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  • Cover: Bruce Conner, Crossroads, 1976, 35 mm, black-and-white, sound, 37 minutes. Still from the 2013 digital remastering. © Estate of Bruce Conner.
    September 2016
    Vol. 55, No. 1
    TABLE OF CONTENTS PURCHASE
  • Cover: Slide for Lillian Schwartz’s Proxima Centauri, 1968. © Lillian F. Schwartz.
    October 2016
    Vol. 55, No. 2
    TABLE OF CONTENTS PURCHASE
  • Cover: Dread Scott, Imagine a World Without America, 2007, silkscreen on canvas, 75 × 75".
    November 2016
    Vol. 55, No. 3
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  • Cover captions. Top row, from left: Francis Picabia, Idylle (detail), ca. 1925–27, oil and enamel on wood, 44 3/8 × 32 1/2“. © Artists Rights Society (ARS), New York/ADAGP, Paris. View of “Tears Shared: Marc Camille Chaimowicz featuring Bruno Pélassy,” 2016, Flat Time House, London. From left: John Latham, Time Base Roller with Graphic Score, 1987; John Latham, Proto Universe, 2003; Bruno Pélassy, Untitled, 1995. Photo: Plastiques Photography. Second row, from left: Lynette Yiadom-Boakye, Sermons for Heathens(detail), 2016, oil on linen, 51 1/8 × 78 3/4”. William Eggleston, Untitled (detail), ca. 1983–86, ink-jet print, 45 × 64 5/8“. From the series “The Democratic Forest,” ca. 1983–86. © Eggleston Artistic Trust. Zoe Leonard, Total Picture Control (I), 2016, thirty-eight books. Installation view, Hauser & Wirth, New York. Photo: Genevieve Hanson. Lorna Simpson, Detroit (Ode to G.) (detail), 2016, india ink, acrylic, and silk screen on Claybord, 108 × 96”. Jonathas de Andrade, O peixe (The Fish), 2016, 16 mm transferred to 2K video, color, sound, 37 minutes. David Hammons, In the Hood, 1993, athletic-sweatshirt hood, wire, 23 × 10 × 5“. View of “Kai Althoff: and then leave to the common swifts,” 2016–17, Museum of Modern Art, New York. Photo: Kai Althoff. Third row, from left: Samuel Fosso, Self-Portrait, 1976, gelatin silver print, 20 × 20”. From the series “Self-Portraits from the ’70s,” 1975–77. B. Wurtz, Untitled (fetish), 2013, marble, wood, acrylic paint, wire, thread, ribbon, brass, buttons, 13 × 4 × 2“. Anne Imhof, Angst II, 2016. Rehearsal view, Hamburger Bahnhof—Museum für Gegenwart, Berlin, September 12, 2016. Eliza Douglas. Photo: Nadine Franczkowski. Wallace Berman, Untitled (Multi-color Shuffle, A-4 Neil Young) (detail), 1969, color verifax collage, wood frame, metal screws, 13 × 14”. Fourth row, from left: Isa Genzken, Nofretete, 2014, seven Nefertiti busts with sunglasses, seven wooden plinths on casters, four steel panels. Installation view, Stedelijk Museum, Amsterdam, 2015–16. Photo: Gert Jan van Rooij. Bhupen Khakhar, Blind Babubhai, 2001, watercolor on paper, 43 3/4 × 43 1/4“. Ken Price, Rhodia, 1988, acrylic on fired ceramic, 10 3/4 × 10 1/4 × 15 1/4”. Carmen Herrera, Untitled (detail), 1952, acrylic on canvas with painted frame, four panels, overall 25 × 60“. Hanne Darboven, Kulturgeschichte 1880–1983 (Cultural History 1880–1983), 1980–83. Installation view, Haus der Kunst, Munich, 2015–16. Photo: Maximilian Geuter. Peter Fischli and David Weiss, Car, 1988, plaster, 19 × 59 × 26”. From the series “Cars,” 1988. Fifth row, from left: Marcel Broodthaers, Le problème noir en Belgique(The Black Problem in Belgium) (detail), 1963–64, painted plaster eggs on newspaper, mounted on a portfolio, 19 3/4 × 16 1/8 × 4 3/4“. © The Estate of Marcel Broodthaers/Artists Rights Society (ARS), New York/SABAM, Brussels. Laura Owens, Untitled, 2016, acrylic, oil, vinyl paint, silk-screen ink, charcoal, pastel pencil, graphite, and sand on wallpaper. Installation view, CCA Wattis Institute for Contemporary Arts, San Francisco. Photo: Johnna Arnold. Kerry James Marshall, Untitled (Painter) (detail), 2009, acrylic on PVC, 44 5/8 × 43 1/8”. Sixth row, from left: Bruce Nauman, Contrapposto Studies, i through vii (detail), 2015–16, seven-channel HD video projection, color, sound, indefinite duration. Study vii, 62 minutes 19 seconds, loop. © Bruce Nauman/Artists Rights Society (ARS), New York. Agnes Martin, On a Clear Day (detail), 1973, thirty screen prints, each 12 × 12“. © Agnes Martin/Artists Rights Society (ARS), New York. Takashi Murakami, The 500 Arhats (detail), 2012, four parts, acrylic on canvas mounted on board, overall 9' 10 7/8” × 328' 1“. Jordan Wolfson, Colored Sculpture, 2016, mixed media. Installation view, David Zwirner, New York. Photo: Dan Bradica. Mary Heilmann, The Thief of Baghdad (detail), 1983, oil on canvas, 60 × 42”. Lee Mullican, Untitled (detail), 1960, terra-cotta, 24 × 40". View of “Philippe Parreno: Anywhen,” 2016, Tate Modern, London. Photo: Kirsty Wigglesworth/AP.
    December 2016
    Vol. 55, No. 4
    TABLE OF CONTENTS PURCHASE
  • Cover: Kerry James Marshall, Untitled (detail), 2008, acrylic on PVC panel, 72 3/4 × 61 1/4".
    January 2017
    Vol. 55, No. 5
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  • Cover: Zhang Peili, Portraits of 2012, HD video, color, sound, 22 minutes 9 seconds.
    February 2017
    Vol. 55, No. 6
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  • Cover: Wolfgang Tillmans, Black Lives Matter Protest, Union Square, b (detail), 2014, ink-jet print, dimensions variable.
    March 2017
    Vol. 55, No. 7
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  • Cover: Michael Williams, Vertical Composition (detail), 2017, oil, acrylic, and ink-jet print on canvas, 10' 2“ × 7' 4”.
    April 2017
    Vol. 55, No. 8
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  • Cover: Allora & Calzadilla, Puerto Rican Light (Cueva Vientos), 2015, solar-powered batteries and charger, plywood crate, Dan Flavin’s Puerto Rican light (to Jeanie Blake) 2, 1965. Installation view, El Convento Natural Protected Area, Puerto Rico, 2015–17. Photo: Allora & Calzadilla.
    May 2017
    Vol. 55, No. 9
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  • Cover: Jonathan Olshefski, Quest, 2017, digital video, color, sound, 105 minutes.
    Summer 2017
    Vol. 55, No. 10
    TABLE OF CONTENTS PURCHASE
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