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Artworks

Note X (State I), from Notes
Barnett Newman
Etching and aquatint on white wove paper · 1968
Art Institute of Chicago

Note IX (State I), from Notes
Barnett Newman
Etching and aquatint on white wove paper · 1968
Art Institute of Chicago

Note XI (State I), from Notes
Barnett Newman
Etching and aquatint on white wove paper · 1968
Art Institute of Chicago

Note IX (State II), from Notes
Barnett Newman
Etching and aquatint on white wove paper · 1968
Art Institute of Chicago

Note IX (State III), from Notes
Barnett Newman
Etching and aquatint on white wove paper · 1968
Art Institute of Chicago

Note VIII (State I), from Notes
Barnett Newman
Etching and aquatint on white wove paper · 1968
Art Institute of Chicago

Note X, State II
Barnett Newman
Etching and aquatint in black on ivory wove paper · 1968
Art Institute of Chicago

Exhibit of a Working Model of a Perception-Dissociator: (Invitation), Statement of Objectives, and To the Director
Henry Flynt
Three cut-and-taped photocopies in envelope · 1968
Museum of Modern Art

Statement on the Other Side of This Card from Flux Year Box 2
George Brecht
Double-sided offset card · 1968
Museum of Modern Art

Poster for Intermedia '68: Charlotte Moorman and Nam June Paik, New York State University, various locations, February–March 1968
Charlotte Moorman
Mailed offset lithograph with stamped ink · 1968
Museum of Modern Art

Northern United States
Lee Friedlander
Gelatin silver print · 1968
Museum of Modern Art

Note X (State II) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note IX (State II) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note XII (State II) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note XI (State II) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note IX (State I) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note IX (State III) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note XI (State I) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note X (State I) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note VIII (State II) from Notes
Barnett Newman
Etching and aquatint from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note VIII (State I) from Notes
Barnett Newman
Etching from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Note XII (State I) from Notes
Barnett Newman
Etching from a portfolio of eighteen etchings, nine with aquatint · 1968
Museum of Modern Art

Transparency, Empire State Building
Joe Tilson
Screenprint on paper · 1967
Tate

Flag, from 1st Etchings, 2nd State
Jasper Johns
Etching over photoengraving in black on handmade ivory laid paper · 1967
Art Institute of Chicago