Visual Arts Program

Saturday, February 23, 1991 — Wednesday, March 27, 1991

Co-sponsored/co-presented by:
The Museum Programs of The National Endowment for The Arts and The New York State Council on The Arts; Harlekin Art, Wiesbaden, West Germany; and The Andy Warhol Foundation for The Visual Arts


Presented at:


Visual arts exhibition curated by Cornelia Lauf and Susan Hapgood, featuring artists Eric Anderson; Ay-O; Guillaume Bijl; George Brecht; Werner Buttner; Giuseppe Chiari; Philip Corner; Meg Cranston; John Dogg; Nancy Dwyer; Brian Eno; Robert Filliou; Henry Flynt; Ken Friedman; Group Material; Al Hansen; Sohei Hashimoto; Geoff Hendricks; George Herold; Hi Red Center; Dick Higgins; Toshi Ichiyanagi; Joe Jones; Mike Kelley; Martin Kippenberger; Milan Knizak; Alison Knowles; Takehisa Kosugi; Shigeko Kubota; Zini Lardieri; Liz Larner; Gyorgy Ligeti; Jackson Mac Low; George Maciunas; Christian Marclay; Jackie McAllister; Jill McArthur; Larry Miller; Peter Moore; Cady Noland; Yoko Ono; Claes Oldenburg; Nam June Paik; Ben Patterson; Takako Saito; Peter Schmidt; Thomas Schmidt; Carolee Schneemann; Paul Sharits; Chieko (Meiko) Shiomi; Daniel Spoerri; Laura Stein; James Tenney; Rirkrit Tiravanija; Yasunao Tone; Ben Vautier; Wolf Vostell; Yoshimasa Wada; Robert Watts; David Wells, Emmett Williams; and La Monte Young. The exhibit was concieved by artist Rirkrit Tiravanija and is accompanied by a catalogue constructed by Nancy DwyerThe exhibition went on to travel to The New Museum of Contemporary Art (NYC) September 27, 1992–January 3, 1993. [The printed catalog dates the NYC run of the show as May 10–August 16, 1992, so evidently it was postponed a few months.]



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from May. 10, 2019
through Jun. 28, 2019

Ashley Smith
Three Fold Form

Inspired by Jungian psychology and mythology, Ashley Smith's process is an alchemical cauldron where personal narratives about womanhood, motherhood, research about art, stories, and myths of the wild woman archetype who represents the instinctive nature of woman are boiled together and transmuted to create abstract sculptural forms and installations that sprout from the wall and grow from the ground.

Stephanie Rohlfs
Put One Over

Rohlfs' work springboards from a clean surface appearance and concise formal gestures into a hybridized set of works that make the artist seem part minimalist, part colorist, part humorist. Rohlfs' sculptural gestures are so adroitly specific and contained that each element—a field of color, a drooping form, a slab of shelving—takes on more imminent and emphatic articulation ...