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Collectors Committee Gifts

Alexander Calder, American, 1898–1976, Model for East Building Mobile, 1972, painted aluminum and steel wire, Gift of the Collectors Committee 1975.114.1

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Atelier Picaud Aubusson Tapestry Factory after Jean Arp (French, born Germany (Alsace), 1886-1966), Variation Sur "Aubette", c. 1975, wool and cotton, Gift of the Collectors Committee 1976.31.1

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Six black, wedgelike shapes, one dark blue arrowhead shape, and six red triangular shapes with rounded corners are connected with thin rods to form this abstract sculpture. In this photograph, we look up at the piece to where it hangs from the glass ceiling of a light-filled interior space with marble walls. The paddle-like shapes are attached to the end of the curved rods, which are linked together like branches. In our view, the black arm curves up across the top of the picture and the red arm curves down into the lower right corner, and to our left. Each red paddle is smaller as they move from the central armature to the end of the branch.

Alexander Calder, American, 1898–1976, Untitled, 1976, aluminum and steel, Gift of the Collectors Committee 1977.76.1

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Two black, abstract shapes against a white background dominate this wide, horizontal painting. One column-like, black shape is to our left, about a quarter of the way in from the left edge of the canvas. The bottom edge of the black form is jagged and an irregular bump protrudes at the center of the right side of that shape. The other black form fills most of the right half of the composition. That shape is made of two forms resembling very fat Ps with spines that curve around the protruding bumps, to our right. There are small spatters and dribbles of black paint around some of the shapes that only could have been made by striking the canvas with some force. The white background is outlined near the inner edges of the canvas, creating a subtle frame that contains the massive black shapes. Vertical lines, most of them smudged or faint, create vertical sections across the composition. A blurred, steel-blue line appears in the left most column. Thin washes of smoky blue and rose pink spread in areas across the composition. The artist signed and dated the painting in the lower right, “R. Motherwell 1978.”

Robert Motherwell, American, 1915–1991, Reconciliation Elegy, 1978, acrylic on canvas, Gift of the Collectors Committee 1978.20.1

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Anthony Caro, British, 1924–2013, National Gallery Ledge Piece, 1978, welded steel, Gift of the Collectors Committee 1978.21.1

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after Joan Miró (Spanish, 1893–1983), woven by Josep Royo (Spanish, born 1945), Woman, 1977, wool and cotton tapestry, Gift of the Collectors Committee and George L. Erion 1978.23.1

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James Rosati, American, 1912–1988, Untitled, model 1971, fabricated 1977, aluminum, painted, Gift of the Collectors Committee based on model given by the artist in memory of William C. Seitz 1978.24.1

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Kenneth Noland, American, 1924–2010, Another Time, 1973, acrylic on canvas, Gift of the Collectors Committee 1979.28.1

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Frank Stella, American, born 1936, Chyrow II, 1972, mixed media, Gift of the Collectors Committee 1979.29.1

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Two abstracted creatures, one resembling a goat holding a staff and the other a stylized mermaid, sit facing us on on a rectangular base in this free-standing bronze sculpture. The head of the goat creature, to our left in this photograph, has wide horns to either side of a ridge suggesting a heavy brow. The triangular head tapers down to a ring that suggests the muzzle of the goat. The body is made up of broad geometric shapes. There is a stylized phallus where the body meets the block we read as a lap, and two rounded forms suggestive of human feet protrude from the base of that block. The creature reaches out with his right arm, to our left, to wrap a large, human fist around the staff. The staff swells and narrows in angular hourglass shapes and is topped by what could be a rectangular, abstracted face with two eye holes, a flattened nose, and a slit for a mouth. The goat’s other hand rests near that knee, and in it he holds a creature about the height of the goat’s torso. That smaller creature has a scooped, cup-like form where the head would be, a long neck, and two mounds reminiscent of breasts above a textured fish’s tail. Below, as if affixed to the front of the goat’s lap, a disk-like face has two rings for eyes and a tongue protruding from a round mouth. Other forms over the forehead and one next to the face read as flattened hands or claws. Next to the large goat creature, to our right, the second, tall creature has a head made up of a disk with two mounds for eyes and a beak stacked in front of a second, larger disk. A form like an abstracted fish or arrow moves through or behind her head. The creature has a long, slender neck and an armless torso, shaped roughly like the body of a violin. The torso has rounded shoulders, two mounds to suggest breasts, and a hole for a belly button. Her textured fish’s tail curves down so the fin falls slightly over the front of the base on which they sit. The bronze surface of the sculpture varies from dark brown to faint gold where the light catches it. The sculpture and bronze base sit on a white platform. The floor beneath is pale pink, shiny marble and the wall behind is made up of stone panels streaked with gray.

Max Ernst, German, 1891–1976, Capricorn, model 1948, cast 1975, bronze, Gift of the Collectors Committee 1979.30.1

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David Smith, American, 1906–1965, Sentinel I, 1956, steel, Gift of the Collectors Committee 1979.51.1

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Two thin, black, straight lines create a cross above a band of widely spaced, vertical, wavy lines, all against a golden yellow background in this abstract, vertical painting. The cross and the band of wavy lines at its base nearly fill this canvas. Each end of the horizontal line of the cross ends with a black disk. Three crimson-red lines emanate like rays from the sides of each disk. The top of the vertical line of the cross ends with a scarlet-red form that flares into a straight line across the bottom and curves up and over, to our left. That shape is outlined in red and partially filled in with the same color at the curving end. At the bottom of the cross, seven vertical wavy lines are spaced along a horizontal line, all in maroon red. A turquoise-blue star floats over the black disk to our right, and three curved lines in blue, yellow, and red arch in a short, stylized rainbow near the upper right of the painting. The background is mottled with tan and ochre yellow, and speckled with topaz-blue dots mostly in the upper left and the lower right corners. The artist signed and dated the work in tiny letters near the lower right: “Miró 1924.”

Joan Miró, Spanish, 1893–1983, Head of a Catalan Peasant, 1924, oil and crayon on canvas, Gift of the Collectors Committee 1981.9.1

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Tony Smith, American, 1912–1980, Wandering Rocks, 1967, painted steel, Gift of the Collectors Committee 1981.53.1

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Frank Stella, American, born 1936, Sacramento Mall Proposal #4, 1978, acrylic on canvas, Gift of the Collectors Committee 1982.53.1

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Joseph Cornell, American, 1903–1972, Untitled (Medici Prince), c. 1953, mixed media, Gift of the Collectors Committee 1982.54.1

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This work is created entirely with dripped and splattered black paint against a bone-colored background in this abstract horizontal painting. The left half is a collection of mostly vertical lines above a nest-like patch of crossing lines near the bottom. Many of the vertical lines are spaced apart so only a few overlap, and the lines are marked with splotches that resemble ink blots. To our right, more densely spaced spatters and lightly curving lines combine to create an abstracted face and body of a person. The artist signed and dated the work in black paint in the lower right corner: “Jackson Pollock 51.”

Jackson Pollock, American, 1912–1956, Number 7, 1951, 1951, enamel on canvas, Gift of the Collectors Committee © 1997 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York 1983.77.1

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Four ivory-white, free-standing, nude women dance in a circle on a wooden surface against a deeply shadowed background. In this photograph, the two women on the far side of the circle face us, one to our left turns away from us, and the one closest to us faces our left in profile. The one facing our left leans forward with her arms spread wide at shoulder height. Her near leg extends back, and the other leg is bent slightly at the knee. The woman to our left has her back to us. Her right arm reaches out to her right, and she steps forward onto the ball of her left foot. The third woman stands beyond and between the first two. She is angled to our right with her arms spread outward and her right leg, on our left, stepping back. The final woman is on the right and faces us with her head bowed down and to our left. She spreads her arms out just below shoulder-height, and her feet are turned in opposite directions.

George Segal, American, 1924–2000,The Dancers, model 1971, cast 1982, bronze with white patina, Gift of the Collectors Committee 1983.78.1

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Sam Francis, American, 1923–1994, White Line, 1958/1959, oil on canvas, Gift of the Collectors Committee © 1997 The Estate of Sam Francis / Artists Rights Society (ARS), New York 1985.56.1

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Richard Diebenkorn, American, 1922–1993, Berkeley No. 52, 1955, oil on canvas, Gift of the Collectors Committee 1986.68.1

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An interior window framed by brown curtains shows a view into a landscape with grass, shrubs, trees, and a dirt path beneath a blue sky with white clouds in this vertical painting. Upon closer inspection, the three legs of a wooden easel, the clip holding a canvas at the top, and a white, stapled edge draws our attention to the fact that a painted canvas rests directly in front of the window. 

René Magritte, Belgian, 1898–1967, La condition humaine, 1933, oil on canvas, Gift of the Collectors Committee 1987.55.1

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Aleksandr Mikhailovich Rodchenko, Russian, 1891–1956, Untitled, 1919, oil on wood, Gift of the Collectors Committee 1987.60.1

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Martin Puryear, American, born 1941, Lever No. 3, 1989, carved and painted wood, Gift of the Collectors Committee 1989.71.1

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Lucas Samaras, American, born Greece, 1936, Mirrored Cell, drawn 1969, constructed 1988, mirror over wood, Gift of the Collectors Committee 1989.73.1

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Joel Shapiro, American, born 1941, Untitled, 1989, bronze, Gift of the Collectors Committee 1990.29.1

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Horizontal bands of rumpled and wrinkled strips of lead are pieced together and overlap to create this horizontal, abstract work. The bands vary from smoke to charcoal gray, and there are some areas of burnt-orange rust. A smaller, ivory-white rectangle at the bottom center resembles a starburst created with textured, radiating bands of ivory and navy blue, surrounding a roughly teardrop-shaped hole that nearly spans the height of the smaller panel. The area within the teardrop is painted with smooth strokes of ice blue along the top, deepening to cobalt blue along the bottom. Tall letters in cursive white spelling out “Zim Zum” are written at the center of a band a quarter of the way down from the top edge of the composition.

Anselm Kiefer, German, born 1945, Zim Zum, 1990, acrylic, emulsion, crayon, shellac, ashes, and canvas on lead, Gift of the Collectors Committee 1990.82.1

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Thirteen round cakes sit in three rows, each on a disk-like stand supported on a thin rod, in this horizontal painting. We look slightly down onto the cakes, which only barely overlap. All of the cakes are round except for one, which has been cut in half so we see the four layers of yellow cake and chocolate frosting inside. The top of that cake is white. All of the other cakes are unique except for two angel food cakes at the center, which are slightly different heights. Most of the other cakes have white or brown frosting, except for a pink cake at the front right. That cake has white swags piped on the sides and a pink rose on the top. Next to it is a cake topped with yellow, perhaps lemon curd. The other two cakes in the front row have a white swirl against dark brown frosting, and the fourth, near the left egde, is topped with a single red cherry. Half of a low, pale orange cake is cut off by the left edge of the canvas in the middle row. Each cake stand casts a pale gray shadow against the light, arctic-blue counter. The paint is thickly applied throughout, and the outlines around the cakes, plates, and rods are streaked with rainbow colors. The artist signed the work by incising his name and the date into the wet white paint in the top right corner: “Thiebaud 1963.”

Wayne Thiebaud, American, born 1920, Cakes, 1963, oil on canvas, Gift in Honor of the 50th Anniversary of the National Gallery of Art from the Collectors Committee, the 50th Anniversary Gift Committee, and The Circle, with Additional Support from the Abrams Family in Memory of Harry N. Abrams 1991.1.1

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A woman with peach-colored skin wearing a floppy hat covering most of her face, a sleeveless shirt, and a skirt sits facing our right in profile against a background of vivid pineapple yellow streaked with olive green in this nearly square painting. The scene is loosely painted with broad, visible brushstrokes throughout, especially in the yellow background. The woman’s brimmed, dark taupe hat comes down to her pointed nose. Her lips seem closed and a band of brown suggests chin-length hair. She leans back in the chair and rests her arms along its thin, black arms. She holds a glass in her right hand, closer to us. Her tank top is cobalt blue and her skirt, which comes almost to her knees, is carnation pink. Her left leg is crossed over her right, and her ankles and feet are cropped by the bottom edge of the canvas. The yellow background behind her has royal-blue lines near the edges of the canvas to the left and right.

Richard Diebenkorn, American, 1922–1993, Seated Figure with Hat, 1967, oil on canvas, Gift of the Collectors Committee and Mr. and Mrs. Lawrence Rubin 1991.176.1

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Malcolm Morley, American, born England, 1931, Erotic Blando Fruto, 1989, oil on canvas, Gift of the Collectors Committee 1991.184.1

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Louise Bourgeois, American, born France, 1911–2010, Untitled, 1952, painted wood and plaster, Gift of the Collectors Committee 1992.102.1

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Louise Bourgeois, American, born France, 1911–2010, Mortise, 1950, painted wood, Gift of the Collectors Committee 1992.102.2

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Louise Bourgeois, American, born France, 1911–2010, Spring, 1949, painted balsa, Gift of the Collectors Committee 1992.102.3

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A person, outlined in black, lassos two puffy clouds with long ropes, all against an abstract patchwork of rectangles in the background of this horizontal painting. Many of the rectangles are cream white and others are muted tones of pink, beige, tan, and blue. Some darker sage-green, violet, and brick-red rectangles are scattered across the bottom of the composition. A narrow band across the top of the painting is made up of triangles in pale blues, yellows, and pinks. The person is drawn with thin black lines and superimposed over the background. This person stands on the right side of the canvas facing our left, almost in profile. His feet are widely planted and his knees bent. His mouth is wide open, and his curly, shoulder-length hair hides his eyes. He wears a floppy cap on the back of his head. His costume has long sleeves underneath a jerkin-style jacket and loose, knee-length pants. A dagger hangs off his belt on his right hip, and a small pouch hangs near his left hip. His arms extend straight out in front of his body, with a thick, twisted rope wrapped around each forearm. He pulls the ropes taut to catch clouds in the upper center and lower left. A few wisps of clouds fill the upper left corner. A small sailboat floats near the center of the composition on a horizon line that bisects the canvas. Near the boat, swirls and streaks of sky and navy blue, crimson red, and sunflower yellow funnel from a wide base along the left edge of the canvas to a narrow band across the center.

Sigmar Polke, German, 1941–2010, Hope is: Wanting to Pull Clouds, 1992, polyester resin and acrylic on canvas, Gift of the Collectors Committee 1993.59.1

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Streaks of vibrant lemon yellow, plum purple, cobalt blue, spring and mint green, cotton candy pink, and crimson red are layered and blended in loose columns in this vertical abstract painting. The artist created this by pulling a long squeegee—as tall as this canvas—across from our left to right to smear and expose layers of paint. Vertical bands of contrasting color suggest that the squeegee was paused or pressed down at intervals. For instance, in a field dominated by bright yellow on the right half of the composition, one vertical band exposes underlayers of bubblegum pink and azure blue. The left half of the painting is mostly blues, greens, and purples, with touches of the same yellow that covers much of the right half. Separating the two halves, a wide streak with slate blue, turquoise, plum purple, white, and yellow blend in some areas to almost make brown.

Gerhard Richter, German, born 1932, Abstract Painting 780-1, 1992, oil on canvas, Gift of the Collectors Committee 1993.62.1

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Richard Long, British, born 1945, Whitechapel Slate Circle, 1981, slate, Gift of the Collectors Committee 1994.76.1

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Rectangles, scribbles, and smudges loosely cluster to create a band that runs from the bottom left corner to the top right against a parchment-white background in this horizontal, abstract work. The work was created with wax crayons, graphite, and house paint on canvas. Some of the shapes and smudges are royal blue, scarlet red, ochre yellow, or gray. Scribbles that suggest illegible writing fill some of the rectangles or is scrawled elsewhere in the composition. Handwritten numbers in blue, yellow, gray, or pumpkin orange are sprinkled throughout, including 2237, 26, 300, 1200, 28, and “17 x 400” near the upper right; 82, 28, 23, and 18 near the center; and 82, 2014, 300, 24, and 8 near the lower left. The largest number, “16490” is written in tall letters near the lower right corner.

Cy Twombly, American, 1928–2011, Untitled (Bolsena), 1969, oil-based house paint, wax crayon, and graphite on canvas, Gift of the Collectors Committee and Adriana and Robert Mnuchin 1995.73.1

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A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling in this sculptural piece. The dowel is perpendicular to the wall so juts into the gallery space. In this photograph, we are almost in front of the piece, near the wall to look onto one of the long sides. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

Eva Hesse, American, born Germany, 1936–1970,Test Piece for "Contingent", 1969, latex over cheesecloth, Gift of the Collectors Committee 1996.116.1

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Scott Burton, American, 1939–1989, Six-Part Seating, conceived 1985, fabricated 1998, polished granite, Gift of the Collectors Committee 1998.146.1

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Geometric shapes and mostly flat areas of color suggest an abstracted sunflower in a vase against a background made of vibrant bands of color in this vertical painting. A spring-green oval shape takes up the middle of the lower half of this composition. Cut straight cross the top and bottom, it recalls a wide-mouthed vase. The head of the stylized flower seems to rest propped over or on the top edge of the vase. A pine-green circle is outlined with celery green, and then surrounded by a larger, yellow disk to represent the head and petals of the flower. The yellow lightens from canary to goldenrod around the green disk within. Then, the yellow disk is outlined with a darker, honey color. The head of the flower is surrounded by a pale pink disk. A stylized green stem curves from the blossom into the vase on our left. Bands and blocks of color make up the background in flat areas of crimson red, black, eggplant purple, pumpkin orange, white, and shades of blue and green.

Edward Steichen, American, 1879–1973, Le Tournesol (The Sunflower), c. 1920, tempera and oil on canvas, Gift of the Collectors Committee 1999.43.1

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Ed Ruscha, American, born 1937, Lisp, 1968, oil on canvas, Gift of the Collectors Committee 2001.56.1

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Dan Flavin, American, 1933–1996, "monument" for V. Tatlin, 1968, cool white fluorescent light, Gift of the Collectors Committee 2001.68.1

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Dan Flavin, American, 1933–1996, "monument" for V. Tatlin, 1969-1970, cool white fluorescent light, Gift of the Collectors Committee 2001.84.1

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A fine, dense marigold-yellow net weaves around dark dots in this horizontal, abstract painting. Most of the painting is yellow, and the spots are irregularly shaped, they vary in size, and they are loosely arranged in twelve columns. The columns bleed into each other to create undulating waves and swirls across the canvas.

Yayoi Kusama, Japanese, born 1929, Infinity Nets Yellow, 1960, oil on canvas, Gift of the Collectors Committee 2002.37.1

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A rust-brown, steel cube sits directly on a pale pink stone floor in a gallery. This photograph shows the cube from near one of the corners so two sides are visible. The surface of the steel is mottled with bronze and and dark brown, and is faintly streaked. The bottom edge of the cube seems to float slightly, creating the impression that hovers just above the floor. The room around the cube has flat marble panels to the left and a white wall to the right.

Tony Smith, American, 1912–1980, Die, model 1962, fabricated 1968, steel with oiled finish, Gift of the Collectors Committee 2003.77.1

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Lee Bontecou, American, born 1931, Untitled, 1962, welded iron, canvas, wire, and black paint, Gift of the Collectors Committee 2004.44.1

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Twenty-five squares are arranged in a three-dimensional grid over and within this square canvas, with five even rows across and five even rows down. The word “OBJECTIVITY” is written in blue capital letters across each of the five rows to appear five times. On each row, each square shows two letters, that is, “OB,” “JE,” “CT,” and “IV”, except for the right-most squares, which contain the last three letters, “ITY.” The five squares on the top row project out in front of the canvas. The second row down is painted on the surface of the canvas. The three rows below gradually recede farther behind the surface of the canvas as they descend. The background behind the blue letters is orange in the top row and it gradually becomes a darker red in the rows below. The face of the canvas is painted a dark khaki brown. The overall impact is that the word seems to get darker, more shadowed, and harder to read as the eye travels down the work.

Sol LeWitt, American, 1928–2007, Objectivity, 1962, oil on canvas, Gift of the Collectors Committee 2005.31.1

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Marcel Broodthaers, Belgian, 1924–1976, Panneau de Moules (Mussel Painting), 1966, mussel shells, resin, and paint on panel, Gift of the Collectors Committee 2005.36.1

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Robert Morris, American, born 1931, Hook, 1963, lead box, mirrors, steel hook, plaster casts, and acrylic vitrine, Gift of the Collectors Committee 2005.49.1

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Robert Morris, American, born 1931, Untitled (The Letter), 1964, painted lead, Gift of the Collectors Committee 2005.49.2

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Robert Gober, American, born 1954,The Slanted Sink, 1985, plaster, wood, steel, wire lath, and semi-gloss enamel paint, Gift of the Collectors Committee 2006.37.1

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Alfred Jensen, American, born Guatemala, 1903–1981, Twelve Events in a Dual Universe, 1978, oil on canvas, Gift of the Collectors Committee 2007.35.1

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Robert Morris, American, born 1931, Untitled, 1976, felt, Gift of the Collectors Committee 2007.36.1

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Alex Katz, American, born 1927, Swamp Maple (4:30), 1968, oil on linen, Gift of the Collectors Committee 2008.34.1

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A black and white triangle to our left floats against a black background, and a black and white strip extends from the triangle at the center of the composition to our right in this abstract horizontal painting. The triangle to our left is set so the long edge, across from a right angle, cuts across the lower left corner of the canvas, extending off both edges. This main triangle is filled with black and white curved, straight, and angled lines in shapes reminiscent of letters and symbols. Similar marks fill the narrow strip that spans the right half of the painting, connecting the right angle of the triangle with the right edge of the canvas. The area behind the triangle and strip is flat black.

Norman Lewis, American, 1909–1979, Untitled (Alabama), 1967, oil on canvas, Gift of the Collectors Committee 2009.45.1

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John McCracken, American, 1934–2011, Black Plank, 1967, polyester resin, fiberglass, and plywood, Gift of the Collectors Committee 2010.18.1

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A lightweight, sheer, coral-peach robe hangs from a wooden dowel over a color television screen in this sculptural piece, which hangs against a white wall. The robe has long sleeves extending horizontally along the dowel, which extends a bit past the cuffs. The robe has a narrow, cream-white collar and ties to one side over the chest. It flares slightly below the arms, creating a bell shape. The rectangular video screen that hangs within is partially obscured, but looks like at least two people in a brightly colored setting.

Nam June Paik, American, born South Korea, 1932-2006, Ommah, 2005, one-channel video installation on 19-inch LCD monitor, silk robe, Gift of the Collectors Committee 2010.62.1

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Four people with black skin are squeezed into a narrow boat on bright, turquoise-colored water that nearly fills this stylized, square painting. All four sides of the unstretched canvas are lined with six gromets spaced along each edge. The boat approaches a carnival-like tunnel near the upper right corner. Cartoon ghosts loom at the tunnel entrance and a translucent, veil-like ghost hovers over the left half of the painting. The horizon comes almost to the top of the canvas, where white clouds float against an azure-blue sky. A long, lemon-yellow line curls back and forth in a tight, curving zigzag pattern that widens out from a tiny sun setting on the horizon. A red cross on a white field floats near the upper left. At the top center, the word “WOW” appears in white letters within a crimson-red, bursting speech bubble with long trailing tendrils, like an exploded firework. Below the boat and against the water to our right, the word “FUN” has been overlaid with a white square so the tall, white letters are barely visible. The words “GREAT AMERICA” appear in a curling banner across the bottom half of the painting.

Kerry James Marshall, American, born 1955, Great America, 1994, acrylic and collage on canvas, Gift of the Collectors Committee 2011.20.1

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Anne Truitt, American, 1921–2004, Knight's Heritage, 1963, acrylic on wood, Gift of the Collectors Committee 2011.19.1

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Simon Hantaï, French, born Hungary, 1922–2008, Étude, 1969, oil on canvas, Gift of the Collectors Committee © 2012 Estate Simon Hantaï 2012.20.1

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Richard Artschwager, American, 1923–2013, Piano/Piano, conceived 1963/1965, fabricated 2011, laminate on wood, Gift of the Collectors Committee 2013.41.1

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Mario Merz, Italian, 1925–2003, Lingotto, 1969, beeswax, steel, and branches, Gift of the Collectors Committee, Denise and Andrew Saul, Mitchell and Emily Rales, Howard and Roberta Ahmanson, Calvin and Jane L. Cafritz, Nancy and Carl Gewirz, Roselyne Chroman Swig, and Nancy B. Tieken 2013.35.1

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Allan McCollum, American, born 1944, Collection of Four Hundred and Eighty Plaster Surrogates, 1982/1989, enamel on cast Hydro-Stone
Gift of the Collectors Committee © 2014 Allan McCollum 2013.93.1.1-480

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Two vertical, rectangular, polished steel panels are hung close to each other on a dove-gray wall, and the wavy reflections show the wood floor and gray wall behind us. In the left panel, the image of a woman is silkscreened onto what appears to be a mirror. The woman has brown skin, and she stands facing away mostly away from us. She points into the distance with her left hand, farther from us, and her other arm hangs by her side. She wears a rounded white cap with a narrow brim over shoulder-length dark hair. The edge of her glasses are visible over her right cheek. Her white dress is cinched at the waist, has short sleeves, and comes to mid-calf. She wears white sandals with low heels. The room reflected around her has dark gray paneling along the bottom of the lighter gray walls.

Michelangelo Pistoletto, Italian, born 1933, Donna che indica (Woman who points), conceived 1962, fabricated 1982, silkscreen print on polished stainless steel, Gift of the Collectors Committee 2014.28.1

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A grainy black and white photograph showing a close-up of a woman’s profile is overlaid with three horizontal red bands with white text at the top, center, and bottom edges of this horizontal composition. The woman seems to lie down and look up at a metal instrument, perhaps a piece of medical equipment, with a long, eye-dropper-like tube extending close to her face. Her cheeks and profile appear between the central and bottom bands of text. Lit from our left, she has dark eyebrows and eyelashes, a straight nose, and her lips are closed. She seems to have pale skin and her hair is covered by a fold of fabric, perhaps a hat. The eye we see is open and the metal instrument points to the bridge of her nose, seeming to close in on her right eye. Light colored fabric behind her could be the uniform of a person standing opposite us. The red bands have white lettering saying, “Know nothing” across the top; “Believe anything” across the center; and “Forget everything” across the bottom.

Barbara Kruger, American, born 1945, Untitled (Know nothing, Believe anything, Forget everything), 1987/2014, digital print on vinyl, Gift of the Collectors Committee, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore S. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith 2014.38.1

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A person with peach-colored skin sits on a swing, holding onto the ropes, in a forest setting in this loosely painted horizontal work. Diagonal slashes of brown suggest tree trunks with branches creating a shallow X across the picture. The swing hangs from the two topmost trunks, just to our left of center. Beyond the trees, the upper left quadrant is painted with broad strokes of pale blue; the upper right with cool, mint green. In the lower left a tree trunk lies along a grassy ground with plants growing around it, painted with dashes of vivid green and red. The lower right has some strokes of terracotta orange. An area to our right of the person and swing is painted with smears of brown, peach, red, gray, and white, and is difficult to make out.

Cecily Brown, British, born 1969, Girl on a Swing, 2004, oil on linen, Gift of the Collectors Committee 2015.62.1

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Creating two lines that move away from us, a row of seven busts of a woman’s head and neck made from brown chocolate face a row seven busts showing the same woman made from white soap, each on an identical white, columnar pedestal. In this photograph, they are placed in a long room with cream-white walls, tan stone molding, and a dark gray marble floor leading to an open doorway at the far end of the room, across from us. Each bust shows a woman with a small button nose, pursed lips, and closed eyes. Her hair is pulled back in a bun at the nape of her neck. Each bust ends just below the shoulder line and is held on a base that flares out like a chess piece to act as a foot. Each sits on a columnar pedestal that comes about a third of the way up the height of the tall doorway. Though the faces look similar or identical at first glance, closer inspection shows that some are worn at different areas, like the chin, forehead, nose, cheeks, or bun. One of the soap busts, at the far end, is missing the entire crown of the head and the profiles of two more soap busts and one chocolate bust are worn down so much it appears the face is missing. The surface of some of the chocolate busts looks almost frosted where the light hits it. The ivory color of the soap busts are more consistent.

Janine Antoni, Bahamian, born 1964, Lick and Lather, 1993, complete set of fourteen busts: seven in chocolate and seven in soap on fourteen pedestals, Gift of the Collectors Committee 2016.49.1

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We look down onto a tidy stack of hundreds of sheets of white paper, which sits on a gray, speckled floor in this photograph. The top sheet is printed with a small, dove-gray rectangle at the center. A corner of the stack angles toward us, with the short side of the sheets to our left and the long side to our right.

Felix Gonzalez-Torres, American, born Cuba, 1957–1996, "Untitled" (Ross in L.A.), 1991, print on paper, endless supply, Gift of the Collectors Committee and Emily and Mitchell Rales 2017.51.1

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Theaster Gates, American, born 1973, Ground Rules (black line), 2015, wood flooring, Gift of the Collectors Committee 2018.11.1

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