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Manaò tupapaú (Spirit of the Dead Watching) — Paul Gauguin

Manaò tupapaú (Spirit of the Dead Watching) , 1892

Difficult — Kurt Schwitters

Difficult , 1942-1943

Sculpture classique (Classical Sculpture) — Jean (Hans) Arp

Sculpture classique (Classical Sculpture) , 1964

Peristyle: Five Lines — George Rickey

Peristyle: Five Lines , 1963-1964

This portrait focuses on the artist’s face. She has slightly-pursed, full crimson lips and dark brown eyes and hair, which is elaborately braided with emerald green ribbon. Her complexion is earthen, terracotta. She wears a simple white blouse and a choker of bones and shells. Her eyebrows knit together above her nose as a single defining feature. A black and grey monkey on a green leash peers over her right shoulder. They appear amid lush green vines before an indigo sky. — Frida Kahlo

Self-Portrait with Monkey , 1938

La maison de La Crau (The Old Mill) — Vincent van Gogh

La maison de La Crau (The Old Mill) , 1888

The Transparent Simulacrum of the Feigned Image — Salvador Dalí

The Transparent Simulacrum of the Feigned Image , 1938

Interlocking geometric shapes in shades black, grey, white, and blue form two abstracted figures at the center of this square painting. The smaller figure at left is seated with its knees bent toward its chest and extends its arms toward an embracing larger figure at right. The overall color scheme evokes an icy cold sense of sadness or unhappiness. — Francis Picabia

Figure triste (Sad Visage) , 1912

Sky Cathedral — Louise Nevelson

Sky Cathedral , 1958

Symphony Orchestra — Man Ray

Symphony Orchestra , 1916

Le feu d'artifice (Fireworks) — James Ensor

Le feu d'artifice (Fireworks) , 1887

A square of fluorescent tube lights mounted in white aluminum fixtures sits on the floor in front of a corner of the gallery space. The lights that make up the top and the bottom of the frame shine bright blue light outward. The lights that make up the right and left of the frame cast yellow and pink light into the corner behind the sculpture. — Dan Flavin

untitled (to Donna) 6 , 1971

Ten identical boxes industrially fabricated out of galvanized iron and orange Plexiglas protrude seemingly weightlessly from the wall in a vertical stack. Each box is separated from the unit above and below by a space equal to its height. When lit from above, the sculpture casts a dramatic pattern of orange and gray shadows on the adjacent walls and floor. — Donald Judd

Untitled , 1969

Wild Indigo — Kenneth Noland

Wild Indigo , 1967

Rounded biomorphic forms fill the majority of this painting. Those at upper left are blue, those in the bottom half are cream, those at the base and upper right are turquoise, and a sliver of lilac is wedged between dark blue and turquoise forms at top center. Two black diagonal stripes overlap in the center of the picture’s upper half and are held within a pistil-like, white form tinged rose that rises diagonally from the lower right. — Georgia O'Keeffe

Black Spot No. 3 , 1919

D IV — László Moholy-Nagy

D IV , 1922

La Voix des airs (The Voice of Space) — René Magritte

La Voix des airs (The Voice of Space) , 1928

Traits, plans, profondeur (Lines, Planes, Depth) — František Kupka

Traits, plans, profondeur (Lines, Planes, Depth) , ca. 1920-1922

Two-Tone — Susan Rothenberg

Two-Tone , 1975

Three vertical cream-colored panels are joined to form a long thin horizontal work. A series of footprints stretches across all three panels, slightly above their centers. On the left panel, gray cloudlike forms float at top and bottom, and a grouping of letters and lines stretch diagonally from the upper left-hand toward the center. A series of lines and waves fill the bottom half of the right panel. — Antoni Tàpies

Triptych with Footprints , 1970

At the center of this vertically oriented abstract painting is a large white circle floating in space. The background is almost black at the top. The artist added white in light, dry brushstrokes to the lower third, making it much lighter. The effect is of a soft, otherworldly light. In the bottom right corner, one quarter of a black circle is visible, suggesting that the two spheres may eventually intersect, much like an eclipse. — Alexander Rodchenko

Composition , ca. 1918-1920

Installed on the wall several feet above the floor is a small rectangular frame with ragged edges. A thin membrane of the same yellowed material fills the interior of the frame. A long crimson cord extends down and out from a hole just above the center of the frame toward the floor, where the opposite end rests in a spiral shape on top of a white, square, low-rise platform. — Eva Hesse

[no title] , 1970

State — Robert Ryman

State , 1978

Untitled (#418) — Gerhard Richter

Untitled (#418) , 1977

Le Panthéon et Saint-Étienne-du-Mont (The Pantheon and Saint-Étienne-du-Mont) — Raoul Dufy

Le Panthéon et Saint-Étienne-du-Mont (The Pantheon and Saint-Étienne-du-Mont) , ca. 1903-1906