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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

The gently curving contours of this white marble sculpture suggest a head, shoulders, and hips. The slim vertical form stands on top of and is contiguous with a cylindrical base. — Jean (Hans) Arp

Sculpture classique (Classical Sculpture) , 1964

Peristyle: Five Lines — George Rickey

Peristyle: Five Lines , 1963-1964

Self-Portrait with Monkey — Frida Kahlo

Self-Portrait with Monkey , 1938

Loose thick brushstrokes in a vibrant palette define a rural scene beneath a turquoise green sky. On the right is a tall sandy colored building with a yellow roof and brownish-red chimney. Steps leads from the structure toward the left-hand side of the image, where, two people stand in front of a purple fence. Beyond the fence and toward the upper left of the image are green fields dotted with small houses and blue mountains in the far distance. — Vincent van Gogh

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

Unusual objects and geological forms fill this curious landscape. In the foreground, a desert-like expanse of yellow is bordered with dark shadows along its bottom and right edge. A series of chocolate brown mountains border its top edge. A portion of a woman’s head is nearly camouflaged against the right-most mountain. A piece of crumpled white fabric sits in the middle of the scene. Above it is a white spoon-like shape that appears to hold another mountain. — 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

Energetic plumes of bright yellow and orange extending from a horizon near the bottom fill much of this canvas. Smaller areas of dark-blue sky are visible in the top left and right corners. A large crowd of tiny, barely distinguishable figures mills about in the heavily shadowed foreground at the very bottom margin of the canvas. — 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

Twenty-eight stripes of different colors and widths run the width of this horizontally oriented painting. The very clearly defined bands are separated by pencil-thin stripes of unpainted canvas. While the colors used vary, they are mostly distinct hues of red, green, and blue. — 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

Multicolored geometric forms overlap against the solid black background of this vertically oriented abstract painting. A dark gray half circle centers the composition. A thin maroon rectangle cuts diagonally across its middle, and a smaller, blue half-circle sits flush on the right end of the rectangle. L shapes in yellow and light gray intersect the gray half-circle on steeper diagonals while pink and gray vertical stripes come in from the upper left, meeting a red half-circle at center bottom. — László Moholy-Nagy

D IV , 1922

Four dark gray spheres of varying sizes, grouped tightly together, float in a dark gray sky above the black silhouettes of mountains. White circular highlights on the top halves of three of the spheres suggest a distant light source. The spheres appear to be made of metal, and the smooth surface of each sphere is only interrupted by a deep black cut along its equator. — 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

Three light-colored abstract forms, resembling zoomed-in and blurry details of paint strokes, stand out against this painting’s dark brown and green background. One thin stripe extends the height of the canvas; it is white at top and gradually gradates to red at the bottom. A second, thicker stripe in gray topped with white extends from the center of the right edge and appears to overlap the vertical stripe. The end of a third stripe, similar in shape and color to the second stipe, appears in the upper-left — Gerhard Richter

Untitled (#418) , 1977

A large building topped by a dome held aloft by classical pillars dominates this brightly lit city scene. The building extends from the right edge of the canvas. On the left, a clear blue skills fills the area above a church with a large bell tower and a section of yellow cobblestones partially filled by a number of pedestrians. — Raoul Dufy

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