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Artifacts at the End of a Decade

Artifacts at the End of a Decade

Sandi Fellman
American, born 1952
Benno Friedman
American, born 1945
April Greiman
American, born 1948
Christopher Knowles
American, born 1959
Robert Kushner
American, born 1949
Sol LeWitt
American, 1928–2007
Joan Lyons
American, born 1937
Bea Nettles
American, born 1946
Lucio Pozzi
American, born 1935
Michelle Stuart
American, born 1938
Various Artists
American
Robert Wilson
American, 1941 – 2025
Dan Dailey
American, born 1947
Laurie Anderson
American, born 1947
John Ashbery
American, 1927–2017
Bern Boyle
American, 1951–1992
Lucinda Childs
American, born 1940
Jane Comfort
American, born 1945
R. Crumb
American, born 1943
Harvey Pekar
American, born 1939
Jimmy DeSana
American, 1950–1990
Evergon
Canadian, born 1946
Jayme Odgers
American, born 1939
Martha Holt
American, born 1945
James Hong
American, born 1948
Betsey Johnson
American, born 1942
Sonia Katchian
American, born Lebanon 1947
Stephanie Brody Lederman
American, born 1939
Jacqueline Livingston
American, born 1943
Joan Livingstone
American, born 1948
David Lusby
American, born 1954
Joseph Masheck
American, born 1942
Judith McWillie
American, born 1946
Joan Nelsen
American, born 1937
Richard Olson
American, born 1938
Kingsley Parker
American, born 1947
Don Rodan
American, born 1950
Martha Rosler
American, born 1943
Michael Sorkin
American, born 1948
Soul Artists
American
Stanley Stellar
American, born 1945
Benedict Tisa
American, born 1942
Curtis Van Buren
American, born 1950
Philip Warner
American, born 1947
Wenda Von Weise
American, born 1941
Harry Anderson
American, born 1943
Charles A. Arnold Jr.
American, 1922–2011
1981
A 1981 portfolio of forty-four mixed-media prints assembled by various artists as a deliberately spare publication meant to present and preserve a snapshot of contemporary American art at the end of a decade.
The work reads like a quiet colophon—cool gray paper with a restrained serif title centered at the top and neat three-column lists of contributors in small type, giving it the calm, documentary presence of an announcement or broadside.
As a collaborative printed object it documented and circulated the era’s diverse practices, using the portfolio format to legitimize and connect experimental, conceptual, and photographic work beyond conventional gallery settings.
Medium
Portfolio of forty-four mixed medium prints
Classification
Department
Credit
Gift of Joseph Daniel Cahill Masheck
Accession
481.1986.1-44
Palette
Art Terms
Exhibitions
View on moma.org ↗

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