude line that divides California’s time zone with
that of Alaska’s. Water was collected from here and is placed in exhibitions in a north to south line.
David Horvitz
Proposals for clocks, 2016
INFANT (sidony o’neal and Bogosi Sekhukhuni)
BANNED SKILLS, 2025
A project designed to build literacy around XenoFormalism (XF)—a style informing representations of alterity. XF consists of ever-trending substyles within art and design that are bound to histories of science fiction. BANNED SKILLS presents a selection of artifacts from our research across historical and emergent media and digital cultures.
David L. Johnson
Rule, 2004-ongoing (dimensions variable)
Removed codes of conduct plaques.
Steve Kado
Fountain (JB)
Christine Sun Kim
When I Play the Deaf Card, 2019
Charcoal and oil pastel on paper
49.25 x 49.25 inches
Carolyn Lazard
Research-Based Practice, 2025. Detail view.
binders
105 × 230 × 105 cm | 41 3/8 × 90 1/2 × 41 3/8 in
[The image shows multiple binders lined up on a table. The binders are arranged in a row, each labeled with different titles, and appear to be of various colors, including blue, orange, purple, and black. The binders are filled with documents. In the foreground, there are three binders lying open on a white table. On the left is a green binder, which is open but contains blank pages. In the middle, there’s an orange binder, which is open to a page with printed tables and text. On the right is a dark blue binder, which is also open to blank pages with colorful tabs sticking out from the top.]
Carolyn Lazard
Portrait V, 2025
promotional pharmaceutical pens
195 × 200 cm | 76 3/4 × 78 3/4 in
Carolyn Lazard
Portrait V, 2025. Detail view.
Ken Lum (b.1956)
I Know I’m Lucky
From the series TIME. AND AGAIN.
Ken Lum (b.1956)
Language Painting, 1987
72 × 36 in | 183 × 91.5 cm
In his series of Language Paintings from 1987 Ken Lum (b. 1956) picks up the aesthetics of billboards while bringing language to face with its inherent breaking point when it sweeps past the conditions of understanding. While the mind automatically tries to make sense of the apparent script and will inevitably fail, the evocative lettering continues its messaging beyond the possibility of comprehension. Inspired by billboards Lum spotted in Cologne, Germany, written in a language unknown to him, the artist evokes the experience of foreignness while experimenting with the globalized visual codes of our consumer society.
Park McArthur
Softly, effectively, 2017
“A conceptual artwork by American artist Park McArthur consisting of blank, back-to-back aluminum highway signs purchased from commercial municipal vendors. The piece critiques structural control, accessibility, and the way institutional design dictates human movement.”
Park McArthur
Carried and Held, 2012 –
Divya Mehra
Equal Opportunity Statement (Port Coquitlam, British Columbia 2023), 2024,
Contemporary Art Gallery, Vancouver.
Divya Mehra
Equal Opportunity Statement (Port Coquitlam, British Columbia 2023), 2024. Detail view.
Contemporary Art Gallery, Vancouver.
Christian Alborz Oldham
SHÜZ IN AMERICA
Christian Alborz Oldham
Prices Realized, 2023. Detail view
Christian Alborz Oldham
Prices Realized, 2023. Detail view
Christian Alborz Oldham
Artist Statement,
Puppies Puppies (Jade Guanaro Kuriki-Olivo)
Painting To Pay For My Healthcare (Lexapro Withdrawl)(Tuesday)(Depression)(177 CM , My Height 121 CM My Arm Span), 2019
Puppies Puppies (Jade Guanaro Kuriki-Olivo)
'Untitled', 2025
Billboards and Site-specific vinyl and posters
Cameron Rowland
Life and Property, 2021
Recording of NYPD radio communications in Manhattan,
Recording of NYPD radio communications in Brooklyn,
Recording of NYPD radio communications in the Bronx,
Recording of NYPD radio communications in Queens,
Recording of NYPD radio communications in Staten Island / Citywide
Cameron Rowland
Depreciation, 2018
Restrictive covenant; 1 acre on Edisto Island, South Carolina
40 acres and a mule as reparations for slavery originates in General William Tecumseh Sherman’s Special Field Orders No. 15, issued on January 16, 1865. Sherman’s Field Order 15 was issued out of concern for a potential uprising of the thousands of ex-slaves who were following his army by the time it arrived in Savannah.1
The field order stipulated that “The islands from Charleston south, the abandoned rice fields along the rivers for thirty miles back from the sea, and the country bordering the Saint Johns River, Florida, are reserved and set apart for the settlement of the negroes now made free by the acts of war and the proclamation of the President of the United States. Each family shall have a plot of not more than forty acres of tillable ground.”2
This was followed by the formation of the Bureau of Refugees, Freedmen, and Abandoned Lands in March 1865. In the months immediately following the issue of the field orders, approximately 40,000 former slaves settled in the area designated by Sherman on the basis of possessory title.3 10,000 of these former slaves were settled on Edisto Island, South Carolina.4
In 1866, following Lincoln’s assassination, President Andrew Johnson effectively rescinded Field Order 15 by ordering these lands be returned to their previous Confederate owners.
Former slaves were given the option to work for their former masters as sharecroppers or be evicted. If evicted, former slaves could be arrested for homelessness under vagrancy clauses of the Black Codes. Those who refused to leave and refused to sign sharecrop contracts were threatened with arrest.
Although restoration of the land to the previous Confederate owners was slowed in some cases by court challenges filed by ex-slaves, nearly all the land settled was returned by the 1870s. As Eric Foner writes, “Johnson had in effect abrogated the Confiscation Act and unilaterally amended the law creating the [Freedmen’s] Bureau. The idea of a Freedmen’s Bureau actively promoting black landownership had come to an abrupt end.”5 The Freedmen’s Bureau agents became primary proponents of labor contracts inducting former slaves into the sharecropping system.6
Among the lands that were repossessed in 1866 by former Confederate owners was the Maxcy Place plantation. “A group of freed people were at Maxcy Place in January 1866…The people contracted to work for the proprietor, but no contract or list of names has been found.”7
The one-acre piece of land at 8060 Maxie Road, Edisto Island, South Carolina, was part of the Maxcy Place plantation. This land was purchased at market value on August 6, 2018, by 8060 Maxie Road, Inc., a nonprofit company formed for the sole purpose of buying this land and recording a restrictive covenant on its use. This covenant has as its explicit purpose the restriction of all development and use of the property by the owner.
The property is now appraised at $0. By rendering it legally unusable, this restrictive covenant eliminates the market value of the land. These restrictions run with the land, regardless of the owner. As such, they will last indefinitely.
As reparation, this covenant asks how land might exist outside of the legal-economic regime of property that was instituted by slavery and colonization. Rather than redistributing the property, the restriction imposed on 8060 Maxie Road’s status as valuable and transactable real estate asserts antagonism to the regime of property as a means of reparation.
1 Eric Foner, Reconstruction: America’s Unfinished Revolution, 1863–1877, updated ed. (New York: Harper & Row, 1988; New York: HarperCollins, 2014), 71.
2 Headquarters Military Division of the Mississippi, Special Field Orders No. 15 (1865).
3 Foner, Reconstruction, 71.
4 Charles Spencer, Edisto Island 1861 to 2006: Ruin, Recovery and Rebirth (Charleston, SC: The History Press, 2008), 87.
5 Foner, Reconstruction, 161.
6 Foner, 161.
7 Spencer, 95.
Soil Thornton
Dematerialize now but as self portrait to whom (1990-2020 Labor Cont(r)act), 2020
Soil Thornton
Dematerialize now but as self portrait to whom (1990-2020 Labor Cont(r)act), 2020. Detail view.
Soil Thornton
pink, blue, white, 2024
Soil Thornton
Splinter from bouquet of each year of me as you under them (painting), 2023
Epoxy and mirror tiles on acquired p[re-painted hunter green (as mandated by The City of New York’s Local Law No. 47 of 2013)
77.75 x 42.75 x 2.125 inches
Ricardo Valentim
Ricardo Valentim 2006-2023, 2023
Printed paper, plexiglass, screws, and Dwan Gallery exhibition poster framed
Ricardo Valentim
Ricardo Valentim 2006-2023, 2023
Printed paper, plexiglass, screws, and Dwan Gallery exhibition poster framed
Veneer Magazine
Bruno Zhu
I believe you, 2024