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archive

2020s

  • 2022–2023 Vol. 61
  • 2021–2022 Vol. 60
  • 2020–2021 Vol. 59

2010s

  • 2019–2020 Vol. 58
  • 2018–2019 Vol. 57
  • 2017–2018 Vol. 56
  • 2016–2017 Vol. 55
  • 2015–2016 Vol. 54
  • 2014–2015 Vol. 53
  • 2013–2014 Vol. 52
  • 2012–2013 Vol. 51
  • 2011–2012 Vol. 50
  • 2010–2011 Vol. 49

2000s

  • 2009–2010 Vol. 48
  • 2008–2009 Vol. 47
  • 2007–2008 Vol. 46
  • 2006–2007 Vol. 45
  • 2005–2006 Vol. 44
  • 2004–2005 Vol. 43
  • 2003–2004 Vol. 42
  • 2002–2003 Vol. 41
  • 2001–2002 Vol. 40
  • 2000–2001 Vol. 39

1990s

  • 1999–2000 Vol. 38
  • 1998–1999 Vol. 37
  • 1997–1998 Vol. 36
  • 1996–1997 Vol. 35
  • 1995–1996 Vol. 34
  • 1994–1995 Vol. 33
  • 1993–1994 Vol. 32
  • 1992–1993 Vol. 31
  • 1991–1992 Vol. 30
  • 1990–1991 Vol. 29

1980s

  • 1989–1990 Vol. 28
  • 1988–1989 Vol. 27
  • 1987–1988 Vol. 26
  • 1986–1987 Vol. 25
  • 1985–1986 Vol. 24
  • 1984–1985 Vol. 23
  • 1983–1984 Vol. 22
  • 1982–1983 Vol. 21
  • 1981–1982 Vol. 20
  • 1980–1981 Vol. 19

1970s

  • 1979–1980 Vol. 18
  • 1978–1979 Vol. 17
  • 1977–1978 Vol. 16
  • 1976–1977 Vol. 15
  • 1975–1976 Vol. 14
  • 1974–1975 Vol. 13
  • 1973–1974 Vol. 12
  • 1972–1973 Vol. 11
  • 1971–1972 Vol. 10
  • 1970–1971 Vol. 9

1960s

  • 1969–1970 Vol. 8
  • 1968–1969 Vol. 7
  • 1967–1968 Vol. 6
  • 1966–1967 Vol. 5
  • 1965–1966 Vol. 4
  • 1964–1965 Vol. 3
  • 1963–1964 Vol. 2
  • 1962–1963 Vol. 1

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1989–1990

  • Cover: Frank Herrera's photograph shows Robert Mapplethorpe's Self-Portrait with Cigarette, 1980, as projected by laser artist Rockne Krebs on the facade of the Corcoran Gallery of Art, Washington, D.C., on June 30, 1989, as part of a demonstration protesting the museum's cancellation of the Mapplethorpe retrospective that had been scheduled to open there that evening. The demonstration—against the Corcoran's action specifically, and against censorship in the arts in general—was organized by William Wooby, of the Collector Gallery and Restaurant in Washington, and by Krebs, founder of the Coalition of Washington Artists.
    September 1989
    Vol. 28, No. 1
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  • Cover: Ann Hamilton, privation and excesses,1989, sheep room with morgue sink; above: 750,000 pennies, the project's budget, laid into a skin of honey that defined a 45-by 32-foot rectangular space on the floor facing the sheep room. Installation views at the Capp Street Project, San Francisco.
    October 1989
    Vol. 28, No. 2
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  • Cover: Nancy Dwyer, Trubble, 1989. A project for Artforum. Photo: Steve Kasher.
    November 1989
    Vol. 28, No. 3
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  • Cover: Giorgio Strehler's 1972 Production of Brecht's The Threepenny Opera, 1928. Performance view at the Piccolo Teatro di Milano; foreground, left to right: Tiger Brown (Gianni Agus) and Mack the Knife (Domenico Modugno). Photo: Luigi Ciminaghi.
    December 1989
    Vol. 28, No. 4
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  • Cover: Leon Golub, Wounded Sphinx (detail), 1988, acrylic on canvas, 10' x 12'10”. Collection of the Eli Broad Family Foundation, Los Angeles.
    January 1990
    Vol. 28, No. 5
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  • Cover: Howard Hawks, El Dorado, 1967, color film, 126 mins., showing James Caan (left) and John Wayne. Photo: Photofest.
    February 1990
    Vol. 28, No. 6
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  • Cover: Ida Applebroog, Elixir Tabernacle II (detail), 1989, oil on canvas, 92 x 72”.
    March 1990
    Vol. 28, No. 7
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  • Alfredo Jaar, Paysage (Landscape; detail), 1989, light boxes with color transparencies and mirrors, ca. 100” x 23'4” x 72” overall. Permanent installation in the General Meeting Room of the foundation L'Arche de la Fraternité, Paris.
    April 1990
    Vol. 28, No. 8
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  • Gilbert & George, May Man, 1986, 95 x 99⅜".
    May 1990
    Vol. 28, No. 9
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  • Barbara Ess, Untitled, 1987, Cibachrome color photograph, 50 x 64”.
    Summer 1990
    Vol. 28, No. 10
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1988–1989

  • Markus Lüpertz, Titan (detail), 1986, painted bronze, ca 8' 3 9/16“ x 27 1/2” x 29 1/2". From his installation in “Ambiente Italia,” 43rd Venice Biennale, 1988. Photo: Attilio Maranzo.
    September 1988
    Vol. 27, No. 1
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  • Luciano Fabro, Nu descendant un escalier (Nude descending a staircase), 1988, mixed media. Installation view. Photo: Attilio Maranzano.
    October 1988
    Vol. 27, No. 2
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  • Douglas Huebler, Crocodile Tears: The Great Corrector (detail), 1984, ink and photograph on paper, 11 x 13¼”.
    November 1988
    Vol. 27, No. 3
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  • Kate Ericson and Mel Ziegler, House Monument, 1986. House Monument was a two-phase project. Initially, the artists inscribed each of the pieces of wood required to frame an average-size house with a historical or contemporary quotation on the idea of house or home, and set the lumber in an installation at the Los Angeles Institute of Contemporary Art. Later, Ericson and Ziegler placed an advertisement in the local newspaper, offering to sell the lumber at half price to a potential home-builder. A couple from Costa Mesa, California, responded. In the process of construction, exterior cladding and interior walls gradually covered the structural lumber, with its many citations; these “messages” remain, however, as a presence known, and perhaps felt, but no longer seen. Photo: James Franklin.
    December 1988
    Vol. 27, No. 4
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  • Jennifer Bolande,Central and Mountain, 1985, drum and mallet with chalk pastel, ca. 28“ diam., 12”deep. Private collection.
    January 1989
    Vol. 27, No. 5
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  • Per Kirkeby, untitled (København), 1982, oil on canvas. ca. 78¾ x 78¾.
    February 1989
    Vol. 27, No. 6
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  • Elaine Reichek, Aloha (detail), 1988, oil on photocollage, 48 x 54“. From the ”photocollage" series.
    March 1989
    Vol. 27, No. 7
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  • Komar & Melamid, Bergen Point Brass Foundry, Bayonne (detail), 1988-89, mixed media on paper, 24 x 18“. From the ”Bergen Point Brass Foundry, Bayonne" project, 1988-89.
    April 1989
    Vol. 27, No. 8
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  • David Wojnarowicz, Something from Sleep II, 1987, mixed media, 36½ x 36½".
    May 1989
    Vol. 27, No. 9
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  • Cover: a project for Artforum by Robert Ryman
    Summer 1989
    Vol. 27, No. 10
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1987–1988

  • William Wegman, untitled, 1985, color transparency. See p. 76.
    September 1987
    Vol. 26, No. 1
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  • Lucian Freud, Ned (detail), 1961, oil on canvas, 7⅛ x 5½”. Private collection.
    October 1987
    Vol. 26, No. 2
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  • Bombay Talkie, 1970, still from color film in 35 mm., 111mins. Vikram (Shashi Kapoor) and dancers. Directed by James Ivory, produced by Ismail Merchant, screenplay by Ruth Prawer Jhabvala.
    November 1987
    Vol. 26, No. 3
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  • Richard Prince, Super Heavy Santa (detail), 1986, Ektacolor print, 86 x 48”.
    December 1987
    Vol. 26, No. 4
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  • George Condo, Infantile Memories (detail), 1984, oil on canvas, 42 1/2 x 32 1/2."
    January 1988
    Vol. 26, No. 5
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  • Lucas Samaras
    February 1988
    Vol. 26, No. 6
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  • Claes Oldenburg, A Bottle of Notes––Proposal for a Large-Scale Project in Middlesbrough, England, by Claes Oldenburg and Coosje van Bruggen, 1988, colored pencil on paper, 25 x 21 1/2".
    March 1988
    Vol. 26, No. 7
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  • Bruce Charlesworth, untitled, 1985, Cibachrome, 23 x 23”.
    April 1988
    Vol. 26, No. 8
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  • Tim Rollins + K.O.S., Amerika X (detail), 1986-88, watercolor, charcoal, and bistre on book pages on linden, 60 x 175”. Executed in the South Bronx. From the “Amerika” series, which was begun in 1984, and takes its name from Franz Kafka's novel Amerika. The images of each work are painted on the pages of the book.
    May 1988
    Vol. 26, No. 9
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  • Ashley Bickerton, Interior with Nocturne (Wild Mexico) (detail), 1988, mixed media construction, 96 x 204½ x 26½. Private collection.
    Summer 1988
    Vol. 26, No. 10
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1986–1987

  • Satoru Tsuda (scenario) and Toshi Wakita (photograph), from the series “Perlorian Cats,” 1982, color photograph. Courtesy of Satoru Tsuda/Social Licensing.
    September 1986
    Vol. 25, No. 1
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  • Michelle Stuart, Paradisi: A Garden Mural (detail), 1986, encaustic, pigment, plants, and flowers. 16'6” x 33'. One of 648 panels, each panel 11 x 11”. Photo: Martin Axon.
    October 1986
    Vol. 25, No. 2
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  • Alexander Calder, Elephant Head 1939, painted metal, 27½ x 33 x 35”. Estate of Alexander Calder.
    November 1986
    Vol. 25, No. 3
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  • Gino De Dominicis, 1986, tempera and clay on wood, ca. 109 3/16 x 97 1/2”.
    December 1986
    Vol. 25, No. 4
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  • Mark Tansey, Secret of the Sphinx, 1984, oil on canvas, 60 x 65” Private collection.
    January 1987
    Vol. 25, No. 5
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  • Cover, left: Giuseppe Arcimboldo, Winter (detail), 1573, oil on canvas, ca. 29⅝ x 25”. Collection of the Musée du Louvre, Paris. Right: Spring (detail), 1573, oil on canvas, ca. 29⅝ x 25”. Collection of the Musée du Louvre, Paris.
    February 1987
    Vol. 25, No. 6
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  • Eugène Ionesco, Les endimanchés (People in Sunday dress), 1986, gouache on paper, ca. 25 5/16 x 19 ½”.
    March 1987
    Vol. 25, No. 7
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  • Andy Warhol signs a Campbell's soup can, 1964. From Rainer Crone. Andy Warhol. New York: Praeger Publishers Inc. 1970.
    April 1987
    Vol. 25, No. 8
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  • Robert Mapplethorpe, Orchid, 1986, color transparency.
    May 1987
    Vol. 25, No. 9
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  • Tom Otterness, R.V. Life, 1986, pencil and ink on paper. 18 x 24”. The copy of Artforum is inset with the permission of the artist.
    Summer 1987
    Vol. 25, No. 10
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1985–1986

  • Giuseppe Penone, Grande gesto vegetale (Large vegetable gesture), 1985, bronze, trees, stones, and copper. From “Promenades” exhibition. The work consists of three pieces; that shown in the foreground here is in bronze.
    September 1985
    Vol. 24, No. 1
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  • Stephen McKenna, Dead Nude, 1982, oil on canvas, ca. 31½ x 39”.
    October 1985
    Vol. 24, No. 2
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  • Bridget Riley, Crest (detail), 1964, emulsion on canvas, 65½ x 65½”.
    November 1985
    Vol. 24, No. 3
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  • Solenevich, illustration for James Blish, A Life for the Stars (1962), last in “Cities in Flight” cycle. From Analog: Science Fact Science Fiction magazine, New York, September 1962. Inside Artforum logo: detail of illustration from Jules Verne, Robur le Conquérant (Robur the conquerer), 1886.
    December 1985
    Vol. 24, No. 4
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  • Francis Bacon, Head VI, 1949, oil on canvas, 36¾ x 30¼”. Collection of the Arts Council of Great Britain.
    January 1986
    Vol. 24, No. 5
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  • Cecil Stoughton, Halloween in the Oval Office (detail), 1963, color photoraph. Left to right: Caroline Kennedy as witch, President John F. Kennedy, John Kennedy, Jr., as Peter Panda. Stoughton, a captain in the Army Signal Corps., was assigned to be one of the two White House Photographers. Collection of the John F. Kennedy Library, Boston, Mass.
    February 1986
    Vol. 24, No. 6
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  • Alan Shields, detail of work in progress from the “Raggedy Circumnavigation” series, printed and painted handmade paper, 4' in diameter. Photo: Mary Bachmann.
    March 1986
    Vol. 24, No. 7
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  • Artforum update, 1986, of Rococo room with Gobelins tapestries after designs by François Boucher and Maurice Jacques, executed in workshops of Jacques Neilson, 1764–71; ceiling designed by Robert Adam, and executed by Joseph Rose. Originally Lord Coventry's Tapestry Room at Croome Court, Worcester, England, the room was reinstalled in the Metropolitan Museum of Art, New York, in 1958. Here, the northwest corner is shown redecorated with a detail of General Idea's Le Fin, 1985, fluorescent acrylic on wood, 5' x 4' x 2”. For the proper version of the Metropolitan's reconstruction see p. 81 of “The Imagination in Sheep's Clothing.”
    April 1986
    Vol. 24, No. 8
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  • David McDermott and Peter McGough, Spring–1972, 1986, oil on canvas, 48 x 60”. See “Modern Life” column on all our zeitgeists.
    May 1986
    Vol. 24, No. 9
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  • Brian Eno, Living Room (detail), 1986, continuous light projections installed at Riverside Studios, London, and in the Musée de Peinture et de Sculpture, Grenoble, in spring 1986. Lights, electronics, Plexiglas, celluloid gels, recorded music, furniture, and wood. Photo: David Buckland.
    Summer 1986
    Vol. 24, No. 10
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1984–1985

  • Claes Oldenburg, proposed events for the performance Il Corso del Coltello, 1984, pencil, crayon, and gouache on paper, 19 x 19”. While Dr. Coltello is walking his dogs (foreground), building is sliced by giant blade (top right), rolling ball gathers household possessions (center), soft version of St. Theodore column is hoisted (left).
    September 1984
    Vol. 23, No. 1
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  • Rebecca Horn, Der Eintänzer (The dancing cavalier), 1978, still from color film in 16 mm., 45 mins. The Little Balerina (Christina Garosheuska).
    October 1984
    Vol. 23, No. 2
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  • Mask from Sulka, New Britain (detail), n.d., painted pith, wood, and feathers, 52 x 20¼ x 29½”. Collection of the Ubersee-Museum, Bremen. From the exhibition “ ‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern,” the Museum of Modern Art, New York, September 27 1984―January 15 1985.
    November 1984
    Vol. 23, No. 3
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  • Max Beckmann, Self-Portrait with Soap Bubbles, ca. 1898, mixed media on pasteboard, ca. 12½ x 10”. Collection of Peter Beckmann. Photo: Artothek.
    December 1984
    Vol. 23, No. 4
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  • Cover for this issue of Artforum by Francesco Clemente.
    January 1985
    Vol. 23, No. 5
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  • Manny Farber, Keep Blaming Everyone (detail), 1984, oil on board, 72” in diameter. Image is turned 90° counterclockwise
    February 1985
    Vol. 23, No. 6
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  • Andy Warhol, Life Savers, 1985, silkscreen, 38 x 38”. From the “Ads” series.
    March 1985
    Vol. 23, No. 7
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  • Richard Wentworth, untitled, 1977, 35 mm. Color slide. The Strand, London. These Britons, waiting for the Queen's Silver Jubilee procession to pass by, have killed time by borrowing bricks from a nearby building site and applying them to the improvement of the view.
    April 1985
    Vol. 23, No. 8
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  • Gerhard Richter, Scheune (Barn; detail), 1984, oil on canvas, 37½ x 39½”.
    May 1985
    Vol. 23, No. 9
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  • Lucas Samaras, Draw, 1975/'85. About the cover: The relief, made out of painted plaster on wire mesh, is dated 1975 and measures 13 x 11¼ x ½”. The original hologram of the “A” in the word “Draw” was produced in May 1985 through the cooperative efforts of Lucas Samaras, the Museum of Holography in New York, New York Holographic Laboratories, and Polaroid Corporation. The hologram that appears on the cover is a precise replica made by the Polaform process recently developed at Polaroid's Research Laboratories. Polaroid® Polaform™
    Summer 1985
    Vol. 23, No. 10
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1983–1984

  • Brice Marden, Window Study II, 1983, ink and watercolor on paper, 48 x 47½”.
    September 1983
    Vol. 22, No. 1
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  • Jannis Kounellis, Untitled, 1982, installation at “Zeitgeist” exhibition, Berlin.
    October 1983
    Vol. 22, No. 2
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  • Joan Miró, costumes and backcloth for performance of Mori el Merma (Death to the Venom) by the La Claca Theatre Troupe. Barcelona. Spain. May 1978. Courtesy Caiza de Pensions. Obra Cultural. Barcelona.
    November 1983
    Vol. 22, No. 3
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  • Sigmar Polke, Landscape, 1982, mixed media on canvas, ca 70¼ x 58½”. Collection Raschdorf.
    December 1983
    Vol. 22, No. 4
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  • Detail from a project by Pontus Hultén and Jean Tinguely—“108 Questions and Answers.”
    January 1984
    Vol. 22, No. 5
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  • Joel Peter Witkin, Woman with Severed Head (detail), 1982, toned black and white photograph, ca. 14¾ x 14¾”.
    February 1984
    Vol. 22, No. 6
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  • Robert Colescott, Page from a U.S. History Text: George Washington Carver Crossing the Delaware, 1975, acrylic on canvas, 79¼ x 99”. Private collection.
    March 1984
    Vol. 22, No. 7
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  • Robin Winters, Ideas, 1977, mixed media on paper, 11½ x 8”. From the series “Travel Notes,” 1975–80.
    April 1984
    Vol. 22, No. 8
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  • Chuck Close, John/Fingerprint (detail), 1983, lithography ink on paper, 48 x 38¼”.
    May 1984
    Vol. 22, No. 9
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  • Cover question: Mirós, Mirós, on the wall, which is not by Joan at all? Answer: Top right is Sherrie Levine, After Joan Miró, 1984, watercolor on paper, sheet size 14 x 11”, image size 5¾ x 7½”. All reproductions except top right: Joan Miró, Blue II, 1961, oil on canvas, 8'10½” x 11'7¾”. From page 87 of Miró: Selected Paintings, catalogue for exhibition at Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C., March 20–June 8 1980; page size 10 x 9”, image size 5¾ x 7½”. Courtesy of Pierre Matisse Gallery, New York. This is the source for top right.
    Summer 1984
    Vol. 22, No. 10
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1982–1983

  • In honor of Artforum's twentieth anniversary and in keeping with current art practice we would like to appropriate from the past this image of our noble founder, Arthur Forum.
    September 1982
    Vol. 21, No. 1
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  • James Wines, Highrise of Homes, 1982, rendition of SITE's 1981 proposal for an experimental multiple dwelling to be located in a dense, inner-city context.
    October 1982
    Vol. 21, No. 2
    TABLE OF CONTENTS PURCHASE
  • The future is the enemy. I pledge allegiance to the artists who'll defeat it—Rene Ricard.  Photomontage: Ominous Weather, 1982, by John Cliett. © John Cliett
    November 1982
    Vol. 21, No. 3
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  • Louise Bourgeois, Eye to Eye, 1968–70, white marble, 32 x 28 x 28”. Private collection.
    December 1982
    Vol. 21, No. 4
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  • Barry Le Va, During (Between Imagination and Actuality) (detail), installation at Newport Harbor Art Museum, Newport Beach, Calif. 1982, particle board, fiberglass, and stainless steel, ca. 28 x 20'. Photo: Barry Le Va.
    January 1983
    Vol. 21, No. 5
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  • William Eggleston, Sumner, Mississippi, Cassidy Bayou in background, 1971, dye transfer print, 7 7/8 x 12”.
    February 1983
    Vol. 21, No. 6
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  • Robert Graham, Stephanie and Spy, 1980–81, cast bronze with copper bases, figure: 68 ½ x 11 ½ x 7 ½”, horse: 71 x 56 x 14”. Collection of the Whitney Museum of American Art, New York.
    March 1983
    Vol. 21, No. 7
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  • A project by Eric Fischl, Pizza Eater.
    April 1983
    Vol. 21, No. 8
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  • Documentation photograph of “Mother Love in Monkeys” research carried out by Harry F. Harlow in 1958. Courtesy University of Wisconsin Primate Laboratory.
    May 1983
    Vol. 21, No. 9
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  • Chantal Akerman, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, 1975, still from color film in 35mm (detail), 198 mnutes. Cinematography by Babette Mangolte. Courtesy of Paradise Films, Brussels.
    Summer 1983
    Vol. 21, No. 10
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1981–1982

  • Roy Lichtenstein, Red Apple 20 x 20”, 1981 Magna on canvas.
    September 1981
    Vol. 20, No. 1
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  • Sol LeWitt, project for October 1981 Artforum
    October 1981
    Vol. 20, No. 2
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  • Tony Cragg, 3 Colored Objects, 1980, mixed material.
    November 1981
    Vol. 20, No. 3
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  • Subway token, 1972–1979, brass, 15/16” diameter, and #7 Flushing line train, City of New York. Photos: Nancy Foote.
    December 1981
    Vol. 20, No. 4
    TABLE OF CONTENTS PURCHASE
  • Yves Klein, untitled “anthropometry” (human imprint) in International Klein Blue, ca. 1960, 59½ x 44¼”.
    January 1982
    Vol. 20, No. 5
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  • Issey Miyake, 1982 Spring-Summer Collection, rattan bodice and nylon polyester skirt. The rattan is split, colored, and polished. It has been formed to follow the line of the body and bamboo has been woven in to hold the curve in place, and prevent the rattan from separating. Produced with the collaboration of the bamboo artist Kosuge Shochikudo. Photo: Eiichiro Sakata.
    February 1982
    Vol. 20, No. 6
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  • Lucas Samaras, untitled, 1982, Polaroid photograph, 10 x 8”.
    March 1982
    Vol. 20, No. 7
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  • Ralph Humphrey, Wind, Rain, Fire, 1981, acrylic acid modeling paste on wood, 12 x 12 x 2”.
    April 1982
    Vol. 20, No. 8
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  • A cassette of the February, 1982, conversation between Kathy Acker, Sandro Chia, Philip Glass, Joseph Kosuth, Barbara Kruger, David Salle, Richard Serra, and Lawrence Weiner. Photo: Mary Bachmann.
    May 1982
    Vol. 20, No. 9
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  • Robert Mangold, Three Color X within X.
    Summer 1982
    Vol. 20, No. 10
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1980–1981

  • Jonathan Borofsky, Running Man at 2,550,116, 1978-79, acrylic on plywood, 89½ x 110¼" (detail).
    September 1980
    Vol. 19, No. 1
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  • Robert Hirsbrunner (1895- ), untitled (Les Magasins du Louvre, day and night), July 19, 1919, Cibachrome print made from original transparency (detail). Decoration and illumination were for the First National Day after the First World War. Exposure, aperture f/6.5 (wide-open). The time was three seconds during the day, and 12 seconds during the night.
    October 1980
    Vol. 19, No. 2
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  • Scott Burton, Individual-Behavior Tableaux, 1980, performance. One tableau from one of three “sections.” Performance: University Art Museum, Berkeley. Performer: Kent Hines. Duration: approximately 40 minutes. Photo: Ben Blackwell. This was the final, heavily revised version of a performance first seen in New York in 1975, Philadelphia and Kassel in 1977.
    November 1980
    Vol. 19, No. 3
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  • From Act I Scene 2 of Satyagraha, an opera with music by Philip Glass, libretto by Constance DeJong and sets by Robert Israel. Photograph © Jaap Pieper.
    December 1980
    Vol. 19, No. 4
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  • James Turrell, Wedgework 3 (detail), 1969, fluorescent light installation, Whitney Museum of American Art, New York. Photo: John Cliett.
    January 1981
    Vol. 19, No. 5
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  • Daniel Buren, photo/souvenir of Exit: a work in situ, John Weber Gallery, New York, blue-and white linen, December 1980. Photo: Jon Abbott.
    February 1981
    Vol. 19, No. 6
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  • Raimund Abraham, Project for the Melbourne Landmark Competition in Australia, 1979, model airplane, chip board and lacquer, 30 x 30”. Photo: Raimund Abraham.
    March 1981
    Vol. 19, No. 7
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  • William Wegman, Untitled, 1980, color photograph, Polaroid Land 20 x 24 camera on Polacolor II film. 1981 Biennial Exhibition, Whitney Museum of American Art.
    April 1981
    Vol. 19, No. 8
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  • William Klein, Macy’s Thanksgiving Day Parade, Broadway, 1954-55, black-and-white photograph. Courtesy, Aperture.
    May 1981
    Vol. 19, No. 9
    TABLE OF CONTENTS PURCHASE
  • Coffee-shop paper cups. See “Not About Julian Schnabel.”
    Summer 1981
    Vol. 19, No. 10
    TABLE OF CONTENTS PURCHASE
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