Katharina Grosse, Untitled, 2017. Acrylic on aluminum, 40 x 39 x 97 inches. Courtesy of the artist and Gagosian Gallery.
David Ireland, Contadina, 1985. Polyurethane on drywall. Remade for the exhibition Amulet or He calls it chaos, 2019.
Katharina Grosse, Untitled, 2017. Acrylic on aluminum, 40 x 39 x 97 inches. Courtesy of the artist and Gagosian Gallery.
Mathis Altmann, Untitled, 2019. Wood, acrylic mirror, pendants, resin, airbrush. 13.5 x 17.75 x 11 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angles.
Mathis Altmann, Untitled, 2019. Wood, acrylic mirror, pendants, resin, airbrush. 13.5 x 17.75 x 11 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angles.
Gabriel Sierra, Trapdoor for Contadina, 2019. Wood plank, yellow stain, 72 x 20 x 1.5 inches. Courtesy of the artist and Kurimanzutto, Mexico.
Gabriel Sierra, Trapdoor for Contadina, 2019. Wood plank, yellow stain, 72 x 20 x 1.5 inches. Courtesy of the artist and Kurimanzutto, Mexico.
Exhibition View (Entryway).
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (mice), 2019. Epoxy, dimensions variable. Courtesy of the artist and Labor, Mexico.
Exhibition View (Entryway).
Sherrie Levine, Green Mirror, 2012. Green mirror, maple frame, 21 x 17 inches. Private collection, San Francisco.
Exhibition View (Stairs).
Exhibition view
Mathis Altmann, Neuigkeiten vom roten Teppich, 2016. Mdf, acrylic glass, cloth, mouse-trap 13.5 x 11.5 x 9.25 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angles.
Mathis Altmann, Neuigkeiten vom roten Teppich, 2016. Mdf, acrylic glass, cloth, mouse-trap 13.5 x 11.5 x 9.25 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angles.
Rashid Johnson, Untitled Shea Butter Table, 2018. Branded walnut and shea butter, 52 x 96 x 47.75 inches. Courtesy of the artist and David Kordansky Gallery, Los Angeles.
Exhibition View (Back Parlor Room).
Will Rogan, Eraser, 2014. Single channel video, 6:43 minutes. Courtesy of the artist and Altman Siegel Gallery San Francisco.
David Ireland, 500 Capp Street (interior view with logs in doorway), 1987. Wood, 80 x 33 x 15 inches. Remade for the exhibition Amulet or He calls it chaos, 2019.
Exhibition View (Upstairs Hallway).
David Ireland, 500 Capp Street (interior view with logs in doorway), 1987. Wood, 80 x 33 x 15 inches. Remade for the exhibition Amulet or He calls it chaos, 2019.
Cady Noland, Enquirer Page with Eyes Cut Out, Template l, 1990. Plywood, 72 x 60 x 1/2 inches. San Francisco Museum of Modern Art, Gift of Cady Noland, Luring Augustine Hetzler, and American Fine Arts.
Andra Ursuţa, From my Top 5 Deaths You Didn't See Coming, 2015. Dye on velvet, 59 x 56 inches, framed. Courtesy of the artist and Ramiken Crucible, New York.
Gabriel Sierra, Untitled (síntesis para caverna), 2008. Cardboard boxes, light bulb, enamel, 13.75 x 10.5 x 4 inches; 10.5 x 6.5 x 4 inches. Courtesy of the artist and Kurimanzutto, Mexico.
Gabriel Sierra, Untitled (síntesis para caverna), 2008. Cardboard boxes, light bulb, enamel, 13.75 x 10.5 x 4 inches; 10.5 x 6.5 x 4 inches. Courtesy of the artist and Kurimanzutto, Mexico.
Gabriel Sierra, Untitled, 2019. Box impression on David Ireland’s bed, 13.75 x 10.5 x 4 inches. Courtesy of the artist and Kurimanzutto, Mexico.
Andra Ursuţa, From my Top 5 Deaths You Didn't See Coming, 2015. Dye on velvet, 59 x 56 inches, framed. Courtesy of the artist and Ramiken Crucible, New York.
Katharina Grosse, Untitled, 2017. Acrylic on aluminum, 29 x 35 x 56 inches. Courtesy of the artist and Gagosian Gallery, New York.
Exhibition View (Guest Bedroom).
Michel Houellebecq, Pelage d’hiver (Winter Coat), ink on papier, signé, framed, 31,2 x 22,6 cm. Courtesy of the artist and Air De Paris.
Exhibition View (Office).
Exhibition View (Office).
Cindy Sherman, Untitled (Male/Female Artist), 1980 / 2012. Two silver gelatin prints, 10 x 16 inches, framed. Courtesy of the artist and Metro Pictures, New York. Private collection, San Francisco.
Exhibition View (Office).
Moyra Davey, Glass SP-NY, 2014. 4 C-prints, tape, postage, ink, unique, 11.8 x 17.7 inches (each print); 24 x 36 inches (overall). Courtesy of the artist.
Exhibition View (Attic).
Gabriel Sierra, La Apertura del Cube (The Opening of the Cube), 2017. Single channel video, 8:4 minutes. Courtesy of the artist and Kurimanzutto, Mexico.
Hans Haacke, Condensation Cube, 1971. Clear acrylic, distilled water, climate in area of display, 10 x 10 x 10 inches. Courtesy of the artist and Paula Cooper Gallery, New York. Private collection, San Francisco.
Hans Haacke, Condensation Cube, 1971. Clear acrylic, distilled water, climate in area of display, 10 x 10 x 10 inches. Courtesy of the artist and Paula Cooper Gallery, New York. Private collection, San Francisco.
Exhibition View (Dining Room).
Tony Cokes, Black September (Evil.2/3), 2003. Single channel video, 2:08 minutes. Courtesy of the artist; Greene Naftali, New York and Electronic Arts Intermix (EAI), New York.
Jorge Satorre, Exhibition View (Garage).
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (cornice), 2019. Plaster, dimensions variable. Courtesy of the artist and Labor, Mexico.
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (cornice), 2019. Plaster, dimensions variable. Courtesy of the artist and Labor, Mexico.
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Collage, magazines. Courtesy of the artist and Labor, Mexico.
Jorge Satorre, Exhibition View (Garage).
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Painted wood, epoxy, pencil on paper. Courtesy of the artist and Labor, Mexico.
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Pencil on paper, steel, magnets. Courtesy of the artist and Labor, Mexico.
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Pencil on paper, steel, magnets. Courtesy of the artist and Labor, Mexico.
Oscar Tuazon, Exhibition View (Terrace).
Oscar Tuazon, Chaos, 2019. Steel, refectory cement, fire. Courtesy of the artist.
Oscar Tuazon, Chaos, 2019. Steel, refectory cement, fire. Courtesy of the artist.