
Tracey Emin
Exorcism of the Last Painting I Ever Made
1996
Installation including 14 paintings, 78 drawings, 5 body prints, various painted and personal items, furniture, CDs, newspapers, magazines, kitchen and food supplies

Tracey Emin
Exorcism of the Last Painting I Ever Made
1996
Installation including 14 paintings, 78 drawings, 5 body prints, various painted and personal items, furniture, CDs, newspapers, magazines, kitchen and food supplies


Yoshihiro Suda, Lily, painted wood

Rona Pondick, Pyracantha, 2005-6, stainless steel and rocks, 39 ¾ x 36 x 22 inches

Kiki Smith
Sojourns in the Parallel World
We live our lives of human passions,
cruelties, dreams, concepts,
crimes and the exercise of virtue
in and beside a world devoid
of our preoccupations, free
from apprehension–though affected,
certainly, by our actions. A world
parallel to our own though overlapping.
We call it “Nature”; only reluctantly
admitting ourselves to be “Nature” too.
Whenever we lose track of our own obsessions,
our self-concerns, because we drift for a minute,
an hour even, of pure (almost pure)
response to that insouciant life:
cloud, bird, fox, the flow of light, the dancing
pilgrimage of water, vast stillness
of spellbound ephemerae on a lit windowpane,
animal voices, mineral hum, wind
conversing with rain, ocean with rock, stuttering
of fire to coal–then something tethered
in us, hobbled like a donkey on its patch
of gnawed grass and thistles, breaks free.
No one discovers
just where we’ve been, when we’re caught up again
into our own sphere (where we must
return, indeed, to evolve our destinies)
–but we have changed, a little.
—Denise Levertov

Janine Antoni, Graft, 2013

Felix Gonzalez-Torres, Untitled (Death by Gun) and Untitled (Lover Boys), installed at the Whitney, 1991

Geoffrey Hendricks, Headstand (South Africa/Phone call to MoMA), digital print on museum board

Louise Bourgeois, Femme Maison (Untitled), 1946/7