Singular Visions

Exhibition works

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  Robert Grosvenor, Tenerife, 1966. Fiberglass, plywood, steel, and synthetic polymer lacquer, 63 1/4 × 276 1/2 × 45 1/8 in. (160.7 × 702.3 × 114.6 cm). Whitney Museum of American Art, New York; purchase with funds from the Howard and Jean Lipman Foundation Inc.  67.51a-b

  © Robert Grosvenor; courtesy of Paula Cooper Gallery, N.Y.; Photograph by Sheldan C. Collins

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  Paul Chan, 1st Light, 2005. Video installation, black and white and color, silent, 14 min., 103 × 245 × 283 in. (261.6 × 622.3 × 718.8 cm). Whitney Museum of American Art, New York; purchase, with funds from the Film and Video Committee 2007.4 © Paul Chan; courtesy of the artist and Greene Naftali, New York

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  Edward Kienholz, The Wait, 1964–65. Tableau: wood, fabric, polyester resin, flock, metal, bones, glass, paper, leather, varnish, black-and-white photographs, taxidermed cat, live parakeet, wicker, and plastic, 80 × 160 × 84 in. (203.2 × 406.4 × 213.4 cm) overall. Whitney Museum of American Art, New York; gift of the Howard and Jean Lipman Foundation Inc. 66.49a-m. © Nancy Reddin Kienholz

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  Eva Hesse (1936–1970). No Title, (1969–1970). Latex, rope, string, and wire, dimensions variable. Whitney Museum of American Art, New York; purchase, with funds from Eli and Edythe L. Broad, the Mrs. Percy Uris Purchase Fund, and the Painting and Sculpture Committee 88.17a-b © The Estate of Eva Hesse, courtesy Hauser & Wirth

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  Ree Morton, Signs of Love, 1976. Acrylic, oil, colored pencil, watercolor and pastel on nitrocellulose-impregnated canvas, wood and canvas with felt. Whitney Museum of American Art, New York; gift of the Ree Morton Estate 90.2a-n. © Estate of Ree Morton. Courtesy Alexander and Bonin, New York. Photograph by Sheldan C. Collins

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  Gary Simmons, Step In The Arena (The Essentialist Trap), 1994. Wood, metal, canvas, ultrasuede, pigment, ropes, and shoes, 85 × 120 × 120 in. (215.9 × 304.8 × 304.8 cm). Whitney Museum of American Art; gift of the Peter Norton Family Foundation 95.83. Courtesy of the artist and Metro Pictures. Photograph by Sheldan C. Collins

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  Jonathan Borofsky, Running People at 2,616,216, 1979. Latex, dimensions variable. Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee 84.43 © Jonathan Borofsky; courtesy of Paula Cooper Gallery, N.Y. Photograph by Sheldan C. Collins