"Evidence of Being" was initiated after I embarked upon a project to archive the objects accumulated over the course of my 30-year artistic career. The project discussed here not only represents the strategy of self-historicization, but also an investigation of the fraught and difficult politics connected to artistic practice in New York City. By looking historically at the practical conditions that artists face: high rents, limited space, the art market, gentrification, class warfare, gender bias, other kinds of discrimination and the market-based metrics of success, I found these objects became more than the surplus of my practice; they became a lens through which these issues could be explored. 


Wood, metal gold leaf, mirror, and acrylic
22 ½" h x 90” w x 1 ½” d
Not Forever
Resin, plastic, mirror, epoxy, ink, and crystals
82” h x 23” w x 13” d
Without The Self
Resin, metal gold leaf, acrylic, velvet pillow, and tassels
Off pedestal 4 ¾” h x 13” w x 13” d; On pedestal 40" h x 13" w x 13" d
Evidence Of Being Video - Art in Odd Places 2019 INVISIBLE
October 17-20, 2019
Duration 2:37
Evidence Of Being
Multi media, rejection letters, banners, silicone bracelets, foam core, vinyl lettering, speakers and audio
Silver Lining - Installation Shot
Linen paper, museum board, digital print, resin, silver leaf, wax, acrylic and wood
26" h x 26" w (Dimensions Variable)
The Thinker
C-print, glass, shredded rejection letters, metal, plastic and wood
82” h x 42” w x 14” d
Insert Here
Paper shredder, acrylic, imitation gold leaf, polyurethane, vinyl lettering and velvet fabric
42” h x 43” w x 43” d
I’m Still Here
Interactive installation; Digital print on vinyl
48” w maps from the gallery guide, digital c-print 75.50” h x 120” w, printed paper signs "I’m Still Here", 20’ sq. wood pedestal 34” h x 22” sq. and pushpins
Sugar & Spice
Glass, shredded rejection letters, metal leaf, and vinyl lettering
5” h x 6” w x 2” d
Paper-shredder, imitation gold-leaf, glass, rejection letters, shredded rejection letters, metal, plastic, acrylic, wood, and polyurethane
Dimensions Variable
Rejection, Reject, Re... Installation at Pen and Brush
30 envelopes, archival paper, museum board, resin, acrylic, metal leaf, polyurethane, and colored wax
Dimensions Variable
Rejection, Reject, Re...
Archival paper, museum board, resin, acrylic, metal leaf, polyurethane, and colored wax
38 various sizes: Overall installation 119" h x 179" w x 9" d
Rejection, Reject, Re...." Art in General 1992
Archival paper, museum board, resin, acrylic, metal leaf, polyurethane, and colored wax
5 ½” h x 17" w x 4" d
Glass, shredded rejection letter, imitation gold leaf, metal, plastic, and wood
62 ½” h x 43" w x 13" d
Stairway To...
Rusted steel and shattered tempered glass
132" h x 48" w x 48" d
Sorry To Inform You....
Speakers, sound, lights, and bench
Dimensions Variable
I'm Still Here
Digital archival print
Dimensions Variable
Turning Lemons Into Lemonade
Interactive multi-disciplinary installation: single-channel surround sound, digital prints on archival paper, acrylic, wood, silver paper cups, glass pitchers, lemonade, and mint
Dimensions Variable
Follow The Yellow Brick Road
Gallery guide maps of Chelsea, 1997, 2004, 2005, 2009 and 2014, Inkjet printed on vinyl
Dimensions Variable
I Was Here
Digital archival print
24" h x 15 ¼" w (unframed)
Chelsea Then
Collage, photograph, acrylic, wood frame, ¼” shadowbox mat board, and non-glare plexi
48" h x 31" w
If You're Tired Of Getting These Emails From ME
Digital print on archival paper
10" h x 14" w
When Did You Decide To Be An Artist?
40" h x 40" w
Chelsea Now And Then
C-print mounted on aluminum back and non-glare museum plexi front
32 ¼" h x 90" w Diptych (each 32 ¼” h x 43" w)
The Art Of Archiving
Wood, light boxes, slides, metal, acrylic, timer, and board
Dimensions Variable (Site-Specific)
Mapping Chelsea
Gallery guide maps of Chelsea, 1997, 2004, 2005, 2009, and 2014, Inkjet printed on nylon mat runner with rubber backing
35" w x Length Variable