Sympathy for the Devil, 1969.
Rolling Stones, Gimme Shelter, 1969.











"i was born in Tulsa Oklahoma in 1943. when i was sixteen i started shooting amphetamine. i shot with my friends everyday for three years and then left town but I've gone back through the years. once the needle goes in it never comes out." - Larry Clark
Larry Clark, Tulsa, 1971.












Larry Clark, Tulsa, 1971.











Accidental Gunshot Wound
Larry Clark, Tulsa, 1971.











Pregnant Woman Shooting Up

Larry Clark, Tulsa, 1971.











“It’s like, I call myself a moralist and my friends fall down laughing. But it’s true! Look at the work—everyone always comments on the photo in Tulsa of a pregnant girl shooting up, like it’s exploitative. Look at the next photo! It’s a funeral. Of a dead baby. I’m always trying to get at the consequences of actions. And if it’s titillating? Well, sometimes I’m dealing with good-looking people having sex, sure, but that’s not the point. The point is the consequences.” - Larry Clark
Baby in Coffin
Larry Clark, Tulsa, 1971.





















Adrian Piper, Catalysis III, 1971.











Adrian Piper, Catalysis IV, 1971.











Chris Burden, Five Day Locker Piece, 1971.
Chris Burden, Through the Night Softly, 1973.











Chris Burden, Shoot, 1971.





















Vito Acconci, Seedbed, 1972.



Vito Acconci, Theme Song, 1973.










Ana Mendieta, Silueta Works in Mexico, 1973 – 1977.











Ana Mendieta, Silueta de Cohetes, 1976.











Carl Andre, Steel Magnesium Plain, 1969. 6 X 6 ft.











A recording of Andre's 911 call showed him saying: "My wife is an artist, and I'm an artist, and we had a
quarrel about the fact that I was more, eh, exposed to the public than she was. And she went to the bedroom,
and I went after her, and she went out the window.
" - Naked by the Window by Robert Katz
Ana Mendieta, Earth Body Figure, 1973.
Ana Mendieta, Image from Yagul, 1973.


NY Times article on 2011 Carl Andre Monograph











Carolee Schneemann, Hand/ Heart for Mendieta, 1986, Blood, ashes and syrup on snow.
Rachel Lachowicz, Homage to Carl Andre (After Carl Andre's Magnesium and Zinc, 1969)1991. Lipstick and wax.  72 X 72 X 3/8".











Lynda Benglis, For Carl Andre, 1970.











Chris Burden, Trans-fixed, 1974.











Chris Burden, Urban Light, 2010.











Lynda Benglis, Invitation for Exhibition at Paula Cooper Gallery (photograph by Annie Leibovitz), 1974.
Robert Morris invitation for exhibition at Castelli-Sonnabend (photograph by Rosalind Krauss) April 1974.
Lynda Benglis invitation for Metalized Knots exhibition at Paula Cooper Gallery, April 1974.











"For the invitations to her exhibitions Benglis used images of herself in various gender roles: posing like a man with her car, or in a pin-up style, submissive feminine role, for example. This infamous advertisement placed in Artforum was initially intended as a centerfold artist's statement, but it was not permitted by the magazine's editor. She declined the magazine's offer to run her image with an article on her work, instead paying for advertising space under her gallery's name, claiming '...that placing the gallery's name on the work strengthened the statement, thereby mocking the commercial aspect of the ad, the art-star system and the way artists use themselves, their persona, to sell the work. It was mocking sexuality, masochism and feminism. The context of the placement of the ad in an art magazine was important." - from The Artist's Body ed. by Tracey Warr and Amelia Jones

more on Benglis' Artforum ad and the ensuing controversy
Lynda Benglis, Untitled (detail from Artforum ad), 1974.





















Benglis made five casts of an early 1974 work called Smile. Realizing the irony, the artist subversively suggested to curators that each of the casts, crafted out of different metals (bronze, tin, aluminums, lead, and gold plate) referred specifically to one of the five offended Artforum editors, but without indicating which metal corresponds to whom. In a 2009 NY exhibition of these works, it was assumed that the lead dildo was Krauss'.
Lynda Benglis, Smile (a.k.a. Krauss' Dildo), 1974.











Carolee Schneemann, Interior Scroll, 1975 - 1977.











Carolee Schneemann, Interior Scroll, 1975 - 1977.











Exerpt from Interior Scroll text :

I met a happy man
a structuralist filmmaker
--but don't call me that
it's something else I do-
he said we are fond of you
you are charming
but don't ask us
to lookat your films
we cannot
there are certain films
we cannot
look at
the personal clutter
the persistence of feelings
the hand-touch sensibility
the diaristic indulgent
the painterly mess
the dense gestalt
he said you can do as I do
take one clear process
follow its strictest
implications intellectually
establish a system of
permutations establish
their visual set...

he protested
you are unable to appreciate
the system grid
the numerical rational
the Pytagoream cues-

I saw my failings were worthy
of dismissal I'd be buried
alive my works lost...

detail of Scroll











Micol Hebron, Roll Call Part I, 2014










Marina Abramovic performing Seedbed (for 7 hours) at the Guggenheim Museum on November 10, 2005.