Thomas Struth, Pergamon Museum 1, Berlin, 2001, C-print, 77 3/4 × 97 7/8 in.

Bernd and Hilla Becher, Typologie mit 4 Wassertürmen (Typology with Four Water Towers), 1963, gelatin silver print, each 22 × 17 in.

Gregory Crewdson, Untitled (Merchant’s Row), 2003, C-print, 64 1/4 × 95 1/4 in.

Morris Engel, Harlem Children Praying in School, c. 1940, gelatin silver print, 7 3/8 × 9 1/2 in.

Siobhán Hapaska, No One to Knit Sweaters For, 2006, aluminum, cardboard, synthetic yarn, wool, and fiberglass, 75 × 138 × 81 in

Dawoud Bey, Marc & Eric (6 Panels), 1994, Polacolor ER photographs, panels each 30 × 22 in., overall 60 × 66 in.

Allan McCollum, 240 Plaster Surrogates, 1982-91, enamel on plaster in 52 parts, dimensions variable

Zoe Leonard, Mandel Tobacco, 1990, dye-transfer print, 20 × 16 in.

David Claerbout, Die reine Notwendigkeit/ The pure necessity, 2016, single-channel video, HD animation (color, sound), 60 min.

Peter Shelton, Broadbag, 1988–89, bronze, 56 × 28 × 15 in. 

John Torreano, Rush, 1989, enamel, wood balls, and jewels on plywood, 72 × 72 in.

Yukinori Yanagi, Asia-Pacific Ant Farm, 1995, 42 plexiglass boxes containing ants and colored sand, 90 × 153 in.

Awol Erizku, Heads, 2013, 9 archival pigment prints, 41 1/8 x 33 5/8 in.

Albert Renger-Patzsch, Bicycle Handlebars, c. 1950s, gelatin silver print, 8 5/8 × 6 1/2 in.

Ralston Crawford, Untitled (New Orleans), c. 1955, gelatin silver print, 11 × 14 in.

Luc Delahaye, Kabul Road, 2001, C-print, 43 × 93 in.

Stephen Shore, Winnipeg, Manitoba, 8/16/74, 1974, C-print, 7 1/2 × 9 1/2 inches

George Osodi, Delta Conflict, 2004, digital C-print, 31 1/2 × 47 1/4 in.

Mark Dion, Cabinet of Marine Debris, 2014, cabinet (wood, glass, metal, and paint) and assorted marine debris (plastic and rope), 113 × 84 × 32 in.

Dorothea Lange, From the Migrant Mother Sequence, 1936, gelatin silver print, 11 × 14 in.

VKhUTEMAS, Workshop, c. 1925, gelatin silver print, 3 ½ × 5 × in.

Keisuke Takahashi, The Fictional Island, 2016, mixed media (color, sound), 30 min.

Olaf Metzel, dermaßen regiert zu werden (being governed like that quite so much), 2015, aluminum, stainless steel, and digital print, 177 1/4 × 301 1/4 × 163 1/2 in.

Olafur Eliasson, The Island Series, 1997, fifty-six C-prints, overall 92 1/4 × 141 in.

Eudora Welty, The Mattress Factory, Jackson, Miss., c. 1930, toned gelatin silver print, 10 × 17 1/2 in.

Nina Katchadourian, Lavatory Self Portrait in the Flemish Style #9, 2011, C-print, 14 3/4 × 12 1/4 in.

Lee Friedlander, Shadow—New York City, 1966, gelatin silver print, 15 1/2 × 20 in.

Barbara Probst, Exposure #9: N.Y.C., Grand Central Station, 12.18.01, 1:21 p.m., 2001, ultra-chrome ink on cotton paper, six parts, each 31 × 51 in. 

Paul Fusco, #121, RFK Funeral Train, 1968, C-print, 22 3/8 × 15 in

Rimma Gerlovina and Valeriy Gerlovin, Vintage, 1990, C-print, 25 1/2 × 25 3/8 in.

Masao Gozu, Eleven Reconstructed Windows (11-3), 1992, brick, concrete, and mixed media, 72 × 47 ¾ × 13 ¾ in.

Yuichi Higashionna, Untitled (Chandelier 14), 2010, fluorescent lights, electric wires, aluminum, and ballast, 51 1/4 × 31 1/2 × 31 1/2 in.

Lewis Hine, Connecting Beams on Skyscraper, 1932, gelatin silver print, 8 × 10 in.

Hugo Schmölz, Theater innen (Stumpf) (Theater Interior [Stumpf]), 1937, gelatin silver print, 8 1/2 × 6 1/2 in.

Hank Willis Thomas, I Am A White Agitator, 2012, acrylic on canvas, 28 × 28 in.

Julian Opie, Monique Walking, 2004, LED wall mounted, 86 1/2 x 4 1/4 x 4 in.

Russell Lee, Cutting the pies and cakes at the barbeque dinner, Pie Town, New Mexico Fair, 1940, dye-transfer print, 10 × 13 in.

Fergus Greer, Leigh Bowery: Session I/Look 2, 1988, digital C-print, 48 × 48 in.

Helen Levitt, New York, c. 1938, gelatin silver print, 10 × 8 in.

Charles Long, A Life, 1999, rubber and wood, 54 × 104 × 22 in.

Emil Lukas, Bent Array, 2015, mixed media, 89 × 22 × 18 in.

Werner Mantz, Title of WDR-radio Program, 1928, gelatin silver print, 8 7/8 × 6 1/2 in.

Mary Ellen Mark, Tiny in Her Halloween Costume, Seattle, 1983, gelatin silver print, 22 7/16 × 15 3/16 in.

Joel Meyerowitz, Dusk, New Jersey, 1978, RC print, 30 × 40 in.

Domingo Milella, Uchisar, Turkey, 2007, C-print, 59 × 75 in.

Paul Shambroom, Urbana, Missouri (population 360) City Council, May 22, 2002. (L to R): Laura Hancock, Debra Glass, Teddy Hawthorne (City Clerk), Lynn Bailey (Mayor), George Meek, Lyn Kamien, 2002, archival pigmented inkjet on canvas with varnish, 33 × 66 in

Jeremy Moon, Starlight Hour, 1965, acrylic and enamel on shaped canvas, 79 ½ × 64 15/16 in.

Anastasia Khoroshilova, The Narrow Circle #14, 2008, gelatin silver print on Dibond, 47 1/4 × 37 3/4 in.

Nathalie Djurberg and Hans Berg, Madeleine the Brave, 2006, clay animation, digital video (color, sound), 6:13 min.

Michelangelo Pistoletto, Two Less One, 2009, golden wood and mirror, each 70 7/8 x 47 1/4 in.

Marvin Newman, Coney Island VI, 1953, archival inkjet print, 13 × 19 in.

Mike Disfarmer, Soldier with Two Girls in Polka Dot Dresses, 1943, 17 x 12 in.

Walker Evans, The Burroughs Family, Hale County, Alabama, 1936, gelatin silver print, 7 1/2 × 9 1/2 in.

Rosy Keyser, String (Clocking Eye), 2017, oil, acrylic enamel, string, cardboard, wood, and linen, 81 × 64 in.

Alexander Rodchenko, Fire Escape, 1925, gelatin silver print, 9 ½ × 6 ¾ in.

Walter Rosenblum, Girl on a Swing, 1938, gelatin silver print, 11 × 14 in. 

Thomas Ruff, Portrait—Untitled, 1989, C-print, 82 5/8 × 63 in.

Ed Ruscha, 13 Artist’s Books, largest: 10 × 8 × 1/8 in.; smallest: 4 5/8 × 3 3/4 × 1 3/4 in. Thirtyfour Parking Lots, 1974; Real Estate Opportunities, 1970; Royal Road Test, 1980; Twentysix Gasoline Stations, 1969; Crackers, 1969; Hard Light, 1978; Various Small Fires and Milk, 1970; Some Los Angeles Apartments, 1970; A Few Palm Trees, 1971; Colored People, 1972; Nine Swimming Pools and a Broken Glass, 1976; Nine Swimming Pools and a Broken Glass, 1968; Edward Ruscha (Ed-Werd RewShay) Young Artist, 1972

August Sander, Twins, c. 1925, gelatin silver print, 10 1/8 × 7 1/4 in.

Peter Sekaer, Election Posters, 10th Avenue, New York, 1934–35, gelatin silver print, 14 3/8 × 17 1/8 in. 

Wael Shawky, Cabaret Crusades, The Horror Show File, Fig. #101, 2010, C-print on cotton paper, 24 × 16 1/8 in.

Malick Sidibé, untitled, 1965, vintage gelatin silver print, paint, glass, cardboard, tape, string, 7 1/8 × 5 ¼ in.

Taryn Simon, Scene of the Crime, Cloves Lake Park, Staten Island, New York, 2002, 48 × 62 in.

Tony Oursler, Colors, 1995, 701 video projectors and mattress, video (color, sound), 1:2:50 hr.

Stephen Somerstein, Selma Civil Rights Marchers Leaving Camp Grounds at City of St. Jude School. Back Road behind School, on Way to Capital, March 25, 1965, 1965, gelatin silver print, 11 1/4 × 16 7/8 in.

Alec Soth, Charles, Vasa, MN, 2002, C-print, 39 1/2 × 31 1/2 in.

Tabaimo, Japanese Bathhouse, 2000, three-channel video installation (color, sound), yellow bath bowls, and synchronizer, dimensions variable, 7:34 min.

Gregor Hildebrandt, Himmel über Berlin, 2013, inkjet print and plastic boxes in wooden case, 62 1/2 x 43 5/8 in.

Hank Willis Thomas, Basketball and Chain, 2003, digital C-print, 96 × 50 in.

Tseng Kwong Chi, Disneyland, California, 1979, gelatin silver print, 36 × 36 in.

Nontsikelelo “Lolo” Veleko, Sibu iii, 2003, pigment print on cotton paper, 7 7/8 × 11 7/8 in.

Pavel Wolberg, Wedding, Viznitz Hasidim, Bnei Brak, 2006, C-print, 14 5/8 × 21 1/4 in.

Ulrich Wüst, Magdeburg, Oktober 1978, 1978, gelatin silver print, 7 5/8 × 10 1/4 in.

Antony Gormley, Three Calls (Cast, Plumb, Pass), 1983–84, lead, plaster, and fiberglass, dimensions variable

Do Ho Suh, 348 West 22nd St. Apt. A, NY, NY 10011 (corridor), 2001, translucent nylon, 96 1/2 × 66 1/4 × 488 1/4 in.

Jannis Kounellis, Untitled, 1985, burlap sacks, 130 x 83 in. 

Pier Paolo Calzolari, Without Title, 1971, metal structure, neon lights, and mixed media 130 x 59 x 14 in.

Will Ryman, Dinner Party, 2010, mixed media, 118 × 195 × 84 in.

Peter Friedl, King Kong, 2001, video installation (color, sound), 3:57 min. loop

Brian Alfred, It’s Already the End of the World, 2009, digital animation (color, sound), 6:37 min.

Claes Oldenburg, Soft Baked Potato, Open and Thrown, Scale A, 1970, canvas and wood, 16 x 41 x 32 in.

Cate Giordano, After the fire is gone, 2017, three sets (including mixed-media sculptures and vintage TV monitors) and fourteen-channel video (color, sound), dimensions variable

Bill Viola, The Raft, 2004, color high-definition video projection on wall, 156 × 87 4/5 in

Kenny Scharf, Squirtz (Purple), enamel, rhinestone and fiberglass, 96 1/4 × 74 1/2 × 48 1/4 in.

Jessica Stockholder, 2000, 2000, couch, photographs, metal gate, plywood, two lamps, bathtub, fish tank, fan, stool, embroidery thread, fake fur, extension cord, metal, acrylic paint, and metal bracket, 82 ½ × 84 × 128 in.

Sue Williams, Time Line, 2017, oil on canvas, 70 × 80 in.

Erwin Wurm, untitled, 1988–89, cloth, wood, and glass, 78 3/4 × 78 3/4 × 15 3/4 in.