This book comes from the Guerrilla Girls’ Portfolio Compleat, a set of 109 posters, books, videos, and ephemera created between 1985 and 2016, representing over thirty years of the group’s activity.

This newsletter comes from the Guerrilla Girls’ Portfolio Compleat, a set of 109 posters, books, videos, and ephemera created between 1985 and 2016, representing over thirty years of the group’s activity.

This newsletter comes from the Guerrilla Girls’ Portfolio Compleat, a set of 109 posters, books, videos, and ephemera created between 1985 and 2016, representing over thirty years of the group’s activity.

In the video Still Life (BETAMALE), the artist utilizes found webcam footage obtained through social networking and imageboard websites such as 4chan and Reddit to piece together a loose narrative that gives a glimpse into the dark corners of Internet subculture.

Soon after the Russian Revolution of 1917, the Bolsheviks found themselves inheritors to a Russian Empire with sizeable territories of largely Muslim, Turkic-speaking  populations.

Dil Be Del is part of the artist collective Slavs and Tatars’s cycle of work exploring the “mirror for princes” literary genre—a type of political writing during the medieval and renaissance eras that offered behavioral advice to monarchs.

Nathan Hylden’s works on aluminum are created through an arbitrary combination of spray painting, brush painting, and screen-printing. Photos of the artist’s own studio are silkscreened and printed onto an alumi­num panel, layered somewhere between gestural brush strokes and a haze of spray paint.

Stephen Antonakos’s 1965 Hanging Neon is a crucial early work within the artist’s practice and in the context of formal abstract sculpture of the 1960s, when it was exhibited extensively in museums in Europe and across the United States.

Drawing was a central and innovative practice throughout Stephen Antonakos’s life. Wall Hanging Neon is one of a broad and distinctively imaginative series, sometimes called “Project Drawings,” spanning the late 1960s and early 1970s.

Dayrooms are familiar to us as communal spaces in institutions such as hospitals or convalescent homes. There is often an attempt at decorating these spaces, aiming to make them more homelike, and yet they are never quite comfortable.