Mona Hatoum : Here Is Elsewhere [Fereshteh Daftari]

Mona Hatoum : here is elsewhere [Fereshteh Daftari]

Author Hatoum, Mona, 1952-

Date 2003

Exhibition URL www.moma.org/calendar/exhibitions/134

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

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HERE IS ELSEWHERE Artist'sChoice: Mono Hatoum HERE IS ELSEWHERE

INTRODUCTION

Takingus into territory relatedin bodyand spirit to her own work, 11] jf MonaHatoum has organizedHere Is Elsewhere, the sixth exhibi tion in the Artist's Choiceseries. Hatoum's selection of works drawnfrom The Museumof ModernArt's collection reflects her own artistic practice, which rangesfrom video to sculpture, installations,photography, performance, and prints.Yet beyond the mediums,and more importantly,her choices gravitate towardbeauty that maskspolitical pungency and familiarappear ancethat concealsa divergencefrom the "norm"—be it gender, sexuality,culture, or race.

An acute awarenessof faceted realities,of disjunctionsor ruptures,defines the perspectiveof a transplanted individuallike Hatoum,who was born in Lebanonto exiledChristian Palestinian parents, and who has resided in Londonsince 1975.Always in a foreign land,where the impulseto blendin comeschecked by a firm insis tence on difference or distance,and where conformity is strategy,the uprootedartist has developedan understandingof ambivalence,a faith in ambiguity.Much of Hatoum'swork impliesan absenceof the safety net that protectsthose deeplyanchored in one culture.Without divulgingthe artist's ethnicity or dwellingon exile,her sculptureSilence (in the Museum'scollection) seems to pertainto this categoryof objects that are neverwhole, never safe. A crib madeentirely of glasstest tubes and lackinga support,the work speaksof the uncertaintiesgreeting the newborn,and, in a more universalsense, of the fragility of life experiencedfrom its inception.Hatoum addresses everyone but draws the complicity of those who share her dislocations.

The Artist's Choiceseries was initiated in 1989, when the late Kirk Varnedoe,former Chief Curator of the Departmentof Paintingand Sculpture,invited Scott Burtonto organizean exhibitiondrawn from the Museum's collection.The guidingprinciple would be, in Varnedoe'swords, "to see the collection in a fresh way,outside the normal patternsof chronologicalinstallation, departmental divisions, and curatorialthinking; and, in par allel,to gain insight into the way contemporaryartists draw inspirationfrom the work of their predecessors." Burton,who madehybrid sculpture-furniture, chose Constantin Brancusi, and focusedon his bases.He called them "pedestal-tables."Ellsworth Kelly scanned the collection in searchof the fragmentedform. ChuckClose stackedup the displayshelves with over one hundredand fifty portraits.John Baldessari constructed a new piecefrom photographicdetails of works culled cross-departmentally.And ElizabethMurray based her selec tion on gender,creating an all-womenshow. KynastonMcShine, Chief Curatorat Large,invited Hatoumto continuethe series.We are gratefulto him as well as to others who havemade the exhibitionpossible: Barbara London's and SallyBerger's invaluable input regardingthe videosand DavidHollely's solutions to innumerabledesign issues need special acknowledgment. We also thank JohnElderfield, Chief Curator,Department of Paintingand Sculpture,and the followingaddi tional staff membersof The Museumof ModernArt: Anny Aviram,Mary Lea Bandy,Laura Beiles, Randolph Black,Holly Boerner,Sydney Briggs, Mikki Carpenter,Claire Corey, Kathy Curry, Lee Ann Daffner,Peter Galassi, SarahGanz (in particular),Gary Garrels, Roger Griffith, CassandraHeliczer, Sarah Hermanson Meister, Kate Johnson,Charlie Kalinowski, Laurence Kardish, Susan Kismaric,Raimond Livasgani, Harper Montgomery, Peter Perez,Jennifer Roberts, Jennifer Russell, Deborah Schwartz, Lilian Tone,Anne Umland,Jeff White, DeborahWye, Lynda Zycherman, and interns Ruth Chavez-Perezand CarolynGamanos. The artist would like especiallyto thank CarolynAlexander, Ted Bonin, Alexandra Bradley, and CatherineDe-Zegher. Our deepest gratitude goes to the Gundfamily: lara Lee and GeorgeGund III, Lulie and GordonGund, Ann and Graham Gund,and Sarahand GeoffreyGund, whose generosity has revivedthe Artist's Choiceseries in honor of AgnesGund, President Emerita. —FereshtehDaftari

front COVER:Ellen Gallagher.Untitled. 2000. Oil, pencil,and plasticineon magazinepage, 13% x 10" (33.7 x 25.4 cm). Gift of Mr. and Mrs. JamesHedges, IV. © 2003 Ellen Gallagher OPPOSITELEFT: Mona Hatoum. Silence.1994. Glass,49% x 36% x 23%" (126.7x 93.7 x 58.7 cm). Robert B. and Emilie W. Betts Foundation Fund.© 2003 Mona Hatoum ABOVE:Jane and Louise Wilson.Stasi City.1997.1 of 2 artist's proofs. Four-channelvideo/sound installation: four DVD projectors,four DVD players,four DVD's,one amplifier,and four speakers,5 min. loop. Fractionaland promised gift of David Teiger.Courtesy 303 Gallery,New York.© 2003 Janeand Louise Wilson INTERVIEW WITH MONA HATOUM

Fereshteh Daftari: Unhampered by constraints regulating Museum curators and crossing MoMA's departmental boundaries, you have chosen some sixty works dating mostly from the 1990s. Can you explain how you approached this task and elaborate on any theme that emerges from your selection?

Mona Hatoum: I choseto look at work in the collectionfrom the seventiesto the present,not only becausesince 1975 I found myself living in London,and contemporaryWestern art becamemy context, but also becauseI think it was a very interestingperiod. Feminism has had a tremendousimpact on the art world since the beginningof the seventies.I feel that examiningpower relationships along the genderdivide also pavedthe way to questioningother powerstructures along the lines of race,class, and cultural difference. Havingsaid that, the only femaleartist well-representedin the collectionfrom that periodis CindySherman. Her earlyseries of stagedself-portraits, Untitled Film Stills,exposed feminine identity as an "internalized fiction," or a constructionbased on imagesculled from fashionand Hollywoodcinema. For me this articulatedso well the notion that identity and genderare not unifiedand static but multiple and constantly changing.Another work from that period is the video by Martha Rosier,Semiotics of the Kitchen, 1975.She appears in the videoas the aproned housewifein the kitchen namingall the kitchen uten sils from A to Z and givinga demonstrationthat seems to turn these utensilsinto weapons.Also from the seventiesis the work of Ana Mendieta.I discovereda seriesof self-portraitsmade by her in 1972that bear an uncannyresemblance to the laterwork of Sherman. Otherwise,you're right, the rest of the work is from the nineties.I think the eightiesgenerated a great deal of theoreticaldiscussion: deconstructive theo ries,psychoanalysis and feminism,discourse around identity and the "Other."But I feel that these preoc cupations were carried through in a more refined and subtle mannerin the art that was producedin the nineties. I think it is also important to rememberthat althoughI've beengiven a free hand in selectingthe work acrossall of the Museumdepartments, my selectionis of coursemade within a preselection.My choicesare predeterminedby the natureof MoMA's collection,which is shapedby the Museum'spolicies and the bias,for instance,toward Americanart. In terms of a generaltheme, there isn't one as such. I choseto look at art that is not neutraland self-referential.Instead, I was interested in art that engageswith variousissues without beingdidactic

BOTTOM: Martha Rosier. Semiotics of the Kitchen. 1975. Single channel video, 6 min. Purchase. Courtesy Electronic Arts Intermix (EAI), New York in its delivery.My criteria, and, generally,my preference,is for work wherethese issuesare articulated through the visual and formal aspects.I am interestedin work that dealswith realand poignantmaterial through the disguise of art, so that the content almost surprises you as you approachan art object that looks innocentlyformal and aesthetic.I reallywas looking at presentingthe work of individual artists without an overarchingtheme and with out trying to changethe meaningto illustrate a specific idea. Having said that, certain commonalities started emergingwhen I beganlooking at placingthe work in the variousspaces. So the work in the main spaceis mostly dealingwith the body—the body politic, if you like:sexuality, AIDS,gender, and identity representation. Apart from the artists I alreadymentioned (Sherman,Mendieta, Rosier), there is the work of RobertGober, with a coupleof examplesof his ambiguousfurniture piecesthat makeref- | HHH B HHB | erenceto childhoodand causeyou to question the safety of the domestic environment.A coupleof other works of his deal with homoeroticismand sexualambivalence, for example,his untitled self- portrait, in which the artist is wearinga weddingdress. Prison Window,an installationfrom 1992, offers you a view of a sunlit sky—a fake one,of course.Does this meanthat we are on the insideof the prisonlooking out? In this spacethere is also a largework by Kiki Smith, which is a row of twelve large,glass water bottles that have beensilvered, therefore preventing visual accessto the contents. Each bottle is inscribedwith a word referringto one of the body fluids: blood,saliva, semen, urine, etcetera.... It looks quite beautiful and ominousat the sametime. It was madebetween 1987 and 1990, so I am not surewhether she was thinking about how these bodilysub stanceshave acquired dangerous connotations, but it certainlyhas that aspect for me. Here there are also some of the deceptively simple yet multilayeredworks by Felix Gonzalez-Torres,like his "Untitled" (Perfect Lovers),1991, a poetic depiction of a couple representedas two perfectly synchronizedclocks hangingside by side,with, at the sametime, a reminderthat time is runningout—as in "so many men,so little time." Thereis also an exampleof one of his dispersalworks that literally gets consumedby the public and disappears."Untitled" (USA Today),1990, is made of thousandsof

1A1A" TOP: JeanneDunning. Untitled with Food.1999. Silver dye bleach print (Cibachrome)and frame, 42 x 28 (107.3x 71.8cm). Gift of Barbara Lee. © 2003 JeanneDunning BOTTOM:Cheryl Donegan.Head. 1993. Single channel video, 3 min. Purchasedwith funds given by Susan Jacoby.Courtesy Electronic Arts Intermix (EAI),New York candies,heaped in a corner of the room,wrapped in the colors of the Americanflag. And you can help your self to those candies.This is a work that brilliantlydefies the "Do not touch" museumorthodoxy and goes totally againstthe preciousnessand uniquenessof the art object.I havealso includedone of Gonzalez-Torres's all-text pieces,"Untitled," 1989, which lists key eventsin gay history.These concerns are also echoedin David Wojnarowicz'suntitled work of 1990-91, which narratesthe hypothetical(or his own) difficulties of growing up in an environmenthostile to homosexuality. The work of these artists is, of course,well-known, but with some suggestionsfrom curators from the Museum'svarious departments, I madesome interestingdiscoveries-for instance,the photographicwork of JeanneDunning. Untitled with Food, 1999, shows the nakedtorso of a woman. It looks quite ordinary until you discoverthat some kind of gelatinousor gooeyfood substancefills the spacewhere the crossedarms meet the chest and the crossedlegs meet each other.An intriguingimage: is this a comment on the objecti- fication of women-woman as consumableobject-or simply a celebrationof the sensuous,where visual and oral pleasuresare collapsedinto one. I havealso discoveredthe work of some young video artists: Cheryl Donegan'ssexually evocative and witty performance-videoHead, 1993; short videosby XimenaCuevas from 1997 that explorethe "internalizedracism" in her Mexicanculture as well as critique the sanctity of home and family; and Tom Kalin's ThirdKnown Nest, 1991-98, a kind of poetic video journal with literary quotes, dealing—again—with identity as a construction,and equatingthe body with a map or a political battlefield, especiallyin relationto AIDS. The next room is one I am referringto as the "subversivegrid room,"with mainlythe work of two artists: EllenGallagher and YayoiKusama. Gallagher's very largegrid paintingtitled TheyCould Still Serve,2001, usesthe modernistdevice of the grid but introducestiny, cartoonlikesymbols depicting African American

3A1/23/V' Robert Gober.Open Playpen.1987. Enamel paint on wood, 25 x35 x 35 (64.8 x 90.8 x 90.8 cm). Gift of Wernerand Elaine Dannheisser.© 2003 Robert Gober One d»y tbi» kid willget larger. One day thte kid will ty and information will compeH him to commit eui- come to know something that causes a sensation ode or submit to danger In hopes of being murdered equivalent to the separation of the earth from or submit to silence and invisibility. Or ona its axis. One day this kid wiHreach a point day this kid will talk. When he begins to where he senses s division that isnt talk, men who develop a fear of this mathematical. One day this kid will kid will attempt to silence him with feel something stir in his heart and strangling, fists, prison, suffocation, throat and mouth. One day this kid will B rape, intimidation, drugging, ropes. And something in his mind and body B,; «|H guns. laws, menace, roving gangs, and soul that makes him hungry. One aK| bottles, knives, religion, decapitation, day this kid will do something that Iffy'' " ; *w and immolation by fire. Doctors wlHpro-

*'*" priests and rabbis, men who inhabit cer t 'e" " wlfU TW Wdwt

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stereotypes,as a disruption in the abstract field: "minstrel" lips, bulging eyes,etcetera. Kusama'sgrids use obsessivelyrepetitive motifs in photo-collages/drawingsand prints. Since I didn't want this room to end up being formally divorced from the other parts of the exhibition, I addedsome three-dimensionalworks: Gonzalez-Torres's "Untitled" (Death by Gun),1990, one of his "stacks" of paper,each with a grid of mug shots of peopleshot dead in the UnitedStates in one week.(Again, the public is allowedto helpthemselves to a sheet of paperif they wish to.) The other work in this room is a chess pieceby GabrielOrozco titled HorsesRunning Endlessly, 1995, a small but quite representativepiece, as his work has featuredmany referencesto games. The next room is devotedto a largeand hauntingvideo installationby Janeand LouiseWilson, Stasi City, 1997.This four-screenvideo projectionexplores the eerieabandoned headquarters of the former EastGerman secret policeoffice buildings,where political prisonerswere interrogatedand detained.It is a very charged locationyet shot in a detachedmanner, as if the artists wantedto exposethe residualtrace of powerembed ded in the architectureof the place. And the final part of the exhibition—or the first part, dependingon which way you choseto enter—groups works that use the street as a sourceof inspirationor as the creativearena. David Hammons's work is almost entirelymade of objectsfound in the street,such as a basketballhoop used in the work High Falutin',1990. I haveincluded a seriesof photosby Orozco,some of which weretaken in the street,and, finally, Francis Alys's work....He madea processionto celebratethe move from MoMA in Manhattanto its presentlocation in Queens,emulating Mexican religious processions, and a seriesof paintingsin the style of (andcollaborating with) commercialstreet sign-paintersin his neighborhoodin MexicoCity.

FD: In the trajectory you have created, can you stop at (pick) specific works (or groupings), explain why they resonate with you, and elaborate on any affinity you find with your own work?

MH: I find affinities with a lot of the work in the show becauseof similar concernsor simply ways of work ing that I haveemployed in the past or continue to use in the present.As a student in the late seventies,I madework using my own bodilyfluids and hair and nail pairings,etcetera, which makesme feel a connection

3A" top LEFT: FelixGonzalez-Torres. "Untitled" (Perfect Lovers).1991. Clocks, paint on wall, overall:14 x 28 x 2 (35.6 x 71.2x 7 cm). Gift of the DannheisserFoundation. Courtesy Andrea RosenGallery, New York.© 2003 The FelixGonzalez-Torres Foundation 3/i6"15/i6 TOP RIGHT:David Wojnarowicz. Untitled. 1990-91. Photostat,composition (irreg.):27 x 37 (70.9 x 94.4 cm); sheet: 15/i615/ie" 32 x 39 (83.7 x 101.4cm). Publisher:the artist. Printer:Giant Photo, New York.Edition: 10. Purchasedin part with funds from Linda Barth Goldsteinand Art Matters Inc. Courtesy of the Estate of David Wojnarowiczand P.P.O.W.Gallery, New York with Smith'swork with body fluids. I came acrossRosler's video when she visited the Universityof London,where I was in my final year as a post graduatestudent. At the time, I was makinginstallations connecting kitchen utensilstogether and sending240 volts of electricity through them. So that work resonatedwith me....Alys's work makesme feel nostalgicfor the time in the eightieswhen I workedmostly in performanceand video and madea seriesof street performancesand walks.The work of Goberres onateswith me becauseof the way he turns everydayfamiliar objects into uncannyor disquietingthings that makeyou doubt the safetyof the domes tic environment.I also feel a lot of affinity with the ideas of Gonzalez- Torres,especially his use of Minimalistaesthetics and formal constructs, which he "contaminates"with social meaningand subversivecontent.

FD: In keeping with your inclinationtoward ambiguity,your title, Here Is Elsewhere,allows a number of interpretations.What are the spaces that you are evoking?

MH: The title is contradictoryand impliesthat elsewhereis right here—or the elsewherewithin. It also has echoes of the famous declaration by Rimbaud:"Je est un autre" (I is another).Most of the artists in the exhibition inhabitan elsewhereor speakfrom a critical positionoutside the status quo. I supposeit is another way to makean oblique referenceto the "Other"

(?f r, r* < W x mU\M i\ L w «/ \ p« tl rm m i n.Hi** JlAi'fi without usingthat very old-fashionedword. I am usingthis very loosely.Luce Irigaraytalks about women's permanentstate of exile,as they essentiallyexist in a culture and a languagethat they have not playeda role in shaping.Others, because of their sexualorientation, color, or cultural background,can, if you like,be seen as literallyor metaphoricallyin a similar state of exile. I supposeBruce Nauman is the odd one out in this collectionof artists.I includedNauman not only because I think he is a significantartist but also becausethis video work with a headrepeating the word "Think!Think! Think!" almost as a command resonateswith me in this context. There is more and more a tendency on the part of museums,and especiallyso in Americanmuseums, to want to overexplainand oversimplifythe work. I think this takesaway the possibilityfor the viewersto come up with their own interpretations,and limits the numberof meaningsthat an artwork can have.Looking at art does not haveto be as passiveas sitting back and watching television.The best art is that which complicatesthings for you by exposingimpossible contradictions,which makesyou questionyour assumptionsabout the world so that you walk away with more questionsthan answers. With the Naumanvideo, I hear,"Think for yourself!"

OPPOSITETOP: David Hammons. High Falutin'.1990. Metal (some parts painted with oil), oil on wood, glass,rubber, velvet, plastic, and electric lightbulbs,dimensions variable, museum installation:13' 2" x 48" x 3072" (396 x 122 x 77.5 cm). Robert and Meryl Meltzer Fund and purchase.© 2003 David Hammons OPPOSITEBOTTOM: Francis Alys. Detail from Untitled (seriesfor The Modern Procession,June 23,2002, New York City).2002. Mixed mediums and drawings on paper,color photographs,Plexiglas, pine tables,aluminum architectural lamps,and DVD's,40 x 32 x 84" (101.6x 81.3 x 213.4cm). Purchasedwith funds provided by The SilverweedFoundation. © 2003 Francis Alys TOP:Yayoi Kusama. Endless. 1953-84. Etching, printed in black, composition: 13/ie"7/a3A"9/ie"7/s 10Vex 17 (27.1x 44.6 cm); plate:10 x 17 (27.6x 45.2 cm); sheet: 17 x 24 (45 x 62.8 cm). Publisherand printer: unknown. Edition:30. Gift of Jeff Rothstein and ReikoTomii in memory of Bhupendra Karia.© 2003 YayoiKusama RIGHT:Bruce Nauman. Think.1993. Video installation:two 26-inch color monitors, two laser disc players,two laser discs (color,sound), and metal table, overall: 80 x 30 x 20" (203.3 x 76.2 x 50.8 cm). Gift of Wernerand ElaineDannheisser. © 2003 Bruce Nauman/Artists Rights Society (ARS),New York CHECKLIST

BIOGRAPHY Francis Alys Untitled. 2000. Oil, pencil, and (Belgian, born 1959) plasticine on magazine page, MonaHatoum. Born 1952, Beirut, Lebanon. Attended Untitled. 1994. Oil on canvas and 13V4 x 10" (33.7 x 25.4 cm). Gift of BeirutUniversity College, (1970-72), Byam Shaw School sheet metal, three panels, small Mr. and Mrs. James Hedges, IV of Art, London(1975-79), and Slade School of Art, panel by Francis Alys: 12% x 10" Image #111(from the portfolio (31.8 x 25.4 cm); medium panel by Untitled). 2000. Screenprint, print London(1979-81). Lives and works in London Emilio Rivera: 36 x 28 %" (91.4 x ed in black, and etching, printed in 71.4 cm); large panel by Juan color, on chine colle, composition Garcia: 47% x 36" (120 x 91.4 cm). (irreg.): 6 x 5" (15.2 x 12.7 cm); sheet, Gift of Eileen and Peter Norton 13"/16 x 9%" (34.7 x 23.8 cm). Untitled (series for The Modern Publisher and printer: LeRoy Neiman Center for Print Studies, Columbia The Artist'sChoice exhibition series is made possi Procession, June 23, 2002, New York City). 2002. Mixed mediums University, New York. Edition: 27. ble throughThe AgnesGund Artist's Choice Fund and drawings on paper, color pho Virginia Cowles Schroth Fund endowedby lara Lee and GeorgeGund III, Lulieand tographs, Plexiglas, pine tables, alu Image #11/(from the portfolio minum architectural lamps, and Untitled). 2000. Screenprint, print GordonGund, Ann and GrahamGund, and Sarah DVD's, 40 x 32 x 84" (101.6 x ed in color, and etching, printed in and GeoffreyGund. 81.3 x 213.4 cm). Purchased with black, on chine colle, plate: ,5/i6" funds provided by The Silverweed 5% x 4 (15 x 12.6 cm); sheet: 9/i6 Foundation 22 x 18" (57.3 x 45.7 cm). Untitled. 2000. Multiple of stencil Publisher and printer: LeRoy Neiman and chalk, composition (irreg.): Center for Print Studies, Columbia 20Vi6 x 18%" (51 x 47 cm); sheet: University, New York. Edition: 27. 13/ie15/ie" PUBLIC PROGRAMS FALL 2003 35 x 35 (91 x 91.4 cm). Virginia Cowles Schroth Fund November7, 2003, 6:00 p.m. Purchased with funds given by Ssblakl! (Image #VI , /'//from the Franceses Danieli and Gary Gensler portfolio Untitled). 2000. MoMAQNS 33 Streetat QueensBoulevard Screenprint, printed in color, and On the occasionof the openingof HereIs Elsewhere, Ximena Cuevas etching, printed in black, on chine 15/ib15/ie" (Mexican, born 1963) colle, plate: 5 x 4 (15.1x 15/ie a selectionof contemporaryart from TheMuseum of 12.6 cm); sheet: 15 x 19"/ie" Selection from Dormimundo. (40 x 50 cm). Publisher and printer: ModernArt's collection, Mona Hatoum, Conceptual artist 1998-99. Single channel video, LeRoy Neiman Center for Print 13 min. selection. Purchased with andcurator of the exhibition,takes an informalwalk Studies, Columbia University, New funds given by the Mexican throughthe gallerieswith FereshtehDaftari, Assistant York. Edition: 27. Virginia Cowles Consulate Schroth Fund Selection from Half Lies: Paper Curatorof Paintingand Sculpture. Hatoum discusses Untitled. 2000. Synthetic polymer Illusions. 1997. Single channel herchoices, works in variousmediums dating predomi paint, plasticine, ink, colored felt- video, 7 min. selection. Purchased tipped pen, and graphite on paper, 3Ax nantlyfrom the pasttwenty-five years. with funds given by the Mexican 19 15" (50.2x38.1 cm). Consulate Spaceis limited.Tickets are $10, $8 for members,$5 for Purchased with funds provided by Michael Lynne Cheryl Donegan studentswith currentID, and are available on a first-come, They Could Still Serve. 2001. (American, born 1962) first-servedbasis, beginning at 5:00 p.m.on the dayof Pigment, paper, and glue on linen, Head. 1993. Single channel video, 10 x 8' (304.8 x 243.8 cm). Emily the programat the MoMAQNS Lobby Ticketing Desk. 3 min. Purchased with funds given and Jerry Spiegel and Anna Maria Pleasemeet at the entranceto the exhibitionat 6:00 p.m. by Susan Jacoby and Robert F. Shapiro Funds and gift of Agnes Gund Formore information about Public Programs, please Jeanne Dunning call (212)708-9781 or (212)247-1230 (TTY), or visit (American, born 1960) Robert Gober (American, born 1954) www.moma.org/momalearning. Untitled with Food. 1999. Silver dye bleach print (Cibachrome) and Untitled. 1986. Enamel paint on frame, 42% x 28 'A" (107.3 x wood, cotton, wool, and down, 71.8 cm). Gift of Barbara Lee 36%" x 43" x 6' 4%" (92.7 x Sample. 1990. Silver dye bleach 109.3 x 192 cm). Gift of Werner A" print (Cibachrome), 23% x 16 3 and Elaine Dannheisser (36.2 x 27.8 cm). Gift of Peter Norton Open Playpen. 1987. Enamel paint 2 2 on wood, 25'/ x 35% x 35%" Ellen Gallagher (64.8 x 90.8 x 90.8 cm). Gift of (American, born 1965) Werner and Elaine Dannheisser Untitled. 1997. Lithograph, printed Untitled. 1991. Wax, fabric, leather, 7/s in color, composition: 33 x 18%" human hair, and wood, 13% x 1A" (86 x 46 cm); sheet: 53% x 42%" 16% x 46 (33.6 x 41.9 x (135.9 x 107.9 cm). Publisher and 117.2cm). Gift of Werner and Elaine printer: Universal Limited Art Dannheisser Gabriel Orozco. CCCP. 1993. Silver dye bleach print (Cibachrome), Editions, West Isiip, New York. Edition: 42. Gift of Emily Fisher Landau 12V2 x I8V2" (31.7 x 47 cm). The Family of Man Fund

BACK COVER: Detail of CCCP Prison Window. 1992. Plywood, Money Tree (for Parkett no. 31). Untitled (Facial Cosmetic Untitled Film Still # 35. 1979. 7/i69/i6n forged steel, plaster, synthetic poly 1992. Gelatin silver print, sheet: Variations). 1972. Chromogenic Gelatin silver print, 9 x 6 3A" mer paint, and electric lightbulbs, I6V2 x 18%" (42 x 48 cm); comp: color prints, each 19V4 x 12 (24 x 16.7 cm). Purchase 7/8" 48 x 53 x 36" (121.9 x 134.6 x 16'A x 10 (41 x 27.6 cm). (48.9 x 32.4 cm). Gift of The Untitled Film Still # 56. 1980. 3/s7/ie" 91.4 cm). Gift of the Dannheisser Publisher: Parkett, Zurich. Edition: Contemporary Arts Council in Gelatin silver print, 6 x 9 Foundation 70. Riva Castleman Endowment honor of Barbara Foshay-Miller (16.2 x 24 cm). Purchase Newspaper. 1992, Multiple of a Fund, Lily Auchincloss Fund, and Gift of Parkett Untitled Film Still # 58. 1980. 5/is7/ie" bundle of photolithographs, printed Bruce Nauman Gelatin silver print, 6 x 9 (American, born 1941) 3A in black, overall: 6 x 16 x 13W (16 x 24 cm). Purchase (15 x 42.5 x 33.6 cm). Publisher: the Tom Kalin Think. 1993. Video installation: two Untitled Film Still # 84. 1980. artist, New York. Printer: Derriere (American, born 1962) 26-inch color monitors, two laser 1A7/ib" L'Etoile Studios, New York. Edition: Gelatin silver print, 7 x 9 Selection from Third Known Nest. disc players, two laser discs (color, (19.1 x 24 cm). Purchase 10. Gift of The Associates in honor 1991-98. Single channel video, sound), and metal table, overall: of Deborah Wye 19 min. selection. Purchased with 80 x 30 x 20" (203.3 x 76.2 x funds from the Jerome Foundation 50.8 cm). Gift of Werner and Elaine Kiki Smith Felix Gonzalez-Torres Dannheisser (American, born 1954) (American, born Cuba. 1957-1996) Yayoi Kusama Untitled. 1987-90. Twelve silvered "Untitled." 1989. Screenprint, print (Japanese, born 1929) Gabriel Orozco glass water bottles, overall (includ 7/ie ed in black, composition: 16 x (Mexican, born 1962) ing pedestal): 68%" x 16' x 18" Accumulation of Stamps, 63. (174 x 487.8 x 45.7 cm). Gift of A"7/ie 213 (41.8 x 55.3 cm); sheet: 16 1962. Pasted labels and ink on CCCP1993. Silver dye bleach print A" x 213 (41 x 55.3 cm). Publisher: Louis and Bessie Adler Foundation, 3A paper, 23 x 29" (60.3 x 73.6 cm). (Cibachrome), 12'A x I8V2" (31.7 x Inc. Public Art Fund, Inc., New York. Gift of Philip Johnson 47 cm). The Family of Man Fund Printer: Brand X Editions, New York. Untitled. 1996. Chromogenic color 15/ib Edition: 250. Purchase Untitled. 1952. Pastel and ballpoint HorseshitA992. Silver dye bleach print (Ektacolor), 14 x 22V2" pen on paper, 14% x 11V2" (37.9 x print (Cibachrome), 12% x 18%" (23 x 34.7 cm). Gift of Peter Norton "Untitled" (Death by Gun). 1990. 29.4 cm). Gift of Patricia and Morris (31.7 x 47 cm). The Family of Man Stack of photolithographs, printed Orden in memory of Michele Fox Fund 1A in black, composition: 44 x 32V2" Jane and Louise Wilson 15/ie (113 x 82.5 cm); sheet: 44 x Accumulation of Nets (No. 7). Melon. 1993. Silver dye bleach (British, born 1967) 15/i6" 32 (114.1x 83.6 cm). Printer: 1962. Collage of gelatin silver print (Cibachrome), 12% x I8V2" Stasi City. 1997. 1 of 2 artist's Register Litho, New York. Edition: prints, 29 x 24V2" (73.7 x 62.2 cm). (31.7 x 47 cm). The Family of Man Gift of Agnes Gund Fund proofs. Four-channel video/sound unlimited. Purchased in part with installation: four DVD projectors, funds from Arthur Fleischer, Jr. and No. F. 1959. Oil on canvas, Horses Running Endlessly. 1995. four DVD players, four DVD's, one Linda Barth Goldstein 41% x 52" (105.4 x 132.1 cm). Wood chessboard and 128 knights, amplifier, and four speakers, 5 min. 3/b3/b" "Untitled" (USA Today). 1990. Sid R. Bass Fund 3% x 34 x 34 (8.7 x 87.5 x loop. Fractional and promised gift Candies, individually wrapped in red, Endless. 1953-84. Etching, printed 87.5 cm). Gift of Agnes Gund and of David Teiger 9/ie" silver, and blue cellophane (endless in black, composition: 10% x 17 Lewis B. Cullman in honor of Chess in the Schools 13/i6" supply), dimensions variable, ideal (27.1 x 44.6 cm); plate: 10% x 17 David Wojnarowicz 3A" weight: 300 lbs (136 kg). Gift of the (27.6 x 45.2 cm); sheet: 17% x 24 (American, 1954-1992) Dannheisser Foundation (45 x 62.8 cm). Publisher and Richard Prince Untitled. 1990-91. Photostat, com "Untitled" (Perfect Lovers). 1991. printer: unknown. Edition: 30. Gift (American, born 1949) and 15/ib3/ie" position (irreg.): 27 x 37 Clocks, paint on wall, overall: 14 x of Jeff Rothstein and Reiko Tomii in Cindy Sherman 15/ie memory of Bhupendra Karia (American, born 1954) (70.9 x 94.4 cm); sheet: 32 x 15/ie"A" 28 x 2 3 (35.6 x 71.2 x 7 cm). Gift 39 (83.7 x 101.4 cm). Publisher: of the Dannheisser Foundation Accumulation No.18a. 1962. Paper Untitled. 1980. Two chromogenic the artist. Printer: Giant Photo, New "Untitled" (Supreme Majority). 1991. savers and charcoal on paper, color prints, 15 x 23" (38.1 x York. Edition: 10. Purchased in part 3A White paper, dimensions variable, 19 x 25V2" (50.2 x 64.8 cm). Gift 58.5 cm). Fractional gift of Werner with funds from Linda Barth 7 parts, overall: approx. 61 x 86 x of Mr. and Mrs. Ronald S. Lauder in and Elaine Dannheisser Goldstein and Art Matters Inc. 36" (154.9 x 218.5 x 91.4 cm). Gift honor of the Japanese members of Untitled from the Sex series. 1990. of Werner and Elaine Dannheisser The International Council of The Martha Rosier 3A11/i6" Gelatin silver print, 14 x 17 Museum of Modern Art, Mr. and Mrs. (American, born 1943) Toshio Hara, Mr. and Mrs. Minoru (37.5 x 45 cm). Samuel J. Wagstaff, David Hammons Mori, Mr. and Mrs. Takeo Ohbayashi, Semiotics of the Kitchen. 1975. Jr. Fund (American, born 1943) and Mr. and Mrs. Seiji Tsutsumi Single channel video, 6 min. Untitled from the Sex series. 1990. Purchase 3/ib" High Falutin'. 1990. Metal (some Infinity Nets (for Parkett no. 59). Gelatin silver print, 14% x 17 parts painted with oil), oil on wood, 2000. Multiple of screenprint, print (37.8 x 43.7 cm). Samuel J. glass, rubber, velvet, plastic, and ed in color, on mirror, composition: Cindy Sherman Wagstaff, Jr. Fund electric lightbulbs, dimensions vari (American, born 1954) 15/ie 9 x 8V4" (25.3 x 21 cm). Publisher: Weight of the Earth, Part 1.1988. able, museum installation: 13' 2" x Parkett, Zurich. Printer: Okabe Untitled Film Still # 3. 1977. Gelatin Fourteen gelatin silver prints, over 48" x 3OV2" (396 x 122 x 77.5 cm). 1/ie7/ie" Prints Editions Ltd., Tokyo. Edition: silver print, 7 x 9 (18 x 24 cm). all: 39 x 41'A" (99.1 x 104.8 cm). Robert and Meryl Meltzer Fund and 70. Linda Barth Goldstein Fund Purchase The Family of Man Fund purchase Untitled Film Still # 7.1977. Gelatin 1A9/ib" Out of Bounds. 1995-96. Dirt on Ana Mendieta silver print, 9 x 7 (24.1 x paper, framed with basketball, (American, 1948-1985) 19.2 cm). Purchase 1A1/2" 53 x 41V2 x 11 (131.2 x 105.4 x 29.2 cm). Gift of the Friends of Untitled (from the Silueta series). Untitled Film Still # 23. 1978. 7/i6" Contemporary Drawing, The 1978. Gelatin silver print, Gelatin silver print, 7V2 x 9 MoMAQNS 1A Friends of Education, and Peter 13 x 19%" (33.6 x 49.5 cm). The (19.1 x 24 cm). Purchase The Museum of Modern Art, Queens Fellows of Photography Fund and Eileen Norton Untitled Film Still # 34. 1979. 7/ie9/ib" Gelatin silver print, 9 x 7 BROCHURE© 2003 (24 x 19.2 cm). Purchase THE MUSEUM OF MODERN ART,NEW YORK NOVEMBER 7, 2003-FEBRUARY 2, 2004