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往期内容 ARCHIVE

2020s

  • 2021–2022 第60卷
  • 2020–2021 第59卷

2010s

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

2000s

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

1990s

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

1980s

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

1970s

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

1960s

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

每期价格

1999–2000

  • Cover: Thomas Hirschhorn, Flugplatz Welt/World Airport, 1999, mixed media, dimensions variable. Installation view, Venice Biennale. Photo: Fabio Polo. Inset: Pierre-Louis Pierson/Aquilin Schad, La Marquise Mathilde (detail), 1861–67, photographic print painted with gouache, ca. 27½ x 20⅞".
    1999年9月
    第38卷第1期
  • Cover: David Wojnarowicz and Mike Bidlo, Pier 34, 1983. Photo: Andreas Sterzing. Inset: Jeff Koons, One Ball Total Equilibrium Tank (Spalding Dr. J 241 Series) (detail), 1985, glass, steel, plastic, distilled water, reagent-grade sodium chloride, and basket ball, 64¾ x 30¾ x 13¼".
    1999年10月
    第38卷第2期
  • Cover: Mark Dion, Tate Thames Dig, 1999. Photo: Andrew Cross. Inset: Ron Mueck, Mask, 1997, polyester resin and mixed media, 62¼ x 60¼ x 48⅞". Photo: Laura Hoffmann.
    1999年11月
    第38卷第3期
  • Cover, top row, left to right: Bruce Nauman, Anthro/Socio (Rinde Facing Camera) [detail], 1991, six videodisc players, six color monitors, three video projectors, and six video discs, dimensions variable. Installation view. Daniel Martinz, Museum Tags: Second Movement (Overture) or Overture con Claque— Overture with Hired Audience Members (detail), 1993, metal visitor tags, 1¼ x 1“ each. From the 1993 Whitney Biennial. Robert Gober, Untitled (detail), 199597, mixed media, dimensions variable. Matthew Barney, Cremaster 4 (detail), 1994, production still from a color video transferred to 35mm, 42 minutes 40 seconds. Photo: Peter Strietmann. Second row, left to right: Gabriel Orozco, Pinched Ball (Pelota ponchada) [detail], 1993, Cibachrome print, 9 x 13¼ ”. Andreas Gursky, Chicago Mercantile Exchange (detail), 1997, color photograph, 70⅞ x 94½“. Jeff Wall, A Sudden Gust of Wind (After Hokusai) [detail], 1993, Cibachrome transparency, aluminum display case, and fluorescent light, 90¼ x 12' 4½ ”. Cindy Sherman, Untitled (detail), 1994, Cibachrome print, 44 x 30“. Vanessa Beecrof, US Navy SEALs, 1999. Performance view, Museum of Contemporary Art, San Diego. Photo: Todd Eberle. Tableau vivant by Jack Smith (detail), ca. 1957/1997, uncropped color photograph printed from a 2¼ x 2¼” negative taken with a reflex camera. Francis Francine. The Plaster Foundation, New York. Third row, left to right: Elizabeth Peyton, Blur Kurt (detail), 1995, oil on Masonite, 14 x 11“. Charles Ray, Puzzle Bottle (detail), 1995, painted wood in glass bottle, 13' x 4” diameter. Cady Noland, Untitled, 1989, scaffolding, beer, car parts, and basket. Installation view. Photo: Michael Olijnyck. Monique Prieto, AM Safety Zone (detail), 1999, acrylic on canvas, 72 x 96“. Jeff Koons, Puppy (detail), 1992, live flowers, earth, wood, and shell, 39 x 16 x 21'. David Reed, #332 (detail), 199394, oil and alkyd on linen, 26 x 110”. Bottom row, left to right: Mike Kelley, Dialogue #2 (Transparent White Glass/Transparent Black Glass) [detail], 1991, blanket, stuffed animals, and cassette player, 74 x 49 x 11“. Seydou Keïta, untiled, ca. 1954, black-and-white photograph. Pipilotti Rist, Let me sip your ocean (detail), 1995–96, video installation. Sigmar Polke, Gärtner (Gardener) [detail], 1992, acrylic on synthetic fabric, 114¼ x 114¼”. Todd Haynes, Velvet Goldmine, 1998, production still from a color film in 35mm, 127 minutes. Brian Slade (Jonathan Rhys Meyers). Photo: Peter Mountain. Robert Mapplethorpe, Self-Portrait (detail), 1978, black-and-white photograph. The Estate of Robert Mapplethorpe, New York.
    1999年12月
    第38卷第4期
  • Cover: Stan Douglas, Win, Place or Show (detail), 1998, still from a two-channel video projection with a four-channel sound track; 2,423 variations, averaging 6 minutes each. Inset: Francesco Clemente, She and She (detail), 1982, pastel on paper, 24 x 18".
    2000年1月
    第38卷第5期
  • Cover: Knut Åsdam, _Untitled: Pissing (detail), 1995, still from a color video. Inset: Lucio Fontana, Spatial Concept/The End of God (detail), 1963, oil, tears, holes, and graffiti on canvas, ca. 70 1/16 x 48 7/16".
    2000年2月
    第38卷第6期
  • Cover: Ed van der Elsken, from “Paris, France,” 195054, black-and-white photograph. Included in Love on the Left Bank (Amsterdam: Besige Bij, 1956). Inset: Mary Harron, American Psycho (detail), 2000, production still from a color film in 35 mm, 98 minutes. Patrick Baterman (Christian Bale).
    2000年3月
    第38卷第7期
  • Cover: Sophie Calle, B, C, W (detail), 1998, four color photographs and four texts, each ca. 26⅜ x 26⅜" framed. Photo: Jean-Baptiste Modino. Inset: Walter Benjamin, 1938. © Gisèle Freund/Agence Nina Beskow.
    2000年4月
    第38卷第8期
  • Cover, clockwise from top left: James Welling, 2-29 11-96 (detail), 1996, vegetable dye on rag paper, 34 x 27“. From the series ”Light Sources,“ 1992-98. Wayne Thiebaud, Strawberry Cone (detail), 1969, oil on paper, 11 x 14”. Christopher Williams, Model: 1964 Renault Dauphine-Four, R-1095. Body Type & Seating; 4-dr sedan 4 to 5 persons, Engine type: 14/52 Weight: 1397 lbs. Price: $1495.00 USD (original) (Nr. 1) (detail), 2000, black-and-white photograph, 11 x 14“. Catherine Chalmers, 199496,* untitled digital color photograph, 40 x 60”. From “Unnatural Science.”
    2000年5月
    第38卷第9期
  • Cover: Tom Friedman, Untitled, 2000, construction paper, 12 114 x 120“. Installation view. Photo: Oren Slor. Inset: Edward Ruscha, Is, 1998, acrylic on canvas, 76 x 72”.
    2000年夏季
    第38卷第10期

1998–1999

  • Cover: Monique Prieto, Pedestrian, 1998, acrylic on canvas, ca. 84 x 72¼". Inset: Jackson Pollock painting on glass, November 1950. Still from a color film in 16 mm by Hans Namuth and Paul Falkenberg. © The Museum of Modern Art and Hans Namuth, Ltd.
    1998年9月
    第37卷第1期
  • Cover: Dieter Roth, Selbstturm/Löwenturm (Selftower/Liontower) [detail], 1969–98, two towers with glass shelves con tainting chocolate and sugar sculptures, each tower ca. 98 7/16 x 39 6/16“ x 39 6/16”. Photo: Christian Kurz and Alexander Troehler. Inset: Todd Haynes, Velvet Goldmine, 1998, production still from a color film in 35 mm, 127 minutes. Brian Slade (Jonathan Rhys Meyers). Photo: Peter Mountain.
    1998年10月
    第37卷第2期
  • Cover: Tony Smith, Tau, 1965, cardboard model, 7 x 10 x 6“. Tony Smith Estate, New York. Photo: Kevin Noble. Inset: Collier Schorr, Two Shirts (detail), 1998, Cibachrome, 40 x 30”.
    1998年11月
    第37卷第3期
  • 1998年12月
    第37卷第4期
  • Cover: Thierry de Cordier, Jardinière (detail), 1989, gouache on paper, ca. 14 1/2 x 19 11/16“. Inset: Louise Lawler, Untitled (Oslo), 1993–95, crystal, Cibachrome print, and felt, 2” high x 3 1/2" in diameter. Edition of ten.
    1999年1月
    第37卷第5期
  • The cover of your copy of Artforum tells only half the story. On the occasion of Yve-Alain Bois's conversation with Linda Nochlin (p.70), alternate cover images grace our February issue. Some editions feature Henri Matisse, A Woman in a Purple Coat with Ranunculi, 1937, oil on canvas, 31 7/8 x 25 11/16“, © 1999 Succession Matisse/Artist Rights Society (ARS), New York; others picture Pablo Picasso, Woman Seated in a Garden, 1938, oil on canvas, 51 1/2 x 38 1/4”. © 1999 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.
    1999年2月
    第37卷第6期
  • Cover: Bas Jan Ader, Untitled (Tea Party) (detail), 1972, one of six color photographs, 5 x 8“. Edition of three. Inset: Sam Francis, Blue Balls VII (detail), 1962, oil on canvas, 81 x 81”. © The Sam Francis Estate/Artists Rights Society (ARS), New York.
    1999年3月
    第37卷第7期
  • Cover: Jackson Pollock, Convergence: Number 10, 1952 (detail), oil and enamel on canvas, 93½ x 12' 11“. Albert-Knox Art Gallery, Buffalo, New York. Inset: Jim Dine, A Nice Pair of Books, 1965, enamel paint on cast bronze, two boots: 16 x 11 x 4”.
    1999年4月
    第37卷第8期
  • Cover: Gary Hume, Pink Bird (detail), 1998, gloss household paint on aluminum, 79⅛ x 63". Inset: *Shozo Shimamoto, A Buddhist Image, 1991, photo documentation. Work by the former Gutaï artist is included in the Jeu de Paume's survey opening this month.
    1999年5月
    第37卷第9期
  • Cover: David Reed, #439 (detail), 1998–99, oil and alkyd on linen, 60½ x 102". Inset: John Bock, Maybe-Me-Be-Microworld, 1999.* Performance view, Anton Kern Gallery, New York.
    1999年夏季
    第37卷第10期

1997–1998

  • Robert Rauschenberg, Untitled (Gold Painting) [detail], 1953, gold leaf on fabric, newspaper, wood, paper, and glue on canvas, 19 ¾ x 19 ¾". Inset: Catherine David at the Documenta X press conference, June 19, 1997. Photo: Arno Declair.
    1997年9月
    第36卷第1期
  • Tableau vivant by Jack Smith, ca. 1957/1997, uncropped color photograph printed from a 2¼ x 2¼" negative taken with a reflex camera. Inset: Jarvis Rockwell's collection of toys. Photo: Laurie Simmons.
    1997年10月
    第36卷第2期
  • Richard Tuttle, Waferboard 4, 1996, acrylic on wafer board, 29 ½ x 18“. Inset: Tazio Secchiarolli, Anita Ekberg, Rome, 1958, black and white photograph. From ”Il Paparazzo/I Paparazzi."
    1997年11月
    第36卷第3期
  • Top row, left to right: Dinos and Jake Chapman, Six Feet Under, 1997, fiberglass, resin, and paint, dimensions variable. Installation view. Left to right: GoGo Fuckface and Joey. Robert Rauschenberg, The ¼ Mile or 2 Furlong Piece, 1981–, mixed media, currently consisting of 189 elements, dimensions variable. Installation view, Ace Gallery, New York, 1997. Joe Brainard, Garden, 1967, gouache, 37 x 27“. Carsten Höller and Rosemarie Trockel, Ein Haus für Schweine und Menschen (A house for pigs and men), 1997, mixed media and pigs; house ca. 13' 1 ½” x 39' 4 ½“ x 19' 8”, garden ca. 1,200 square feet. Installation view. Photo: Arno Declair. Middle row, left to right: “Ellsworth Kelly,” 1997. Installation view, Guggenheim Museum, New York. William S. Burroughs, 1962. Photo: Corbis-Bettmann. Richard Patterson, Young Minotaur (detail), 1997, oil on canvas, 82 ¼ x 48 ¼“. Robert Gober, Untitled, 1995–97, mixed media, dimensions variable. Installation view. Photo: Russell Kaye. Bottom row, left to right: David Cronenberg, Crash, 1996, detail of a still from a color film in 35mm, 100 minutes. Catherine Ballard (Deborah Unger). Wong Kar-Wai, Happy Together, 1997 detail of a still from a color film in 35mm, 90 minutes. Left to right: Lai Yiu-Fai (Tony Leung Chiu-Wai) and Ho Po-Wing (Leslie Cheung Kwok-Wing). Flowers at the gates of Kensington Palace before the start of Princess Diana's funeral, London, September 1997. Photo: AP/Bebeto Matthews. Elizabeth Peyton, Beck (detail), 1996, watercolor on paper, 12 x 9”.
    1997年12月
    第36卷第4期
  • Sigmar Polke, Parfümbild (Perfume painting) [detail], 1969/71, lacquer on canvas, ca. 59 1/16 x 49 3/16“. Kunstmuseum Bonn. Inset: Andy Warhol, Self-Portrait, 1981-88, Polaroid photograph, 4 1/4 x 3 3/8”.
    1998年1月
    第36卷第5期
  • Seydou Keïta, untitled, ca. 1954, black-and-white photograph. Inset: Richard Diebenkorn, Poppies (detail), 1963, oil on canvas, 40 x 30".
    1998年2月
    第36卷第6期
  • Carroll Dunham, Killer (detail), 1997, mixed media on linen, 51 x64". Inset: Elizabeth Murray working on If Only in her studio, January 1998. Photo: Kevin Noble.
    1998年3月
    第36卷第7期
  • Chuck Close and Robert Storr during the installation of Close's retrospective at the Museum of Modern Art, New York, February 1998. Background: Chuck Close, Kiki, 1993, oil on canvas, 100 x 84 1/8“. Photo: Tina Barney. Inset: *Kenneth Noland, That, 1959, acrylic on canvas, 84 x 84”. From “The Green Mountain Boys.”
    1998年4月
    第36卷第8期
  • David Hammons, Two Obvious, 1996, cowrie shells and porcelain, 12 x 14".
    1998年5月
    第36卷第9期
  • Cover: Vanessa Beecroft, Show, 1998, twenty models costumed by Tom Ford for Gucci. Performance view. Photo: Mario Sorrenti (detail). Inset: Alexander Calder, Elephant Head, 1936, sheet metal, wire, lead, and paint, 27½ x 33 x 35".
    1998年夏季
    第36卷第10期

1996–1997

  • Jasper Johns, _Souvenir 2 (detail), 1964, oil and collage on canvas with objects, 28 3/4 x 21".
    1996年9月
    第35卷第1期
  • Ellsworth Kelly, Seven Sketches (detail), 1957-59, ink, pencil, and oil, 15 ⅝ x 21".
    1996年10月
    第35卷第2期
  • Georgina Starr, Visit to a Small Planet (Being Blue), 1995, still from a color video, 20 minutes.
    1996年11月
    第35卷第3期
  • Left to right: Damien Hirst, Hanging Around (detail), 1996, still from a color film in super 16 mm, 26 minutes. Camilla (Frankie Park). Jasper Johns, Corpse and Mirror (detail), 1974, oil, encaustic, and collage on canvas, 50 x 68 ⅛“. © 1996 Jasper Johns/Licensed by VAGA, New York. Photo: © 1996 The Museum of Modern Art, New York. Andy Warhol, Rorschach (detail), 1984, synthetic polymer paint on canvas, 20 x 16”. Ad from the 1996 cK be campaign (detail). Pipilotti Rist, Nett, Dass Du Mich Begleitest Durch Die Kanalisation (It is nice of you to accompany me through the canal [detail]), 1992, mixed media. Installation view, Galerie Walcheturm, Zurich.
    1996年12月
    第35卷第4期
  • Richard Billingham, Untitled, 1995, color photograph, 41 5/16 x 62 3/16".
    1997年1月
    第35卷第5期
  • Yayoi Kusama, Repetitive Vision, 1996, Installation view, The Mattress Factory. Photo: John Charley.
    1997年2月
    第35卷第6期
  • Interior view of the second floor of Donald Judd's him in Eichholteren, Switzerland, 1993. Photo: Todd Eberle.
    1997年3月
    第35卷第7期
  • Frances Stark, “W is Werther” (detail), 1996, carbon on paper, 18 x 22 1/2".
    1997年4月
    第35卷第8期
  • Rineke Dijkstra, Kolobrzeg, Poland, 1992, color photograph, ca. 60 ¼ x 50 ¾". Edition of six.
    1997年5月
    第35卷第9期
  • Jeff Koons, Pink Bow, 1995-97, oil on canvas, 106 1/2 x 11' 4 3/8". Photo: Jim Strong.
    1997年夏季
    第35卷第10期

1995–1996

  • Katharina Fritsch, Museum, wood, Plexiglas, aluminum, paint, and lacquer, ca 10' 9 7/8“ high x 34' 1 7/16” diameter.
    1995年9月
    第34卷第1期
  • Piet Mondrian, Composition III (Composition with Red, Blue, Yellow, and Black), 1929, oil on canvas, 19⅝ x 19⅞".
    1995年10月
    第34卷第2期
  • Paul Thek, Dust, 1988, acrylic and gesso on newspaper, 21¼ x 27½". Collection of the Philadelphia Museum of Art, Philadelphia.
    1995年11月
    第34卷第3期
  • Cover: top to bottom, left to right: Friends, 1995, the cast of the television show on NBC. Photo: Andrew Eccles. O.J. Simpson learns he has been found not guilty, Los Angeles, 3 October 1995. Photo: AP/Wideworld. Florine Stettheimer, Spring Sale at Bendel's (detail), 1921, oil on canvas, 50 x 40“. Collection of the Philadelphia Museum of Art, Philadelphia, PA. Hole Singer/guitarist Courtney Love. Photo: Bob King/RETNA. Piet Mondrian, Broadway Boogie Woogie (detail), 1942-43, oil on canvas, 50 x 50”. Collection of the Museum of Modern Art, New York. Matthew Barney, Cremaster 4 (detail), 1994, production still from a color video, 42 minutes. Photo: Peter Stietman. From the Prada collection spring-summer 1995. Photo: Maria Chandoha Valentino. Larry Clark, from the Kids Portfolio, 1995, one of 15 C-Prints in an edition of 25, 15¾ x 18½“. Christian de Portzamparc, Cité de la Musique (view of the concert hall), 1995, Paris. Photo: Nicolas Borel. Gilbert & George, Human Shits (detail), 1994, dyed black and white photographs, ca. 99⅝ x 14'. From the series ”Naked Shit Pictures,“ 1994. Hugh Grant on The Tonight Show with Jay Leno, 10 July 1995. Photo: AP/Wideworld. Bus advertisement for Calvin Klein Jeans, 1995. Photo: Impact Visuals. Absolutely Fabulous, 1992-95, still from the TV show on Comedy Central. Left to right: Edina (Jennifer Saunders) and Patsy (Joanna Lumley). Georg Baselitz, Das Motif: Giraffe (The motif: giraffe; detail), 1988, oil on canvas, 51⅛ x 38¼ ”.
    1995年12月
    第34卷第4期
  • Alex Bag, 6th Semester Art School Girl, 1995, still from a color video, 57 minutes. From the video Fall ’95.
    1996年1月
    第34卷第5期
  • Ed Kienholz, Walter Hopps, Hopps, Hopps, 1959, paint and resin on wood, printed color reproductions, ink on paper, animal vertebrae, telephone parts, candy, dental molds, metal, pencil, and leather, 87 x 42 x 21". Photo: Susan Einstein.
    1996年2月
    第34卷第6期
  • Sylvie Fleury, Sublimes (Chanel Eyeshadow), 1992, Chanel eyeshadow, dimensions variable.
    1996年3月
    第34卷第7期
  • Gabriel Orozco, Cat in the Jungle, 1992, Cibachrome photograph, 12 1/2 x 18 3/4".
    1996年4月
    第34卷第8期
  • Diana Thater, Moluccan Cockatoo Molly, Numbers 1–10, 1995, video installation with window film. Installation view at Schipper and Krome, Cologne.
    1996年5月
    第34卷第9期
  • Peter Fischli and David Weiss, Empty Room (detail), 1996, polyurethane and paint. Installation view at the Walker Art Center in Minneapolis.
    1996年夏季
    第34卷第10期

1994–1995

  • Cy Twombly, Summer Madness, 1990, oil, gouache, pencil, and crayon on paper, 59 x 49⅝". Collecrion of Udo and Anette Brandhorst.
    1994年9月
    第33卷第1期
  • Paul McCarthy, Tomato Head (Burgundy) (detail), 1994, fiberglass, aluminum, urethane, rubber, cloth, Plexiglas, and mixed media.
    1994年10月
    第33卷第2期
  • Robert Frank, U.S. 90, en route to Del Rio, Texas, 1955, gelatin silver photograph, 14 x 11".
    1994年11月
    第33卷第3期
  • Rem Koolhaas/O.M.A., two libraries on the campus of Jussieu University, Paris, 1992.
    1994年12月
    第33卷第4期
  • Nobuyoshi Araki, untitled, 1994, scratched color photograph. From the “Obscenities” series.
    1995年1月
    第33卷第5期
  • Ross Bleckner, Throbbing Hearts (detail), 1994, oil on canvas, 106 x 92".
    1995年2月
    第33卷第6期
  • 1995年3月
    第33卷第7期
  • Bruce Nauman, Ten Head Circle/Up and Down (detail), 1990, wax and wire, dimensions variable.
    1995年4月
    第33卷第8期
  • Larry Clark, Kids, 1994, still from a color film in 35 mm. Telly (Leo Fitzpatrick).
    1995年5月
    第33卷第9期
  • Florine Stettheimer, Soiree/Studio Party, 1917-1919, oil on canvas, 28¼ x 30". Collection of Beinecke Library, Yale University, New Haven.
    1995年夏季
    第33卷第10期

1993–1994

  • Edward Ruscha, Etc. Etc., 1993, acrylic and wood on linen, 18 x 19". Project Commissioned for the 30th anniversary of Artforum. Photo: Paul Ruscha
    1993年9月
    第32卷第1期
  • Vija Celmins, Untitled, 1990, oil on linen, 15¼ x 18¾. Collection of Agnes Gund.
    1993年10月
    第32卷第2期
  • Robert Irwin, External Window, 1985, installation view at the Pace Gallery, New York.
    1993年11月
    第32卷第3期
  • Peter Saul, Icebox 1, 1960, oil on canvas, 69 x 58 ½".
    1993年12月
    第32卷第4期
  • Joan Miró, The Bird Boom-Boom Makes His Appeal to the Head Onion Peel (detail), 1952, oil on canvas, 31⅞ x 39⅛".
    1994年1月
    第32卷第5期
  • Karen Kilimnik, High Cheek Bones, 1993, acrylic and crayon, 35 x 23".
    1994年2月
    第32卷第6期
  • Gillian Wearing, “Signs that say what you want them to say and not signs that say what someone else wants you to say,” 1992-93, C-prints mounted on aluminum, each ca. 15½ x 10½".
    1994年3月
    第32卷第7期
  • Sean Landers, Fart (detail), 1993, oil on canvas, 84 x 112½".
    1994年4月
    第32卷第8期
  • Craigie Horsfield, Maria Ubysz-Nowicka. Ul. Smolensk, Kraków, July 1974, 1974/1994, black and white photograph.
    1994年5月
    第32卷第9期
  • Donald Judd, color study for enamel wall work, 1985. Photo: Todd Eberle.
    1994年夏季
    第32卷第10期

1992–1993

  • Charles Ray, Fall' 91, 1991, mixed media, 96" tall.
    1992年9月
    第31卷第1期
  • Replica of the Santa Maria, West Edmonton Mall, Alberta, Canada. Photo: The Postcard Factory, Markham, Canada.
    1992年10月
    第31卷第2期
  • Sue Williams, Die, 1992, acrylic on canvas, 15 x 18".
    1992年11月
    第31卷第3期
  • Lari Pittman, This Wholesomeness, beloved and despised, continues regardless, 1989-90, acrylic and enamel on mahogany, 10' 8“ x 96”.
    1992年12月
    第31卷第4期
  • 1993年1月
    第31卷第5期
  • 1993年2月
    第31卷第6期
  • 1993年3月
    第31卷第7期
  • Jonathan Lasker, Invective Decor, 1990, oil on linen, 54 x 72".
    1993年4月
    第31卷第8期
  • Daniel J. Martinez, _Museum Tags: Second Movement (Overture) or Overture con Claque-Overture with Hired Audience Members, 1993, metal visitor tags, 1¼ x 1' each. Cover photo: Kevin Noble.
    1993年5月
    第31卷第9期
  • Richard Hamilton, Swingeing London 67 (detail), 1967, oil on canvas and screen print, ca. 26 x 33". Private collection.
    1993年夏季
    第31卷第10期

1991–1992

  • Matthew Barney, DELAY OF GAME, 1991, still from color videoaction, 3 minutes 19 seconds.
    1991年9月
    第30卷第1期
  • Tom McGlynn and Emily Carter, I Love N.Y., 1990, silk screen on paper, 23 x 20". From the street project and artists' book Your House Is Mine, 1990-91, New York: Bullet Space. Limited edition of 150.
    1991年10月
    第30卷第2期
  • Arch Connelly, Local Boy, 1990, collage and acrylic on canvas, 14 x 10”.
    1991年11月
    第30卷第3期
  • Dennis Oppenheim, Digestion: Gypsum Gypsies, 1989, pigmented fiberglass, propane tank, plaster, wax, rubber hose, poured resin, regulator, and jeweler's tips, 60” x 20' x 20'.
    1991年12月
    第30卷第4期
  • Louise Bourgeois, Cell II (detail), 1991, mixed media, 83 x 60 x 60".
    1992年1月
    第30卷第5期
  • William Wegman, So Sorry, 1991, goache on paper, 12¾ x 17".
    1992年2月
    第30卷第6期
  • Susan Leopold, _Dilemma, 1989, mixed media contruction, 16 x 17 x 14¼".
    1992年3月
    第30卷第7期
  • Ana Mendieta, Untitled, 1977. From the “Tree of Life” series, 1973-80. Edition of two color photographs, each 13¼ x 20".
    1992年4月
    第30卷第8期
  • Anya Gallaccio, Preserve (Sunflowers). 1991, 101 sunflowers and glass, 2 x 59 x 59".
    1992年5月
    第30卷第9期
  • Nicola De Maria, Testa Orfica (Orphic head), 1992.
    1992年夏季
    第30卷第10期

1990–1991

  • Ulrich Rückriem, installation view at the Palacio de Cristal, Madrid, April–July 1989.
    1990年9月
    第29卷第1期
  • Per Barclay, Oil Room, 1990, installation view at the Church of the Holy Virgin Mary Smirtidiotissa, Spetsai, Greece.
    1990年10月
    第29卷第2期
  • Via Lewandowsky, Zur Lage des Hauptes (On the position of the head), 1990, mixed media. Installation view, Siegessäule, Berlin.
    1990年11月
    第29卷第3期
  • Kay Rosen, Read Lips, 1985, sign paint on board, 17½ x 33¾".
    1990年12月
    第29卷第4期
  • Meyer Vaisman, The Noble Amazon (detail), 1990, silk and ink on cotton, 73¼ x96 ¾”.
    1991年1月
    第29卷第5期
  • Barbara Kruger, _Untitled (Who is Housed?), 1990, photo silk screen on vinyl, ca. 48 x 54".
    1991年2月
    第29卷第6期
  • Karen Knorr, The Analysis of Beauty, 1988, Cibachrome print, 35 x 35“. From the ”Connoisseurs" series, 1986–89.
    1991年3月
    第29卷第7期
  • Vincent Shine, Untitled (9/29, 9/30, 10/1), 1990, neoprene, ethylene vinyl acetate, polyether methacrylate, cyanoacrylate esther, steel, and acrylic, 3½ x 2 x 2 ½” each.
    1991年4月
    第29卷第8期
  • Christian Marclay, Incognita (detail), 1990, record covers, metal zippers, and thread, 78¾ x 65 x ½".
    1991年5月
    第29卷第9期
  • Wim Delvoye, Old Saw (detail), 1990, circular saw blade and enamel paint, 9¾" in diameter.
    1991年夏季
    第29卷第10期
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