New York City - Figurative Prints

Artist: Theo Tobiasse, French (1927 - 2012) Title: Le Danse des Rues Year: 1999 Medium: Lithograph, signed and numbered in pencil Edition: 72/199 Size: 27 in. x 36 in. (68.58 c...

Artist: Robert Kellerman Portfolio: Visual Chemistry Title: Two Bellhops Year: 1989 Medium: Digital Print, signed and numbered in pencil Edition: 1/10 Image Size: 16.5 x 26 inches Fr...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Buste de Femme Au Foulard Mauve". The original painting was completed in 1937. In the 1970's ...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered lower left in pencil. Lullaby features a male figure standing behind a woman sleeping with her head down. This shadowy figure recurs throughout Moore’s Auden lithographs, an ambiguous presence who exists between menace and comfort. The imagery for Lullaby was inspired by Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” Lullaby is one of a group of lithographs...

Men in Hats David Azuz, Israeli/French (1942–2014) Date: circa 1980 Lithograph, numbered in pencil Edition of 217/300 Image Size: 19.75 x 25.5 inches Size: 26 x 32.5 in. (66.04 x 82....

Jean-Francois Ibos, French (1951 - 1992) - Mother Nature, Medium: Screenprint, signed and numbered in pencil, Edition: 187/199, Image Size: 30 x 42 inches, Size: 35.5 x 47 in. (90.17...

William Waitzman August Lake (from the Memorial Sloan Kettering Art Collection), 2016 Hand printed color silkscreen on wove paper Pencil signed and numbered 4/14 on the front Frame i...

Tracey Emin Beirut, 2006 Offset Lithograph printed in black 16 × 23 inches Edition 99/100 Pencil signed, dated and numbered on the front. Accompanied by a special card from Tracey Em...

Artist: Marc Chagall (after) Title: Chagall at Kunsthaus Zurich Year: 1967 Medium: Offset Lithograph Size: 51 x 36.5 in. (129.54 x 92.71 cm) Frame: 52...

James Penney was widely known for his New Yorker covers as well as his paintings and prints. Penney was from Saint Joseph, Missouri. He trained in NYC at the Art Students League. The New-York Historical Society and the Library of Congress both have collections of his work. Signed, titled, and dated. Especially like the test marks at the lower right and the way the lawyer is leaning/relaxing on the judge...

Robert Indiana HOPE, 2008 Oil silkscreen in colors on watermarked Coventry archival paper 25 × 19 inches Edition 138/200 Signed, dated and number...

Large scale black and white stunning abstracted floral still life with sweeping brushstrokes and draped cloth. Lush and painterly composition for minimalist, contemporary and modern ...

Judy Rifka "Thou Shalt Not Bear False Witness Against Thy Neighbor" (The Ninth Commandment), 1987 6 Color Lithograph on Dieu Donne Handmade Paper 24 × 18 inches Edition Artist's Proof 2/15, aside from the regular edition of 84 Signed and numbered in graphite on the front Unframed This work was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal, Gretchen Bender...

Peter Halley, Musée d'art moderne et contemporain - Saint-Étienne Métropole, France (Hand signed), 2014 Offset lithograph (Hand Signed by Peter Halley) 23 1/2 × 16 inches Boldly sign...

Michael Knigin, American (1942 - 2011) - Actor (After Kunishige), Year: 1979, Medium: Screenprint, Image Size: 26 x 18 inches, Size: 31 in. x 23 in. (78.74 cm x 58.42 cm), Descri...

Artist: Jacques Villon, French (1875 - 1963) Title: Maternite Year: 1952 Medium: Etching, signed in pencil Edition: 75 (un-numbered) Image Size: 11 x 7.5 inches Size: 16 x 13 in. (40...

Tiles (with Remarque) by Menashe Kadishman, Israeli (1932–2015) Date: circa 1979 Lithograph, Signed and Dedicated with a Portrait Sketch. Image Size: 21.5 x 20 inches Size: 41 x 29 i...

A traditional children's illustration-style print of Mother Goose, sitting on a stack of books and writing down stories on a scroll. She is elaborately dr...

Artist: Corneille, Belgian (1922 - 2010) Title: Elle se Donne a l'Ete (She Gives Herself to Summer) Year: 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300 Size: 2...

Black & Moorhead 158. In just the middle inch or so of this image Hayter has managed to draw in a female nude and a horse, with special attention to the head. It was Hayter's custom ...

This lithograph titled Le Prince de Joinville reçu à bord d'une frégate anglaise is part of the book Lettre à mon Peintre by Marcelle Oury. The lithograph is printed on high-quality ...

Belly Dancer Bob Pardo, American Date: 1981 Lithograph, signed and numbered in pencil Edition of AP 35 Size: 28 in. x 20 in. (71.12 cm x 50.8 cm)

Bending either forward or backward, the female acrobat in this Pablo Picasso print is rendered with fluidity and smooth motion. Cast against a grey background, the white limbs of the acrobat are striking as they wave in the air. A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Femme Acrobate...

John Hardy (American 1923-2014), "The Artist Nicholas Speralis" , Abstract Figurative Lithograph, 30 x 22.50, 1979 Colors: Black, White

Classic American Depression-Era subject meets the French landscape? Clearly the Guyer was looking at both Jean-Francois Millet and Vincent Van Gogh, who together informed this image....

Unknown/ Unidentified Artist, "Untitled" (P.P, Printers Proof), Abstract Figurative Lithograph signed in pencil, 22.50 x 19.75, Late 20th Century Color...

John Sloan (1871-1951), Anshutz on Anatomy, etching, 1912, signed titled and inscribed “100 proofs” by the artist, and also signed “Ernest Roth imp” by the printer. Reference: Morse 155, eighth state (of 8), from the edition of 80. In very good condition, the full sheet, printed in dark brown ink on a brown/tan wove paper, 7 1/2 x 9, the sheet 11 1/8 x 12 3/4 inches. A fine impression. Sloan wrote of this print: “Tom Anshutz, our old teacher at the Pennsylvania Academy, gave anatomical demonstrations of great value to art students. Modelling the muscles in clay, he would then fix them in place on the skeleton. Those present in this etched record of a talk in Henri’s New York class include: Robert and Linda Henri, George Bellows, Walter Pach...

Gregory often worked in lithography, probably learned at the Art Students League in New York City. In all likelihood this is a New York scene but he also often drew New England subje...

Artist: Ana Mercedes Hoyos, Colombian (1942 - ) Title: Bazurto II Year: circa 2006 Medium: Lithograph, signed and numbered in pencil Edition: 75, HC 10 Size: 22 x 30 in. (55.88 x 7...

Larry Rivers Offset Lithograph Poster Offset Lithograph Poster on Wove Paper Plate signed (Printed Signature) 32 × 30 inches Unframed Rare vintage 1970s Larry Rivers offset lithogr...

Robert Anderson, American (1945 - 2010) - Hopelessly Watching, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Image Size: 21 x 16 inches, ...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Femme Assise Pres d'Une Fenetre (Marie-Therese Walter)". The original painting was completed ...

Artist: Robert Anderson, American (1945 - 2010) Title: American Girl Year: circa 1979 Medium: Lithograph, Signed in Pencil Edition: 300 Image Size: 23.5 x 23.5 inches Size: 26 in. x ...

Screenprint Edition of 36 Signed and titled in graphite (lower recto) Frame available upon request Available from Matthew Marks Gallery, New York and Los Angeles

Artist: Arman, French (1929 - 2005) Title: Orange and Grey Concerto Year: 1979 Medium: Silkscreen on Arches, Signed and Numbered in Pencil Edition: 150, AP 30 Size: 30 in. x 22...

Michael Knigin, American (1942 - 2011) - Bar the Exception, Year: 2004, Medium: Giclee print on paper signed, numbered and dated in pencil, Edition: AP, Image Size: 25.5 x 17.5 i...

Michael Knigin, American (1942 - 2011) - Bit of Gold, Year: 2006, Medium: Giclee print on paper signed, numbered and dated in pencil, Edition: AP, Image Size: 17 x 25 inches, Siz...

Justin Pollmann "Merging Egality" 2023 Inkjet Transfer Collage, Monotype 18"x13" nches The inkjet transfer images are made by collaging transfers of inkjet prints to the paper’s s...

In this unique Michael Hurson monotype, stylized Greco-Roman pillars flank a plane of crosshatched and dotted texture in black, taupe, and grey ink. The f...

Jennifer Losch Bartlett American Dance Festival 1978, 1978 Lithograph on wove paper Pencil signed and numbered 163/150 31 × 23 inches Unframed This limited edition print was designed by Jennifer Bartlett for the American Dance Festival in 1978. It is ; this is the hand signed and numbered limited edition lithograph - not to be confused with the separate poster edition which was not on the same lithographic paper. About Jennifer Bartlett: Jennifer Bartlett (b. 1941, d. 2022) was known for her room-sized installations ranging in medium, that explored her immediate environments including houses, mountains, trees, gardens, and the ocean. Inspired by Minimalism, she started working on square steel enameled plates in 1968 on which she went on to create her most notable works. Rhapsody (1975–1976), a polyptych first installed at Paula Cooper Gallery filling the entirety of the gallery, included hundreds of these painted steel plates. That work is now part of the permanent collection of the Museum of Modern Art, New York. Her work moved from Abstract Expressionism to Minimalism to Conceptualism with some works touching on all at once. Working in two dimensions and occasionally moving to three, her works often started in a controlled, mathematical abstraction and moved to more painterly realism. Bartlett’s first survey exhibition was held in 1985 and traveled to the Walker Art Center, the Brooklyn Museum, and the Museum of Art, Carnegie Institute. In 2006, her early enameled steel plate paintings were surveyed at the Addison Gallery of American Art. Klaus Ottman curated her second traveling survey exhibition in 2013­–14, Jennifer Bartlett: History of the Universe—Works 1970–2011, which traveled to the Pennsylvania Academy of the Fine Arts and the Parrish Art Museum. In 2014, the Cleveland Museum of Art exhibited all three of her monumental plate...

Robert Kushner Honor Thy Father and Thy Mother (The Fifth Commandment), 1987 6 Color Lithograph on Dieu Donne handmade paper 24 × 18 inches Pencil signed and numbered 6/84 in graphite on the front Unframed with deckled edges This five color lithograph on Dieu Donne hand made paper with deckled edges is pencil signed, dated and numbered from the limited edition of 84. This 1980s Robert Kushner print was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal, Gretchen Bender, April Gornik, Robert Kushner, Nancy Spero, Vito Acconci, Jane Dickson, Judy Rifka and Richard Bosman. This is the first time the print will have been removed from the original portfolio case. (shown). Lisa Liebmann, who wrote the introduction to the collection, observed: "...The image has, for most of us, replaced the word..." With respect to the present work, she writes, "There is a sweet smell of nostalgia to Robert Kushner's view of the FIFTH COMMANDMENT, to honor one's parents. Kushner's subtly ornate use of colors suffuses his subject with a filagreed texture of warmth. In this gentle icon, the traditional duo - all those Ozzies and Harriets in our hearts and on the airwaves -are frames as if by a bubble bath of affection." ROBERT KUSHNER BIOGRAPHY Since participating in the early years of the Pattern and Decoration Movement in the 1970s, Robert Kushner has continued to address controversial issues involving decoration. Kushner draws from a unique range of influences, including Islamic and European textiles, Henri Matisse, Georgia O’Keeffe, Charles Demuth, Pierre Bonnard, Tawaraya Sotatsu, Ito Jakuchu, Qi Baishi, and Wu...

NOTE: Shown framed for inspiration only; this edition is unframed and in mint condition (never framed): Thelma Appel The Magician, 2018 18 Color Silkscreen on 320 gram Coventry Rag ...

Wayne E. Campbell This is Only a Reality of Special Consensus, ca. 1969 Silkscreen on Arches paper with One Deckled Edge Pencil signed and numbered 86 from the limited edition of 98 ...

Gael Stack Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered. Printer's and Publisher's Blindstamp. Unframed. Hand signed and numbered on the lower recto (front) with printer's and publisher's blindstamp. Edition 38/50 20 × 15 inches Publisher Little Egypt Enterprises, Houston, TX Provenance Art Against AIDS Portfolio, numbered 38/50 This beautiful limited edition woodcut by Gael Stack was published in 1988 as part of the Art Against Aids portfolio, numbered 38/50. Superb provenance as it is was acquired from the original Art Against AIDS Portfolio published in Houston, Texas. This will be the first time the work will be removed from the portfolio. The late 1980s was the height of the AIDS epidemic, and this was one of many efforts by the creative community to raise funds to assist in fighting this deadly scourge that disproportionately affected the artistic community. Measurements: 20 x 15 inches (sheet) 8 1/4 x 12 inches(image) The complete Art Against AIDS Portfolio is comprised of 10 prints, in black and white and color, from 10 artists. About Gael Stack: Gael Stack is a Texas painter. She lives in Houston and has work in the permanent collections of several museums. Stack has worked as a professor at the University of Houston...

Gina Lombardi Bratter, American - Japanese Water Carrier, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP 40, Size: 36 in....

Artist: Paul Wunderlich, German (1927 - 2010) Title: Brumaire Year: 1989 Medium: Lithograph, signed and numbered in pencil Edition: 50 Image Size: 53 x 39 in. (134.62 x 99.06 cm) Fra...

Bible Verve Marc Chagall, Russian (1887–1985) Date: 1956 Lithograph Poster Size: 24.25 x 16.5 in. (61.6 x 41.91 cm) Printer: Editions Verve Publisher: Mourlot, Paris

In 1991 Harry Sternberg published a book with Brighton Press, San Diego. It was My Life in Woodcuts. At the time it was the only known woodcut autobiography. The deluxe editions of...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Viola Adorata Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 250 Image Size: 30 x 38 inches Size: 37...

The Jewish Holidays portfolio by Chaim Gross. This portfolio consists of 11 color lithographs plus 11 black and white lithographs of the same images depicting 11 of the Jewish Holid...

Ed Ruscha Reading Ed Ruscha (Hand Signed by Ed Ruscha), 2012 Offset Lithograph Poster Boldly signed in black marker by Ed Ruscha on the lower front, edition of approx. 50 hand signe...

Robin Morris, American (1953 - ) - Bellhop, Medium: Screenprint on Arches, signed and numbered in pencil, artist blind stamp lower right, Edition: 232/350, Size: 25.5 x 16.75 in. (64...

Modern lithograph by Vietnamese artist Hoi Lebadang Artist: Hoi Lebadang (1922 - 2015) Title: Prehisotrica Date: circa 1970 Medium: Lithograph with Intaglio, signed and numbered in ...

This woodcut print was created by American artist Leonard Baskin. Baskin is well known for his somewhat grotesque, intricate, surreal drawings and natural subject matter. This print ...

George Stauch (American b. 1900), " Fiddler" Edition 225/300, Abstract Color Lithograph signed in pencil, 24 x 20, Late 20th Century Colors: Blue, White, Red, Brown, Yello...

Moshe Gat, Israeli (1935 - ) - People in Israel, Year: 1975, Medium: Poster, signed and dedicated in pencil, Edition: Dedicated to Dr and Mrs. George Heller, Size: 30 x 21.25 i...

Robert Anderson, American (1945 - 2010) - The King of the Masque, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Image Size: 19.5 x 16 inches, S...

Charles Bragg, American (1931 - 2017) - Cyrano, Year: circa 1970, Medium: Etching, signed, numbered, and titled in pencil, Edition: 300, Image Size: 8.25 x 7.5 inches, Size: 15 x 11...

A lithograph reproduction from the Marina Picasso Estate Collection after the Pablo Picasso painting "Ne se tordant les cheveux". The original p...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...