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look and see — Jim Hodges

look and see , 2005

Untitled (Domestic) — Rachel Whiteread

Untitled (Domestic) , 2002

Wall Drawing # 1268: Scribbles: Staircase (AKAG) — Sol LeWitt

Wall Drawing # 1268: Scribbles: Staircase (AKAG) , conceived 2006 (executed 2010)

Green Horses — Bruce Nauman

Green Horses , 1988

Thirty-six, portrait-oriented rectangles in monochromatic shades ranging from cool peach to warm caramel to dark brown are arranged randomly in a in a six-by-six grid. — Byron Kim

Synecdoche , 2008

Thin, angular red lines and small black shapes coalesce to form the small abstract figures that fill this gray, square-shaped canvas. The figures are arranged in a loose circle and partially fill in the top half of this circle. Their spiky, bright-colored outlines convey a feeling of movement, joy, and celebration. — Norman Wilfred Lewis

Street Music , 1950

The phrase “49 MILES” in yellow block letters, tilted slightly as if set in italics, fills the polished aluminum surface of this sculpture facing the viewer. Additional stripes of yellow extend from where these numbers and letters touch the left and top edges of the sculpture’s front surface across its left and top surfaces. Overall, the sculpture takes the form of a rectangular cube whose depth and width are equal to one another and considerably smaller than its length. It is shown installed on the floor. — Roni Horn

Limit of the Twilight , 1991

Long, thick, horizontal strokes of paint ranging in hue from black to bright magenta span the pale blue background of this abstract painting. In the upper right corner, the background emerges behind a light spray and thin drips of red paint. A faint white vertical line, like a narrow beam of light, stretches from the center of the canvas’s top toward the bottom but is quickly subsumed under the horizontal strokes. — Barnaby Furnas

Flood , 2007

Against the white marbled columned exterior of the museum, a life-size muscular male nude, his arms hanging down on either side of his body, stands upright on a metal base. Sitting on his shoulders are a series of identical male nudes squatting one on top of the another, each one smaller than the one below. Each figure holds his hands over the eyes of the figure beneath him. — Do Ho Suh

Karma , 2010

Monochrome I, Built to Live Anywhere, at Home Here — Nancy Rubins

Monochrome I, Built to Live Anywhere, at Home Here , 2010-2011

Black, vine-like tendrils cover much of a large white wall. These are interrupted to the left of center by a large painting featuring more of the tendrils overlaid with abstract washes of copper and taupe paint. On the right side, the tendrils coalesce in a large sphere encircled by the phrases “division of the heavens,” “division of the waters,” “division of the bodies,” and “M theory” in cursive. On the floor in front of the wall rests a long, tube of perforated aluminum surrounded by Tarot cards. — Matthew Ritchie

The Holstein Manifesto , 2008

The phrase “Only God Knows I’m Good” in cursive English script is fabricated in snow white neon, which is mounted on a wall. — Tracey Emin

Only God Knows I'm Good , 2009 (produced 2011)

This large, horizontally oriented abstract painting is visually divided into two square portions. On the left, alternating red and purple stripes of the same width span the height of the canvas. On the right, stripes of the same color and size run horizontally from the right edge to the painting’s overall center. The lines formed by the stripes are very straight and even. — Olivier Mosset

Untitled , 1986

Other Faces — William Kentridge

Other Faces , 2011

The three stills from this video work feature, from left to right: a figure wearing a mask with the features of a Caucasian woman, a shoulder-length blonde wig, and a denim shirt; a figure wearing a green-gray, gargoyle-like mask and a black tuxedo jacket and bowtie over a white shirt; and a figure wearing a mask with the features of an older Caucasian woman, a short brown wig, and a light blue, quarter-zip fleece. — Gillian Wearing

Secrets and Lies , 2009

This abstract sculpture appears overall like an oversized piece of paper with a V-shaped divot cut out of the right side and curling edges. It balances on the floor near its center. The underside of the plastic form is white, but bright patches of spray-painted yellow, blue, green, purple, orange, black, gray, and pink cover the top, overlapping and dripping onto one another. — Katharina Grosse

Untitled (intern "Shape 7") (KG/O 2010_8031L) , 2010

An installation of fluorescent light tubes mounted vertically with slight spaces in between extends along the white wall of a long hallway. The tubes glow in an array of colors, from bright white to numerous shades of blue, green, and brown. Their light is reflected in the hallway’s white tiled floor. — Robert Irwin

NIAGARA , 2012

The highly elongated head of a young woman with her eyes closed in layered slabs of white marble sits on a patch of grass in front of a portion of the museum’s columned façade. — Jaume Plensa

Laura , 2012

One of five images. This vertically oriented photograph shows a landscape with patches of lush green grass separated by a graveled walking path stretching into the distance and toward a cluster of trees. A slightly darker brown wave pattern zigs and zags across the width of the pathway, running along its full length. — Andy Goldsworthy

Path , 2012-2013

Dream Displacement — Paul Sharits

Dream Displacement , 1976

A large, white, horizontally oriented rectangle, edged by a thick, black outline, sits in the center of a sheet of dusty rose colored paper. The top and bottom edges of the paper are jagged, suggesting it was torn from a roll. — Tony Conrad

Yellow Movie 2/23-24/73 , 1973

An abstract U shape extends like a tongue from the top of this large, vertically oriented canvas, and almost reaches the bottom of the frame. Set against a yellow background, the shape is painted a tomato red, with variances that resemble the marks of a watercolor painting. Speckles of red paint dot and splatter the yellow background, especially around the curving end of the red form. — Paul Terence Feeley

Kilroy , 1957

While this massive, horizontally oriented painting is entirely abstract, the overall effect loosely resembles a stormy sky captured in a blurry photograph. The pale yellow background is covered with diffuse patches and horizontal streaks of black spray paint, which is more heavily weighted in the bottom half of the canvas. A small reddish-pink form appears at the bottom-right corner. Two faint vertical scratches indistinctly divide the canvas into thirds. — Sterling Ruby

SP273 , 2014

This large-scale wall-mounted sculpture features forty-one sections of fire hose of equal size laid vertically side-by-side. From left to right, the sections of fire hose progressively appear more worn. The dominant color of the fabric gradually transitions from yellow to tones of gray. Some sections of the fire hose are stamped with black letters spelling out the original manufacturer specifications. — Theaster Gates

Civil Tapestry 5 , 2012

First of two images. Still from a video of the artist naked on the banks of a river, which is just visible in the upper-right corner of the image. She kneels on the leaf-covered ground, staring at the silhouette of a female figure dug into the earth in shallow relief. — Ana Mendieta

Corazón de Roca con Sangre (Heart of Rock with Blood) , 1975