Untitled Queen performs Joni Mitchell’s “Big Yellow Taxi” during Untitled (Rosemont)
Alan Fontes’s installation at the Galeria Emmathomas booth in 2018 (photo by Elena Goukassian)Peter Doig, “Two Trees” (2017), oil on linen, 94 1/2 inches × 11 feet 7 3/4 inches (image courtesy The Metropolitan Museum of Art, Gift of George Economou, © Peter Doig / 2019 Artists Rights Society)Malik Alawe “CONTAMINATING BEAUTY: A clear challenge between the flower and the flame in one of the crude oil producing companies” (undated) (image courtesy of Mattina Hiwaizi)Emma Nishimura, “An Archive of Rememory” (2016 to present), photo-etching and photogravure, (image by Brian Boyle, courtesy Royal Ontario Museum)Emma Nishimura, “Collected Stories” (2017 to present), etching and hand-painting on gampi with wax and thread (image by Brian Boyle, courtesy Royal Ontario Museum)Squeak Carnwath, “Message in a Bottle” (2018), oil and alkyd on canvas over panel, 30 x 30 inches (all images courtesy the artist and Jane Lombard Gallery, photos by Arturo Sanchez)Squeak Carnwath, “Tools for Poetry” (2017), oil and alkyd on canvas over panel, 70 x 70 inchesKazimir Malevich, Russian, “Composition” (1915) oil on canvas, 80 x 80 cm, Ekaterinburg Museum of Fine Arts, Ekaterinburg (photo © Ekaterinburg Museum of Fine Arts)Julie Mehretu, “Entropia (review)” (2004), lithograph and screenprint in colors, on Arches 88 paper (image courtesy Christie’s)Paul Cézanne, “Nature morte de pêches et poires” (1885–87), oil on canvas, 15 x 18 1/8 inches (image courtesy Christie’s)Jesse Bransford, “To Stop a Dart of Malice (5)” (2014), watercolor and graphite on paper, 5.5 x 7.5 inches, from A Book of Staves (courtesy the artist and Fulgur)Jesse Bransford, “Stave against Sorrow (1)” (2014), watercolor and graphite on paper, 5.5 x 7.5 inches, from A Book of Staves (courtesy the artist and Fulgur, collection of Pam Grossman)Siah Armajani, “Print Apple 2” (1967), computerized print, (image courtesy Grey Art Gallery, New York University Art Collection and the artist)Jonathan M Square, “Freedom Papers?” (2019) (image courtesy of Jonathan M Square, photos by Myk Ostrowski)Joke’s on you, Switzerland. I was the spy all along. Image by the KGB Spy Museum, New York.Fairy Tales of Oscar Wilde, illustrated by Yuko Shimizu, and Illuminated Edition issued by Beehive BooksInstallation view: Postcommodity, From Smoke and Tangled Waters We Carried Fire Home, (2018), 57th Carnegie International, Carnegie Museum of Art. Photo: Bryan Conley.Wendy Red Star (Apsáalooke; Crow). “Alaxchiiaahush / Many War Achievements / Plenty Coups” (2014) from the series 1880 Crow Peace Delegation. Photo: Jonathan Dorado, Brooklyn MuseumKatie Holten, “New York City Tree Alphabet” (2019) (courtesy the artist)Installation view of the Michael Benevento gallery’s special project at the Felix Art Fair, featuring Kaari Upson, Umhum (2008), video, 2:50 min. (all images courtesy Michael Benevento)Virginia Lee Montgomery, CUT COPY SPHINX (2018), still, 4K digital video, sound, color, 3:30 min (image courtesy the artist)Virginia Lee Montgomery, PONY HOTEL (2018), still, 4K digital video, sound, color, 5:17 min (image courtesy the artist)Virginia Lee Montgomery, DEEP SEE (2017), still, HD video, sound, color, 1:57 min (image courtesy the artist)The new Robot Science Museum in Seoul will be, appropriately, built by robots. Designed by Melike Altınışık Architects. (via Dezeen)Merce Cunningham and Elliot Caplan, Beach Birds for Camera (1992), (image courtesy Merce Cunningham Trust)Patrick Killoran, installation view of “Passage” (2018) at the Central branch of the Queens Library (image courtesy the Queens Museum, photo by Hai Zhang)Kudzanai-Violet Hwami, “Family Portrait” (2017), acrylic and oil on canvas, 2 panels: 220 x 128 cm; 220 x 170 cm (Copyright the artist, Courtesy Tyburn Gallery)Alexandra Karakashian, “At half-mast” (2017-18), Oil on canvas. Featured in Alexandra Karakashian: In on itself at Mariane Ibrahim Gallery (Courtesy of the artist & Mariane Ibrahim Gallery)He Xiangyu, “Wisdom Teeth” (2013–2014), Bronze, pure gold (99.99 %), 1000 pieces; dimensions variable (Courtesy of the artist, and Andrew Kreps Gallery, New York)