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Artists›William T. Wiley

William T. Wiley

William T. Wiley

Artist

WA-00030069

PaintingConceptual ArtFiguration

Representation

None documented

16

Institutional Exhibitions

65

Works in Collection

93

Assets Indexed

1

Authority-backed Facts

0

Publications Referenced

90%

Profile Completeness

Cultural Positioning

Influence Graph

No influence edges encoded yet.

Authority Records (3)

WikidataQ2581047 ULAN500022350

Selected Institutional Exhibitions

View all exhibitions →

No image

Committed to Print

Museum of Modern Art, New York

1988

No image

For 25 Years: Crown Point Press

Museum of Modern Art, New York

1987–1988

No image

An International Survey of Recent Painting and Sculpture

Museum of Modern Art, New York

1984

No image

Prints: Acquisitions 1977�1981

Museum of Modern Art, New York

1981–1982

No image

The Stage Show

Museum of Modern Art, New York

1979

No image

American Drawn and Matched

Museum of Modern Art, New York

1977

No image

Artists by Artists

Museum of Modern Art, New York

1977

No image

Bookworks

Museum of Modern Art, New York

1977

No image

Maps

Museum of Modern Art, New York

1977

No image

Prints: Acquisitions, 1973�1976

Museum of Modern Art, New York

1976–1977

No image

Handmade Paper Prints and Unique Works

Museum of Modern Art, New York

1976

No image

Projects: William T. Wiley

Museum of Modern Art, New York

1976

Field Verification (1 fields)

0 cross-verified · 1 single-source

LocationGallery Generic· 72%

Source Registry (2)

Corbett-Dempseyhttps://www.artsy.net/artist/william-t-wiley
Tier 3 · Scraped/inferred100%
MoMA bulk 2026-05-04https://www.moma.org/artists/6370
Tier 1 · Institutional92%

About

Why this artist matters now

William T. Wiley was an American painter and sculptor working in a deliberately idiosyncratic style that combined abstraction, figuration, text, and found materials. Active from the 1960s onward, his work resisted categorical classification, layering wordplay, cartographic references, and autobiographical fragments into densely composite compositions. Wiley's practice embraced chance, humor, and conceptual play as formal strategies rather than ornamental gestures. His paintings and installations occupied a distinctive position within postwar American art, neither purely abstract nor representational, but rather a hybrid form that prioritized invention and visual wit.

Source: Corbett Dempsey · Trust score: 100% · Updated 1mo ago

Graph relationships

Taste overlap and adjacency

Movement

Conceptual Art

Medium

Painting

Related Artists

12 in graph

Institutional

Museum Collections

Museum of Modern ArtNew York Art Institute of Chicago

Canonical record

Artworks (65)

Yes But Is it Torture?

Yes But Is it Torture?

2009 · Etching in black and watercolor on white wove paper

61 × 56.5 cm (24 1/16 × 22 1/4 in.)

Art Institute of Chicago

Apalled & Revered

2002 · Watercolor, colored pencil, felt-tip pen, gouache, and pencil on paper

20 x 14 1/4" (50.8 x 36.2 cm)

Museum of Modern Art

Hommage to Allan Ginsburg

Hommage to Allan Ginsburg

1998 · Lithograph on tan Japanese paper, laid down on white wove paper (chine collé)

Primary support: 76.2 × 72.3 cm (30 × 28 1/2 in.); Secondary support: 76.8 × 72.3 cm (30 1/4 × 28 1/2 in.)

Art Institute of Chicago

1996 · color separation proof in red and yellow

Cleveland Museum of Art

Study for Deneb

1996 · lithographic crayon and watercolor over graphite

Sheet: 76.2 x 56.7 cm (30 x 22 5/16 in.); Image: 63.7 x 43 cm (25 1/16 x 16 15/16 in.)

Cleveland Museum of Art

"Who Is Not a Hostage?" Scatter pins

1987 · Sterling silver

1991.285.3a (masked head pin): 3 1/4 × 1 1/2 × 3/16 in. (8.3 × 3.8 × 0.5 cm, 18.144g) 1991.285.3b (gun pin): 1 5/8 × 1 × 3/16 in. (4.1 × 2.5 × 0.5 cm, 9.072g)

The Metropolitan Museum of Art

Rhoom for Error

Rhoom for Error

1983 · Soft ground etching and monotype on white wove paper

Plate: 52.7 × 73 cm (20 3/4 × 28 3/4 in.); Sheet: 66.7 × 93.5 cm (26 5/16 × 36 13/16 in.)

Art Institute of Chicago

Three Mile Island/Three Years Later

Three Mile Island/Three Years Later

1983 · Color lithograph in four colors on white wove paper

96.5 × 68.6 cm (38 × 27 1/16 in.)

Art Institute of Chicago

Now Here's That Blame Treaty

1983 · Etching, aquatint and drypoint

plate 44 13/16 x 35 7/8" (113.8 x 91.1 cm)

Museum of Modern Art

1981 · etching

Cleveland Museum of Art

Mr. Unpopular

1980 · Color lithograph on white wove paper

Image, max: 90.5 × 70 cm (35 11/16 × 27 9/16 in.); Sheet: 96.5 × 71.1 cm (38 × 28 in.)

Art Institute of Chicago

Spooky on the Line, from N.A.M.E portfolio

Spooky on the Line, from N.A.M.E portfolio

1979 · Lithograph on white wove paper

76 × 56 cm (29 15/16 × 22 1/16 in.)

Art Institute of Chicago

Three Mile Island

Three Mile Island

1979 · Color lithograph in three colors on tan laid paper laid down on white wove paper

96.5 × 66 cm (38 × 26 in.)

Art Institute of Chicago

Thank-You Palette for New York

Thank-You Palette for New York

1978 · Watercolor, pencil, and colored chalk on paper

30 3/8 x 22 3/4" (77.1 x 57.6 cm)

Museum of Modern Art

Green Shoes

1977 · Color soft ground etching and aquatint on cream wove paper

Plate: 54.5 × 60.4 cm (21 1/2 × 23 13/16 in.); Sheet: 55.8 × 76 cm (22 × 29 15/16 in.)

Art Institute of Chicago

A Suite of Daze

1977 · Illustrated book with eleven etchings and four aquatints

page 16 5/16 x 12 9/16" (41 x 32 cm)

Museum of Modern Art

Mr. Unnatural

1976 · Color lithograph on white wove paper

92 × 63.6 cm (36 1/4 × 25 1/16 in.)

Art Institute of Chicago

Mr. Unatural

1976 · Lithograph

Museum of Modern Art

Self-Portrait in New York

Self-Portrait in New York

1976 · Crayon, charcoal, felt-tip pen, ink, and pencil on paper

26 1/2 x 23 3/8" (67.3 x 59.1 cm)

Museum of Modern Art

1975 · etching and aquatint

Cleveland Museum of Art

Seasonall Gate

1975 · Etching and color lithograph on ivory wove paper

Image/plate: 60.2 × 45.1 cm (23 3/4 × 17 13/16 in.); Sheet: 71.9 × 57.1 cm (28 5/16 × 22 1/2 in.)

Art Institute of Chicago

C. D. Self-Portrait

C. D. Self-Portrait

1975 · Drypoint on white wove paper (Uriuchi)

Plate: 26.2 × 26.3 cm (10 3/8 × 10 3/8 in.); Sheet: 56.6 × 51.7 cm (22 5/16 × 20 3/8 in.)

Art Institute of Chicago

Hope You Learned Your Lesson

Hope You Learned Your Lesson

1975 · Color etching, aquatint, and sugar lift, with burnishing, on white wove paper

Plate: 26.5 × 32.2 cm (10 7/16 × 12 11/16 in.); Sheet: 71.7 × 56.5 cm (28 1/4 × 22 1/4 in.)

Art Institute of Chicago

Farmers and All Men Act

Farmers and All Men Act

1975 · Colored pencil and crayon, with gouache, over traces of graphite, on tan wove paper

91.8 × 71 cm (36 3/16 × 28 in.)

Art Institute of Chicago

View all 65 artworks →

Artwork sources (4)

65 published of 91 catalogued · 52 with image

Art Institute Chicago
33 published33 img
MoMA
26 publishedof 52 catalogued19 img
Cleveland Museum of Art
5 published
The Met
1 published

Per-Artwork Provenance Chains (top 5)

5 entries · 1 sources

Untitled
1960 · Cleveland · 1 prov
Url Pattern Extraction 2026-05-27·accession_number
Scarecrow
1975 · Cleveland · 1 prov
Url Pattern Extraction 2026-05-27·accession_number
Study for Deneb
1996 · Cleveland · 1 prov
Url Pattern Extraction 2026-05-27·accession_number
Deneb
1996 · Cleveland · 1 prov
Url Pattern Extraction 2026-05-27·accession_number
Studio Light
1981 · Cleveland · 1 prov
Url Pattern Extraction 2026-05-27·accession_number

Record

Images

Artsy artist portrait

Artsy

The Dirty Rat (Art Institute of Chicago)

Art Institute of Chicago

Relationships

6

Movements2

Conceptual Art Figuration

Collections4

Museum of Modern Art Art Institute of Chicago Artsy Wright

Institutional

Representation & Collections

In collection

Museum of Modern Art

New York, US

In collection

Art Institute of Chicago

Market

Auction sale history

Houses that have sold works by this artist at auction