Gerard Byrne, Subject, 2009. Installation view. Three-channel video shown on monitors and vinyl wall text. 27 × 32 feet. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin.

Gerard Byrne, Subject, 2009. Installation view. Three-channel video shown on monitors and vinyl wall text. 27 × 32 feet. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin.

Gerard Byrne, Subject, 2009. Installation view. Three-channel video shown on monitors and vinyl wall text. 27 × 32 feet. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin.

Gerard Byrne, Subject, 2009. Installation view. Three-channel video shown on monitors and vinyl wall text. 27 × 32 feet. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin.

Gerard Byrne, Subject, 2009. Installation view. Three-channel video shown on monitors and vinyl wall text. 27 × 32 feet. Commissioned by the Henry Moore Institute, Leeds, England. Courtesy the artist and Green on Red Gallery, Dublin.

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware. 105 3⁄4 × 75 × 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

In the background, Thomas Ruff, w.h.s. 04, 2001. Chromogenic print with Diasec. 70 7⁄8 × 94 inches, Edition 1 of 5. Courtesy of David Zwirner, New York and London.

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware. 105 3⁄4 × 75 × 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

In the background, Thomas Ruff, h.t.b.. 05, 2000. Chromogenic print with Diasec. 37 3⁄8 × 43 1⁄4 inches, and w.h.s. 04, 2001. Chromogenic print with Diasec. 70 7⁄8 × 94 inches. Courtesy of David Zwirner, New York and London.

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware. 105 3⁄4 × 75 × 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

In the background, Thomas Ruff, h.t.b.. 05, 2000. Chromogenic print with Diasec. 37 3⁄8 × 43 1⁄4 inches, and w.h.s. 04, 2001. Chromogenic print with Diasec. 70 7⁄8 × 94 inches. Courtesy of David Zwirner, New York and London.

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware. 105 3⁄4 × 75 × 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

In the background, Thomas Ruff, h.t.b.. 05, 2000. Chromogenic print with Diasec. 37 3⁄8 × 43 1⁄4 inches, and w.h.s. 04, 2001. Chromogenic print with Diasec. 70 7⁄8 × 94 inches. Courtesy of David Zwirner, New York and London.

In the far corner, SUPERSTUDIO, Life, Supersurface (from The Fundamental Acts), 1972 and Ceremony (from The Fundamental Acts), 1973. Color film transferred on digital support, produced by Marchi. 14 minutes. Courtesy SUPERSTUDIO and pinksummer, Genoa.

Thomas Ruff, w.h.s. 04, 2001. Chromogenic print with Diasec. 70 7⁄8 × 94 inches. Courtesy of David Zwirner, New York and London.

SUPERSTUDIO, Life, Supersurface (from The Fundamental Acts), 1972 and Ceremony (from The Fundamental Acts), 1973. Color film transferred on digital support, produced by Marchi. 14 minutes. Courtesy SUPERSTUDIO and pinksummer, Genoa.

SUPERSTUDIO, Life, Supersurface (from The Fundamental Acts), 1972. Color film trans- ferred on digital support, produced by Marchi. 10 minutes. Courtesy SUPERSTUDIO and pinksummer, Genoa.

SUPERSTUDIO, Ceremony (from The Fundamental Acts), 1973. Color film transferred on digital support, produced by Marchi. 14 minutes. Courtesy SUPERSTUDIO and pinksummer, Genoa.

SUPERSTUDIO, Life, Supersurface (from The Fundamental Acts), 1972 and Ceremony (from The Fundamental Acts), 1973. Color film transferred on digital support, produced by Marchi. 10 minutes. Courtesy SUPERSTUDIO and pinksummer, Genoa.

On the right, Fernanda Fragateiro, (Not) Reading the Last Line, 2011. Book fragments and acrylic. 94 1⁄2 × 4 3⁄8 × 3 1⁄4 inches. Private collection, New York.

Fernanda Fragateiro, (Not) Reading the Last Line, 2011. Book fragments and acrylic. 94 1⁄2 × 4 3⁄8 × 3 1⁄4 inches. Private collection, New York.

Center: Allison Smith, Frame, 2015. Walnut, archival pigment print on linen. 72 × 48 inches. Courtesy the artist and Haines Gallery, San Francisco. 

Right: R. H. Quaytman, Anne Tyng Pointing, 2001–1 1. Oil, silkscreen ink, gesso on wood. 20 × 32 3⁄8 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

Allison Smith, Frame, 2015. Walnut, archival pigment print on linen. 72 × 48 inches. Courtesy the artist and Haines Gallery, San Francisco. 

R. H. Quaytman, Anne Tyng’s Bedroom, 2001. Oil, silkscreen ink, gesso on wood. 24 3⁄4 × 40 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

R. H. Quaytman, Anne Tyng Pointing, 2001–1 1. Oil, silkscreen ink, gesso on wood. 20 × 32 3⁄8 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware. 105 3⁄4 × 75 × 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

Fernanda Fragateiro, (Not) Reading the Last Line, 2011. Book fragments and acrylic. 94 1⁄2 × 4 3⁄8 × 3 1⁄4 inches. Private collection, New York.

Allison Smith, Frame, 2015. Walnut, archival pigment print on linen. 72 × 48 inches. Courtesy the artist and Haines Gallery, San Francisco. 

R. H. Quaytman, Anne Tyng’s Bedroom, 2001. Oil, silkscreen ink, gesso on wood. 24 3⁄4 × 40 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

R. H. Quaytman, Anne Tyng Pointing, 2001–1 1. Oil, silkscreen ink, gesso on wood. 20 × 32 3⁄8 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

Fernanda Fragateiro, (Not) Reading the Last Line, 2011. Book fragments and acrylic. 94 1⁄2 × 4 3⁄8 × 3 1⁄4 inches. Private collection, New York.

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Handblown and molded glass modules, wood, and hardware. 105 3⁄4 × 75 × 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

R. H. Quaytman, Anne Tyng’s Bedroom, 2001. Oil, silkscreen ink, gesso on wood. 24 3⁄4 × 40 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

R. H. Quaytman, Anne Tyng Pointing, 2001–1 1. Oil, silkscreen ink, gesso on wood. 20 × 32 3⁄8 inches. Courtesy the artist and Miguel Abreu Gallery, New York. 

Martha Rosler, Vacuuming Pop Art, Escape Fantasy, and Family Portrait with Car from the series Body Beautiful, or Beauty Knows No Pain, c. 1966–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Vacation Getaway and Balloons from the series House Beautiful: Bringing the War Home, c. 1967–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Brian Zink, Composition in 2465 Yellow, 2016 Yellow and 3015 White, 2014. Composition in 2016 Yellow, 2119 Orange and 3015 White, 2014. Composition in 2119 Orange, 2662 Red and 3015 White, 2014, Composition in 2662 Red, 2793 Red and 3015 White, 2014, Composition in 2793 Red, 2240 Maroon and 3015 White, 2013. Each colored Plexiglas mounted on board. Each 30 × 30 inches. Courtesy Fidelity Investments Corporate Art Collection.

Allison Smith, Bellflower, Coverlet Cotton, Checks, Liverpool Birds, Jones Toile, Nosegay, 2015. Archival pigment print on linen. 56 × 65 3⁄8 inches. Courtesy the artist and Haines Gallery, San Francisco.

Martha Rosler, Vacuuming Pop Art, Escape Fantasy, and Family Portrait with Car from the series Body Beautiful, or Beauty Knows No Pain, c. 1966–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Vacation Getaway and Balloons from the series House Beautiful: Bringing the War Home, c. 1967–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Brian Zink, Composition in 2465 Yellow, 2016 Yellow and 3015 White, 2014. Composition in 2016 Yellow, 2119 Orange and 3015 White, 2014. Composition in 2119 Orange, 2662 Red and 3015 White, 2014, Composition in 2662 Red, 2793 Red and 3015 White, 2014, Composition in 2793 Red, 2240 Maroon and 3015 White, 2013. Each colored Plexiglas mounted on board. Each 30 × 30 inches. Courtesy Fidelity Investments Corporate Art Collection.

Martha Rosler, Vacuuming Pop Art, Escape Fantasy, and Family Portrait with Car from the series Body Beautiful, or Beauty Knows No Pain, c. 1966–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Vacation Getaway and Balloons from the series House Beautiful: Bringing the War Home, c. 1967–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Brian Zink, Composition in 2465 Yellow, 2016 Yellow and 3015 White, 2014. Composition in 2016 Yellow, 2119 Orange and 3015 White, 2014. Composition in 2119 Orange, 2662 Red and 3015 White, 2014, Composition in 2662 Red, 2793 Red and 3015 White, 2014, Composition in 2793 Red, 2240 Maroon and 3015 White, 2013. Each colored Plexiglas mounted on board. Each 30 × 30 inches. Courtesy Fidelity Investments Corporate Art Collection.

Martha Rosler, Vacuuming Pop Art, Escape Fantasy, and Family Portrait with Car from the series Body Beautiful, or Beauty Knows No Pain, c. 1966–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Vacation Getaway and Balloons from the series House Beautiful: Bringing the War Home, c. 1967–72. Photomontage. Courtesy the artist and Mitchell-Innes & Nash, New York.

Martha Rosler, How Do We Know What Home Looks Like?, 1993. Color video with sound. 31 minutes. Courtesy Electronic Arts Intermix (EAI), New York.

Allison Smith, Bellflower, Coverlet Cotton, Checks, Liverpool Birds, Jones Toile, Nosegay, 2015. Archival pigment print on linen. 56 × 65 3⁄8 inches. Courtesy the artist and Haines Gallery, San Francisco.

Elizabeth Price, AT THE HOUSE OF MR X, 2007. Video. 20 minutes. Courtesy the artist and MOT International, London and Brussels.

Elizabeth Price, AT THE HOUSE OF MR X, 2007. Video. 20 minutes. Courtesy the artist and MOT International, London and Brussels.

Ulla von Brandenburg, Singspiel, 2009. Installation view. Black-and-white 16 mm film, sound. 14:34 minutes. Courtesy the artist and Art: Concept, Paris.

Fernanda Fragateiro, Double Recliner (after MvdR), 2014. Polished stainless steel. 172 1⁄2 × 23 5⁄8 × 25 1⁄2 inches. Courtesy the artist. Photo by António Jorge Silva.

Background: Ulla von Brandenburg, Singspiel, 2009. Installation view. Black-and-white 16 mm film, sound. 14:34 minutes. Courtesy the artist and Art: Concept, Paris.

Ulla von Brandenburg, Singspiel, 2009. Installation view. Black-and-white 16 mm film, sound. 14:34 minutes. Courtesy the artist and Art: Concept, Paris.

Fernanda Fragateiro, Double Recliner (after MvdR), 2014. Polished stainless steel. 172 1⁄2 × 23 5⁄8 × 25 1⁄2 inches. Courtesy the artist. Photo by António Jorge Silva.

Background: Ulla von Brandenburg, Singspiel, 2009. Installation view. Black-and-white 16 mm film, sound. 14:34 minutes. Courtesy the artist and Art: Concept, Paris.

Fernanda Fragateiro, Double Recliner (after MvdR), 2014. Polished stainless steel. 172 1⁄2 × 23 5⁄8 × 25 1⁄2 inches. Courtesy the artist. Photo by António Jorge Silva.

Ulla von Brandenburg, Singspiel, 2009. Installation view. Black-and-white 16 mm film, sound. 14:34 minutes. Courtesy the artist and Art: Concept, Paris.

Ulla von Brandenburg, Singspiel, 2009. Installation view. Black-and-white 16 mm film, sound. 14:34 minutes. Courtesy the artist and Art: Concept, Paris.

Cerith Wyn Evans, Untitled (Column), 16, 2009. Wood, fluorescent tubes, and lamp fixtures. 138 × ø 22 inches. Courtesy White Cube and Carpenter Center for the Visual Arts.

Cerith Wyn Evans, Untitled (Column), 16, 2009. Wood, fluorescent tubes, and lamp fixtures. 138 × ø 22 inches. Courtesy White Cube and Carpenter Center for the Visual Arts.

Cerith Wyn Evans, Untitled (Column), 16, 2009. Wood, fluorescent tubes, and lamp fixtures. 138 × ø 22 inches. Courtesy White Cube and Carpenter Center for the Visual Arts.

Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections. 144 × 192 × 192 inches. Courtesy the artist and Carpenter Center for the Visual Arts.

Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections. 144 × 192 × 192 inches. Courtesy the artist and Carpenter Center for the Visual Arts.

Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections. 144 × 192 × 192 inches. Courtesy the artist and Carpenter Center for the Visual Arts.

Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections. 144 × 192 × 192 inches. Courtesy the artist and Carpenter Center for the Visual Arts.

Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections. 144 × 192 × 192 inches. Courtesy the artist and Carpenter Center for the Visual Arts.

Amy Yoes, Re-Make/Re-Model, 2015. Wood and projections. 144 × 192 × 192 inches. Courtesy the artist and Carpenter Center for the Visual Arts.