Cover, spiral from top left: Paul Sietsema, Empire (detail), 2002, still from a color and black-and-white film in 35 mm, 24 minutes. Francis Alÿs, Cuando la fé mueve montañas (When faith moves mountains), 2002. Performance view, Lima, Peru, April 11, 2002. Eva Hesse, Ringaround Arosie, 1965, pencil, ink, and cloth-covered electrical wire on papier-mâché and Masonite, 26 3/8 x 16 1/2 x 4 1/2". Thomas Hirschhorn, Bataille Monument, 2002. Installation view, Documenta 11, Kassel, Germany. Photo: Thorsten Arendt. Oliver Payne and Nick Relph, Mixtape (detail), 2002, still from a color film in 35 mm, 23 minutes. Gerhard Richter, Wiesenthal (Meadowland), 1985, oil on canvas, 35 5/8 x 37 1/2". Carroll Dunham, Killer over the Water, 2000–2001, mixed media on linen, 96 x 84". Philip Taaffe, Red Caliph, 2002, acrylic ink on paper mounted on canvas, 10 1/2 x 6". Andrea Fraser, Little Frank and His Carp, 2002, still from a color video, 6 minutes. Barnett Newman, Onement I, 1948, oil on canvas, 27 1/4 x 19 1/4". John Currin, Angela, 2001, oil on canvas, 22 x 16". Michael Raedecker, Blind Spot (detail), 2000, acrylic and thread on canvas, 46 x 34". Matthew Barney, CREMASTER 3, 2002, production still from a color video, 189 minutes. Rachel Harrison, What would it be like to be Imelda Marcos, 1996–97, polystyrene, papier-mâché, acrylic, and color photograph, 44 x 21 x 22". Brice Marden, 6 Red Rock 1, 2000–2002, oil on linen, 107 x 75". Mel Bochner, Opaque #4 (detail), 1968, color photograph, 16 x 20".
DECEMBER 2002
VOL. 41, NO. 4
