Documentation
Documentation
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![Foreground: Felix Gonzalez-Torres, "'Untitled' (USA Today)," 1990; left wall, from left to right: Jenny Holzer, "MEMORANDUM FOR CONDOLEEZZA RICE GREEN," 2006, and Felix Gonzalez-Torres, "'Untitled' (Death by Gun)," 1990, on floor; corner: Rirkrit Tiravanija, "untitled 2014 (up against the wall motherfucker)," 2014; right wall: Fred Wilson, "Love and Loss in the Milky Way," 2005. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Felix Gonzalez-Torres, "Untitled" (USA Today), 1990; left wall, from left to right: Jenny Holzer, MEMORANDUM FOR CONDOLEEZZA RICE GREEN, 2006, and Felix Gonzalez-Torres, "Untitled" (Death by Gun), 1990, on floor; corner: Rirkrit Tiravanija, untitled 2014 (up against the wall motherfucker), 2014; right wall: Fred Wilson, Love and Loss in the Milky Way, 2005. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Corner and floor: Rirkrit Tiravanija, "untitled 2014 (up against the wall motherfucker)," 2014; on right: Glenn Ligon, "Condition Report," 2000. Installation view at the Hammer Museum, Los Angeles]()
Corner and floor: Rirkrit Tiravanija, untitled 2014 (up against the wall motherfucker), 2014; on right: Glenn Ligon, Condition Report, 2000. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![From left to right: Adrian Piper, "Vanilla Nightmares #14," 1986 and "Vanilla Nightmares #20," 1989, Robert Gober, "Newspaper," 1992, and Jenny Holzer, "Inflammatory Essays," 1979–81. Installation view at the Hammer Museum, Los Angeles]()
From left to right: Adrian Piper, Vanilla Nightmares #14, 1986 and Vanilla Nightmares #20, 1989, Robert Gober, Newspaper, 1992, and Jenny Holzer, Inflammatory Essays, 1979–81. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Fred Wilson, "Love and Loss in the Milky Way," 2005; rear wall, from left to right: Glenn Ligon, "Condition Report," 2000, and Nayland Blake, "Dual Restraint," 1990. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Fred Wilson, Love and Loss in the Milky Way, 2005; rear wall, from left to right: Glenn Ligon, Condition Report, 2000, and Nayland Blake, Dual Restraint, 1990. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground, on floor: Robert Gober, "Newspaper," 1992; from ceiling: Robert Gober and Sherrie Levine, "Untitled," 1990; left wall: Nayland Blake, "Dual Restraint," 1990; right wall, left to right: Adrian Piper, "Vanilla Nightmares #14," 1986, and "Vanilla Nightmares #20," 1989, and five works from the Robert Gober series September 12, 2005–09. Installation view at the Hammer Museum, Los Angeles]()
Foreground, on floor: Robert Gober, Newspaper, 1992; from ceiling: Robert Gober and Sherrie Levine, Untitled, 1990; left wall: Nayland Blake, Dual Restraint, 1990; right wall, from left to right: Adrian Piper, Vanilla Nightmares #14, 1986, and Vanilla Nightmares #20, 1989, and five works from the Robert Gober series September 12, 2005–09. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On left: Fred Wilson, "Love and Loss in the Milky Way," 2005; on floor, Felix Gonzalez-Torres, "'Untitled' (USA Today)," 1990; right wall, from left to right: Jenny Holzer, "Inflammatory Essays," 1979–81, and "Laments: I am a man . . . ," 1987. Installation view at the Hammer Museum, Los Angeles]()
On left: Fred Wilson, Love and Loss in the Milky Way, 2005; on floor: Felix Gonzalez-Torres, "Untitled" (USA Today), 1990; right wall, from left to right: Jenny Holzer, Inflammatory Essays, 1979–81, and Laments: I am a man . . ., 1987. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Jenny Holzer, "Inflammatory Essays," 1979–81. Right wall: Robert Gober, "Hanging Man/Sleeping Man," 1989; on ground: two works from Robert Gober's Newspaper series, 1992; from ceiling: Robert Gober and Sherrie Levine, "Untitled," 1990. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Jenny Holzer, Inflammatory Essays, 1979–81. Right wall: Robert Gober, Hanging Man/Sleeping Man, 1989; on ground: two works from Robert Gober's Newspaper series, 1992; from ceiling: Robert Gober and Sherrie Levine, Untitled, 1990. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On floor: Felix Gonzalez-Torres, "'Untitled' (USA Today)," 1990; from ceiling, Fred Wilson, "To Die Upon a Kiss," 2011; on wall: Jenny Holzer, "Laments: I am a man . . . ," 1987; next gallery: two works by Allan McCollum. Installation view at the Hammer Museum, Los Angeles]()
On floor: Felix Gonzalez-Torres, "Untitled" (USA Today), 1990; from ceiling: Fred Wilson, To Die Upon a Kiss, 2011; on wall: Jenny Holzer, Laments: I am a man . . ., 1987; next gallery: two works by Allan McCollum. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Sherrie Levine, "Presidential Profile," 1978; right wall: Dara Birnbaum, "PM Magazine," 1982; next gallery: works by Zoe Leonard and Haim Steinbach. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Sherrie Levine, Presidential Profile, 1978; right wall: Dara Birnbaum, PM Magazine, 1982; next gallery: works by Zoe Leonard and Haim Steinbach. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Judith Barry, ". . . Cairo Stories," 2010–2011; center: Judith Barry, "Imagination, Dead Imagine," 1991; right wall: Judith Barry, "Casual Shopper," 1980–81. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Judith Barry, . . . Cairo Stories, 2010–2011; center: Judith Barry, Imagination, Dead Imagine, 1991; right wall: Judith Barry, Casual Shopper, 1980–81. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On floor: Felix Gonzalez-Torres, "'Untitled' (USA Today)," 1990; from ceiling, Fred Wilson, "To Die Upon a Kiss," 2011; left wall: Sherrie Levine, "Presidential Profile," 1978; rear wall: Dara Birnbaum, "PM Magazine," 1982; right wall: Jenny Holzer, "MEMORANDUM FOR CONDOLEEZZA RICE GREEN," 2006. Installation view at the Hammer Museum, Los Angeles]()
On floor: Felix Gonzalez-Torres, "Untitled"(USA Today), 1990; from ceiling: Fred Wilson, To Die Upon a Kiss, 2011; left wall: Sherrie Levine, Presidential Profile, 1978; rear wall: Dara Birnbaum, PM Magazine, 1982; right wall: Jenny Holzer, MEMORANDUM FOR CONDOLEEZZA RICE GREEN, 2006. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left: Dara Birnbaum, "PM Magazine," 1982; right: Judith Barry, "Imagination, Dead Imagine," 1991; next gallery: works by Cady Noland and Haim Steinbach. Installation view at the Hammer Museum, Los Angeles]()
Left: Dara Birnbaum, PM Magazine, 1982; right: Judith Barry, Imagination, Dead Imagine, 1991; next gallery: works by Cady Noland and Haim Steinbach. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Judith Barry, "Casual Shopper," 1980–81; next gallery, on floor: Felix Gonzalez-Torres, "'Untitled' (USA Today)," 1990; from ceiling, Fred Wilson, "To Die Upon a Kiss," 2011; on wall, from left to right: Jenny Holzer, "Inflammatory Essays," 1979–81, and "Laments: I am a man . . . ," 1987. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Judith Barry, Casual Shopper, 1980–81; next gallery, on floor: Felix Gonzalez-Torres, "Untitled" (USA Today), 1990; from ceiling: Fred Wilson, To Die Upon a Kiss, 2011; on wall, from left to right: Jenny Holzer, Inflammatory Essays, 1979–81, and Laments: I am a man . . . , 1987. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Robert Gober, "Hanging Man/Sleeping Man," 1989; right wall, from left to right: Glenn Ligon, "Condition Report," 2000, and Nayland Blake, "Dual Restraint," 1990; from ceiling, Robert Gober and Sherrie Levine, "Untitled," 1990; on floor: two works from Robert Gober's Newspaper series, 1992. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Robert Gober, Hanging Man/Sleeping Man, 1989; right wall, from left to right: Glenn Ligon, Condition Report, 2000, and Nayland Blake, Dual Restraint, 1990; from ceiling: Robert Gober and Sherrie Levine, Untitled, 1990; on floor: two works from Robert Gober's Newspaper series, 1992. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Judith Barry, ". . . Cairo Stories," 2010–2011; right wall: Louise Lawler, "No Drones," 2010–2011. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Judith Barry, . . . Cairo Stories, 2010–2011; right wall: Louise Lawler, No Drones, 2010–2011. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Judith Barry, "Imagination, Dead Imagine," 1991; right: Judith Barry, "Casual Shopper," 1980–81; next gallery: works by Fred Wilson, Felix Gonzalez-Torres, and Jenny Holzer. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Judith Barry, Imagination, Dead Imagine, 1991; on wall: Judith Barry, Casual Shopper, 1980–81; next gallery: works by Fred Wilson, Felix Gonzalez-Torres, and Jenny Holzer. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground, from left to right: Zoe Leonard, "Survey," 2012, Jimmie Durham, "Bedia's Stirring Wheel," 1985, Cady Noland, "Frame Device," 1989, and Jimmie Durham, "Coyote/Trickster," 1991; left wall: Haim Steinbach, "Backyard Story," 1997; right wall, from left to right: Sue Williams, "Spiritual America," 1992, John Miller, "Untitled," 1990, and Zoe Leonard, "Trophies," 1990. Installation view at the Hammer Museum, Los Angeles]()
Foreground, from left to right: Zoe Leonard, Survey, 2012, Jimmie Durham, Bedia's Stirring Wheel, 1985, Cady Noland, Frame Device, 1989, and Jimmie Durham, Coyote/Trickster, 1991; left wall: Haim Steinbach, Backyard Story, 1997; right wall, from left to right: Sue Williams, Spiritual America, 1992, John Miller, Untitled, 1990, and Zoe Leonard, Trophies, 1990. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![From left to right: Zoe Leonard, "Trophies," 1990, and Sherrie Levine, "Steer Skull, Horned," 2002. Installation view at the Hammer Museum, Los Angeles]()
From left to right: Zoe Leonard, Trophies, 1990, and Sherrie Levine, Steer Skull, Horned, 2002. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Zoe Leonard, "Survey," 2012; rear wall, from left to right: Sherrie Levine, "After Edward Curtis: 1–5," 2005, and John Miller, "Untitled," 1986. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Zoe Leonard, Survey, 2012; rear wall, from left to right: Sherrie Levine, After Edward Curtis: 1–5, 2005, and John Miller, Untitled, 1986. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Zoe Leonard, "Survey," 2012; left wall, from left to right: one of five prints from Sherrie Levine, "After Edward Curtis: 1–5," 2005, and John Miller, "Untitled," 1986; right wall: Haim Steinbach, "Backyard Story," 1997. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Zoe Leonard, Survey, 2012; left wall, from left to right: one of five prints from Sherrie Levine, After Edward Curtis: 1–5, 2005, and John Miller, Untitled, 1986; right wall: Haim Steinbach, Backyard Story, 1997. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Cady Noland, "Frame Device," 1989; left wall: Haim Steinbach, "Backyard Story," 1997; right wall, from left to right: wall text from Andrea Fraser, "Notes on the Margin," 1990/2013, Sue Williams, "Spiritual America," 1992, John Miller, "Untitled," 1990, and Zoe Leonard, "Trophies," 1990. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Cady Noland, Frame Device, 1989; left wall: Haim Steinbach, Backyard Story, 1997; right wall, from left to right: wall text from Andrea Fraser, Notes on the Margin, 1990/2013, Sue Williams, Spiritual America, 1992, John Miller, Untitled, 1990, and Zoe Leonard, Trophies, 1990. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Cady Noland, "Frame Device," 1989; on wall, from left to right: Sue Williams, "Spiritual America," 1992, John Miller, "Untitled," 1990, and Zoe Leonard, "Trophies," 1990. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Cady Noland, Frame Device, 1989; on wall, from left to right: Sue Williams, Spiritual America, 1992, John Miller, Untitled, 1990, and Zoe Leonard, Trophies, 1990. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Jimmie Durham, "Bedia's Stirring Wheel," 1985; left wall: John Miller, "Everything Is Said 24," 2012 (top), and "Everything Is Said 21," 2012 (bottom); right wall: Sherrie Levine, "After Edward Curtis: 1–5," 2005; in next gallery: Matt Mullican, "7 /12 Bulletin Boards," 2013. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Jimmie Durham, Bedia's Stirring Wheel, 1985; left wall: John Miller, Everything Is Said 24, 2012 (top), and Everything Is Said 21, 2012 (bottom); right wall: Sherrie Levine, After Edward Curtis: 1–5, 2005; in next gallery: Matt Mullican, 7 /12 Bulletin Boards, 2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Zoe Leonard, "Survey," 2012; left wall: John Miller, "Untitled," 1986; rear wall: Haim Steinbach, "Backyard Story," 1997. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Zoe Leonard, Survey, 2012; left wall: John Miller, Untitled, 1986; rear wall: Haim Steinbach, Backyard Story, 1997. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Dara Birnbaum, "Arabesque," 2011. Installation view at the Hammer Museum, Los Angeles]()
Dara Birnbaum, Arabesque, 2011. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Matt Mullican, "7 1/2 Bulletin Boards," 2013; in next gallery, works by Jimmie Durham, Zoe Leonard, Sherrie Levine, and John Miller. Installation view at the Hammer Museum, Los Angeles]()
Matt Mullican, 7 1/2 Bulletin Boards, 2013; in next gallery, works by Jimmie Durham, Zoe Leonard, Sherrie Levine, and John Miller. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Gallery on left: partial view of Dara Birnbaum, "Arabesque," 2011; left wall: Matt Mullican, "7 1/2 Bulletin Boards," 2013; left wall: Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93; in next gallery, works by Glenn Ligon, Mark Dion, and Stephen Prina. Installation view at the Hammer Museum, Los Angeles]()
Gallery on left: partial view of Dara Birnbaum, Arabesque, 2011; left wall: Matt Mullican, 7 1/2 Bulletin Boards, 2013; left wall: Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93; in next gallery, works by Glenn Ligon, Mark Dion, and Stephen Prina. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Paul McCarthy, "Michael Jackson Fucked Up Big Head Big Foot (MJFUBH)," 2010. On wall: Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93. In next gallery: works by Jimmie Durham, Cady Noland, John Miller, and Zoe Leonard. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Paul McCarthy, Michael Jackson Fucked Up Big Head Big Foot (MJFUBH), 2010. On wall: Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93. In next gallery: works by Jimmie Durham, Cady Noland, John Miller, and Zoe Leonard. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Jimmie Durham, "Bedia's Stirring Wheel," 1985; left wall: John Miller, "Everything Is Said 24," 2012 (top), and "Everything Is Said 21," 2012 (bottom); in next gallery: Matt Mullican, "7 1/2 Bulletin Boards," 2013. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Jimmie Durham, Bedia's Stirring Wheel, 1985; left wall: John Miller, Everything Is Said 24, 2012 (top), and Everything Is Said 21, 2012 (bottom); in next gallery: Matt Mullican, 7 1/2 Bulletin Boards, 2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On floor: Paul McCarthy, "Michael Jackson Fucked Up Big Head Big Foot (MJFUBH)," 2010. On wall: Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93. Installation view at the Hammer Museum, Los Angeles]()
On floor: Paul McCarthy, Michael Jackson Fucked Up Big Head Big Foot (MJFUBH), 2010. On wall: Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93. Installation view at the Hammer Museum, Los Angeles]()
Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Matt Mullican, "7 1/2 Bulletin Boards," 2013; in next gallery: partial view of Dara Birnbaum, "Arabesque," 2011. Installation view at the Hammer Museum, Los Angeles]()
Matt Mullican, 7 1/2 Bulletin Boards, 2013; in next gallery: partial view of Dara Birnbaum, Arabesque, 2011. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On floor: Paul McCarthy, "Michael Jackson Fucked Up Big Head Big Foot (MJFUBH)," 2010. On wall: Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93. In next gallery: works by Mark Dion and Stephen Prina. Installation view at the Hammer Museum, Los Angeles]()
On floor: Paul McCarthy, Michael Jackson Fucked Up Big Head Big Foot (MJFUBH), 2010. On wall: Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93. In next gallery: works by Mark Dion and Stephen Prina. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Mark Dion, "Killers Killed," 1994–2007; in corner: Adrian Piper, "Cornered," 1988; right wall: Glenn Ligon, "Rückenfigur," 2009. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Mark Dion, Killers Killed, 1994–2007; in corner: Adrian Piper, Cornered, 1988; left wall: Glenn Ligon, Rückenfigur, 2009. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Mark Dion, "Killers Killed," 1994–2007; background, from left to right: Glenn Ligon, "Rückenfigur," 2009, Stephen Prina, "The Second Sentence of Everything I Read Is You: Mourning Sex," 2005–7, Fred Wilson, "Slit," 1995, and three works by Paul McCarthy: "Subjective Subliminal Ads," 1976–79, "Winston Longs (collage)," 1976–79, and "The Dickies," 1976–79. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Mark Dion, Killers Killed, 1994–2007; background, from left to right: Glenn Ligon, Rückenfigur, 2009, Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–7, Fred Wilson, Slit, 1995, and three works by Paul McCarthy: Subjective Subliminal Ads, 1976–79, Winston Longs (collage), 1976–79, and The Dickies, 1976–79. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Stephen Prina, "The Second Sentence of Everything I Read Is You: Mourning Sex," 2005–7; right wall, from left to right: Fred Wilson, "Slit," 1995, three works by Paul McCarthy: "Subjective Subliminal Ads," 1976–79, "Winston Longs (collage)," 1976–79, and "The Dickies," 1976–79, Mike Kelley, "Notebook Drawings (Related to Educational Complex)," 1994, and William Leavitt, "Residential B-2," 1995. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–7; right wall, from left to right: Fred Wilson, Slit, 1995; three works by Paul McCarthy: Subjective Subliminal Ads, 1976–79, Winston Longs (collage), 1976–79, and The Dickies, 1976–79, Mike Kelley, Notebook Drawings (Related to Educational Complex), 1994, and William Leavitt, Residential B-2, 1995. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left: William Leavitt, "Planetarium Projector," 1987; on floor: Mark Dion, "Killers Killed," 1994–2007; background: works by Matt Mullican, Haim Steinbach, and Zoe Leonard. Installation view at the Hammer Museum, Los Angeles]()
Left: William Leavitt, Planetarium Projector, 1987; on floor: Mark Dion, Killers Killed, 1994–2007; background: works by Matt Mullican, Haim Steinbach, and Zoe Leonard. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Three works by William Leavitt, from left to right: "Residential B-2," 1995, "Innuendo," 1995, and "Planetarium Projector," 1987. Installation view at the Hammer Museum, Los Angeles]()
Three works by William Leavitt, from left to right: Residential B-2, 1995, Innuendo, 1995, and Planetarium Projector, 1987. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![From left to right: three works by Paul McCarthy: "Subjective Subliminal Ads," 1976–79, "Winston Longs (collage)," 1976–79 (top), and "The Dickies," 1976–79 (bottom), and Mike Kelley, "Notebook Drawings (Related to Educational Complex)," 1994. Installation view at the Hammer Museum, Los Angeles]()
From left to right: three works by Paul McCarthy: Subjective Subliminal Ads, 1976–79, Winston Longs (collage), 1976–79 (top), and The Dickies, 1976–79 (bottom), and Mike Kelley, Notebook Drawings (Related to Educational Complex), 1994. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Stephen Prina, "The Second Sentence of Everything I Read Is You: Mourning Sex," 2005–7; background: works by Glenn Ligon and Mike Kelley. Installation view at the Hammer Museum, Los Angeles]()
Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–7; background: works by Glenn Ligon and Mike Kelley. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Stephen Prina, "The Second Sentence of Everything I Read Is You: Mourning Sex," 2005–7. Installation view at the Hammer Museum, Los Angeles]()
Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–7. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Stephen Prina, "The Second Sentence of Everything I Read Is You: Mourning Sex," 2005–7; background: three works by William Leavitt, from left to right: "Residential B-2," 1995, "Innuendo," 1995, and "Planetarium Projector," 1987. Installation view at the Hammer Museum, Los Angeles]()
Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–7; background: three works by William Leavitt, from left to right: Residential B-2, 1995, Innuendo, 1995, and Planetarium Projector, 1987 . Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Allan McCollum, "Collection of One Hundred and Twenty Drawings," 1989/93; right wall: video library monitors, from left to right: Nayland Blake, "Gorge," 1998, Jimmie Durham and Maria Thereza Alves, "Collected Stones," 2002, and Dara Birnbaum, "Pop-Pop Video: General Hospital / Olympic Women Speed Skating," 1980; center: listening station for Gretchen Bender, "Artificial Treatment," 1988. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Allan McCollum, Collection of One Hundred and Twenty Drawings, 1989/93; right wall: video library monitors, from left to right: Nayland Blake, Gorge, 1998, Jimmie Durham and Maria Thereza Alves, Collected Stones, 2002, and Dara Birnbaum, Pop-Pop Video: General Hospital / Olympic Women Speed Skating, 1980; center: listening station for Gretchen Bender, Artificial Treatment. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![From left to right: two works by Mary Kelly: "Mimus, Act I (Posner)," 2012, and "Mimus, Act II (Meyers)," 2012, and Tom Burr, "Single Partition Platform," 1997. Installation view at the Hammer Museum, Los Angeles]()
From left to right: two works by Mary Kelly: Mimus, Act I (Posner) , 2012, and Mimus, Act II (Meyers) , 2012, and Tom Burr, Single Partition Platform, 1997. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Two works by David Wojnarowicz, from left to right: "Crash: The Birth of Language / the Invention of Lies," 1986, and "The Death of American Spirituality," 1987. Installation view at the Hammer Museum, Los Angeles]()
Two works by David Wojnarowicz, from left to right: Crash: The Birth of Language / the Invention of Lies, 1986, and The Death of American Spirituality, 1987. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On floor: Tom Burr, "Silver Plant Platform," 1997; left wall, from left to right: Mary Kelly, "Mimus, Act II (Meyers)," 2012, and Tom Burr, "Single Partition Platform," 1997; rear wall, from left to right: Nayland Blake, "Scum," 1990 and Mike Kelley, "Craft Morphology Flow Chart," 1991. Installation view at the Hammer Museum, Los Angeles]()
On floor: Tom Burr, Silver Plant Platform, 1997; left wall, from left to right: Mary Kelly, Mimus, Act II (Meyers) , 2012, and Tom Burr, Single Partition Platform, 1997; rear wall, from left to right: Nayland Blake, Scum, 1990 and Mike Kelley, Craft Morphology Flow Chart, 1991. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![On wall: Allan McCollum, "Collection of One Hundred and Twenty Drawings," 1989/93; on monitors, from left to right: Renée Green, "Partially Buried," 1996, and Nayland Blake, "Gorge," 1998; in next gallery: works by Nayland Blake and Tom Burr. Installation view at the Hammer Museum, Los Angeles]()
On wall: Allan McCollum, Collection of One Hundred and Twenty Drawings, 1989/93; on monitors, from left to right: Renée Green, Partially Buried, 1996, and Nayland Blake, Gorge, 1998; in next gallery: works by Nayland Blake and Tom Burr. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground, on floor: Tom Burr, "Silver Plant Platform," 1997; left wall, from left to right: Nayland Blake, "Scum," 1990, and Mike Kelley, "Craft Morphology Flow Chart," 1991; right wall: Christopher Williams, "Bouquet, for Bas Jan Ader and Christopher D'Arcangelo," 1991. Installation view at the Hammer Museum, Los Angeles]()
Foreground, on floor: Tom Burr, Silver Plant Platform, 1997; left wall, from left to right: Nayland Blake, Scum, 1990, and Mike Kelley, Craft Morphology Flow Chart, 1991; right wall: Christopher Williams, Bouquet, for Bas Jan Ader and Christopher D'Arcangelo, 1991. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![From left to right: David Wojnarowicz "The Death of American Spirituality," 1987, two works by Mary Kelly: "Mimus, Act I (Posner)," 2012, and "Mimus, Act II (Meyers)," 2012. Installation view at the Hammer Museum, Los Angeles]()
From left to right: David Wojnarowicz The Death of American Spirituality, 1987, two works by Mary Kelly: Mimus, Act I (Posner) , 2012, and Mimus, Act II (Meyers) , 2012. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Tom Burr, "Silver Plant Platform," 1997; rear wall, from left to right: David Wojnarowicz, "The Death of American Spirituality," 1987, two works by Mary Kelly: "Mimus, Act I (Posner)," 2012, and "Mimus, Act II (Meyers)," 2012, and Tom Burr, "Single Partition Platform," 1997. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Tom Burr, Silver Plant Platform, 1997; rear wall, from left to right: David Wojnarowicz, The Death of American Spirituality, 1987, two works by Mary Kelly: Mimus, Act I (Posner) , 2012, and Mimus, Act II (Meyers) , 2012, and Tom Burr, Single Partition Platform, 1997. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Sue Williams, "The Art World Can Suck My Proverbial Dick," 1992; next gallery: installation works by Stephen Prina and William Leavitt. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Sue Williams, The Art World Can Suck My Proverbial Dick, 1992; next gallery: installation works by Stephen Prina and William Leavitt. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: tables from Mike Kelley, "Craft Morphology Flow Chart," 1991; on wall: three paintings by Sue Williams, from left to right: "The Art World Can Suck My Proverbial Dick," 1992, "Scooter," 1992, and "Record Profits," 2008; visible at right: works by Christopher Williams, Mary Kelly, and Tom Burr. Installation view at the Hammer Museum, Los Angeles]()
Foreground: tables from Mike Kelley, Craft Morphology Flow Chart, 1991; on wall: three paintings by Sue Williams, from left to right: The Art World Can Suck My Proverbial Dick, 1992, Scooter, 1992, and Record Profits, 2008; visible at right: works by Christopher Williams, Mary Kelly, and Tom Burr. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Mike Kelley, "Craft Morphology Flow Chart," 1991; left wall, from left to right: Fred Wilson, "Slit," 1995, and three works by Paul McCarthy: "Subjective Subliminal Ads," 1976–1979, "Winston Longs (collage)," 1976–79, and "The Dickies," 1976–79; right wall, from left to right: three paintings by Sue Williams: "The Art World Can Suck My Proverbial Dick," 1992, "Scooter," 1992, "Record Profits," 2008. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Mike Kelley, Craft Morphology Flow Chart, 1991; left wall, from left to right: Fred Wilson, "Slit," 1995, and three works by Paul McCarthy: "Subjective Subliminal Ads," 1976–1979, "Winston Longs (collage)," 1976–79, and "The Dickies," 1976–79; right wall, from left to right: three paintings by Sue Williams: The Art World Can Suck My Proverbial Dick, 1992, Scooter, 1992, and Record Profits, 2008. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Mike Kelley, "Craft Morphology Flow Chart," 1991. Installation view at the Hammer Museum, Los Angeles]()
Mike Kelley, Craft Morphology Flow Chart, 1991. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Mike Kelley, "Craft Morphology Flow Chart," 1991 (detail). Installation view at the Hammer Museum, Los Angeles]()
Mike Kelley, Craft Morphology Flow Chart, 1991 (detail). Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![From left to right: Mike Kelley, "Craft Morphology Flow Chart," 1991, and Fred Wilson, "Slit," 1995. Installation view at the Hammer Museum, Los Angeles]()
From left to right: Mike Kelley, Craft Morphology Flow Chart, 1991, and Fred Wilson, Slit. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014; daytime view from Westwood Blvd. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014; daytime view from Westwood Blvd. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Gretchen Bender, "Total Recall," 1987. Installation view at the Hammer Museum, Los Angeles]()
Gretchen Bender, Total Recall, 1987. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Gretchen Bender, "Total Recall," 1987. Installation view at the Hammer Museum, Los Angeles]()
Gretchen Bender, Total Recall, 1987. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Silvia Kolbowski, "Proximity to Power, American Style," 2003-4. Installation view at the Hammer Museum, Los Angeles]()
Silvia Kolbowski, Proximity to Power, American Style, 2003-4. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Silvia Kolbowski, "Proximity to Power, American Style," 2003-4. Installation view at the Hammer Museum, Los Angeles]()
Silvia Kolbowski, Proximity to Power, American Style, 2003-4. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Nayland Blake, "Feeder 2," 1998. Installation view at the Hammer Museum, Los Angeles]()
Nayland Blake, Feeder 2, 1998. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Nayland Blake, "Feeder 2," 1998. Installation view at the Hammer Museum, Los Angeles]()
Nayland Blake, Feeder 2, 1998. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Louise Lawler, "Slides by Night: Now That We Have Your Attention What Are We Going to Say?," 1985. Installation view at the Hammer Museum, Los Angeles]()
Louise Lawler, Slides by Night: Now That We Have Your Attention What Are We Going to Say?, 1985. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Haim Steinbach, "now you can afford to stop driving each other crazy," 1986. Installation view at the Hammer Museum, Los Angeles]()
Haim Steinbach, now you can afford to stop driving each other crazy , 1986. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Barbara Kruger, "Untitled (Hello/Goodbye)," 2014. Installation view at the Hammer Museum, Los Angeles]()
Barbara Kruger, Untitled (Hello/Goodbye), 2014. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Haim Steinbach, "now you can afford to stop driving each other crazy," 1986. Installation view at the Hammer Museum, Los Angeles]()
Haim Steinbach, now you can afford to stop driving each other crazy , 1986. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Exhibition entryway sign. Installation view at the Hammer Museum, Los Angeles]()
Exhibition entryway sign. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Andrea Fraser, "Museum Highlights: A Gallery Talk," 1989; right wall: Renée Green, "Mise-en-Scene: Commemorative Toile," 1992–94; visible in next galleries: works by Louise Lawler, Mary Kelly, Jenny Holzer, Felix Gonzalez-Torres, Rirkrit Tiravanija, and Fred Wilson. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Andrea Fraser, Museum Highlights: A Gallery Talk, 1989; right wall: Renée Green, Mise-en-Scene: Commemorative Toile, 1992–94; visible in next galleries: works by Louise Lawler, Mary Kelly, Jenny Holzer, Felix Gonzalez-Torres, Rirkrit Tiravanija, and Fred Wilson. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall label for Louise Lawler, "Birdcalls," 1972–1981. Installation view at the Hammer Museum, Los Angeles]()
Wall label for Louise Lawler, Birdcalls, 1972–1981. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Two installations by Mark Dion. On left: "The Department of Marine Animal Identification of the City of New York (Chinatown Division)," 1992; on right: "N.Y. State Bureau of Tropical Conservation," 1992. Installation view at the Hammer Museum, Los Angeles]()
Two installations by Mark Dion. On left: The Department of Marine Animal Identification of the City of New York (Chinatown Division), 1992; on right: N.Y. State Bureau of Tropical Conservation, 1992. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Andrea Fraser, "Museum Highlights: A Gallery Talk," 1989; background: works by Louise Lawler, Jenny Holzer, Felix Gonzalez-Torres, Rirkrit Tiravanija, and Fred Wilson. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Andrea Fraser, Museum Highlights: A Gallery Talk, 1989; background: works by Louise Lawler, Jenny Holzer, Felix Gonzalez-Torres, Rirkrit Tiravanija, and Fred Wilson. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Wall text from Andrea Fraser, "Notes on the Margin," 1990–2013. Installation view at the Hammer Museum, Los Angeles]()
Wall text from Andrea Fraser, Notes on the Margin, 1990–2013. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Renée Green, "Mise-en-Scene: Commemorative Toile," 1992–94; rear wall: Mark Dion, "The Department of Marine Animal Identification of the City of New York (Chinatown Division)," 1992; right wall: Mark Dion, "N.Y. State Bureau of Tropical Conservation," 1992. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Renée Green, Mise-en-Scene: Commemorative Toile, 1992–94; rear wall: Mark Dion, The Department of Marine Animal Identification of the City of New York (Chinatown Division), 1992; right wall: Mark Dion, N.Y. State Bureau of Tropical Conservation, 1992. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Adrian Piper, "This Is Not the Documentation of a Performance," 1976; corner: Martha Rosler, "Global Taste: A Meal in Three Courses," 1985; right wall: Martha Rosler, "The Bowery in two inadequate descriptive systems," 1974–75. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Adrian Piper, This Is Not the Documentation of a Performance, 1976; corner: Martha Rosler, Global Taste: A Meal in Three Courses, 1985; right wall: Martha Rosler, The Bowery in two inadequate descriptive systems, 1974–75. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Center, on floor: Tom Burr, "Propped Perfume," 2008; left wall, from left to right: Martha Rosler, "The Bowery in two inadequate descriptive systems," 1974–75, two works by Allan McCollum titled "Perpetual Photo," 1982; rear wall, from left to right: Silvia Kolbowski, "Model Pleasure III," 1983, and Allan McCollum, "Collection of Five Plaster Surrogates," 1982/1990; right wall: Louise Lawler, "Bulbs," 2005–6. Installation view at the Hammer Museum, Los Angeles]()
Center, on floor: Tom Burr, Propped Perfume, 2008; left wall, from left to right: Martha Rosler, The Bowery in two inadequate descriptive systems, 1974–75, two works by Allan McCollum titled Perpetual Photo, 1982; rear wall, from left to right: Silvia Kolbowski, Model Pleasure III, 1983, and Allan McCollum, Collection of Five Plaster Surrogates, 1982/1990; right wall: Louise Lawler, Bulbs, 2005–6. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Foreground: Tom Burr, "Propped Perfume," 2008; in same gallery, left wall: Louise Lawler, "Bulbs," 2005–6; right wall: Mary Kelly, "Post-Partum Document: Documentation VI, Pre-writing Alphabet, Exergue and Diary," 1978; in next gallery: works by Jenny Holzer, Felix Gonzalez-Torres, Rirkrit Tiravanija, and Fred Wilson. Installation view at the Hammer Museum, Los Angeles]()
Foreground: Tom Burr, Propped Perfume, 2008; in same gallery, left wall: Louise Lawler, Bulbs, 2005–6; right wall: Mary Kelly, "Post-Partum Document: Documentation VI, Pre-writing Alphabet, Exergue and Diary," 1978; in next gallery: works by Jenny Holzer, Felix Gonzalez-Torres, Rirkrit Tiravanija, and Fred Wilson. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Allan McCollum, "Collection of Five Plaster Surrogates," 1982/1990; center: Louise Lawler, "Bulbs," 2005–6; next gallery: works by Rirkrit Tiravanija, Glenn Ligon, Fred Wilson, and Felix Gonzalez-Torres. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Allan McCollum, Collection of Five Plaster Surrogates, 1982/1990; center: Louise Lawler, Bulbs, 2005–6; next gallery: works by Rirkrit Tiravanija, Glenn Ligon, Fred Wilson, and Felix Gonzalez-Torres. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: two works by Allan McCollum titled "Perpetual Photo," 1982; right wall, from left to right: Silvia Kolbowski, "Model Pleasure III," 1983, and Allan McCollum, "Collection of Five Plaster Surrogates," 1982/1990. Installation view at the Hammer Museum, Los Angeles]()
Left wall: two works by Allan McCollum titled Perpetual Photo, 1982; right wall, from left to right: Silvia Kolbowski, Model Pleasure III, 1983, and Allan McCollum, Collection of Five Plaster Surrogates, 1982/1990. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Left wall: Renée Green, "Mise-en-Scene: Commemorative Toile," 1992–94; rear wall: Mark Dion, "The Department of Marine Animal Identification of the City of New York (Chinatown Division)," 1992; right wall: Mark Dion, "N.Y. State Bureau of Tropical Conservation," 1992. Installation view at the Hammer Museum, Los Angeles]()
Left wall: Renée Green, Mise-en-Scene: Commemorative Toile, 1992–94; rear wall: Mark Dion, The Department of Marine Animal Identification of the City of New York (Chinatown Division), 1992; right wall: Mark Dion, N.Y. State Bureau of Tropical Conservation, 1992. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![Andrea Fraser, "Official Welcome" 2001–2003. Installation view at the Hammer Museum, Los Angeles]()
Andrea Fraser, Official Welcome , 2001–2003. Installation view at the Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest -
![A guest takes a photo in front of Jenny Holzer, "Inflammatory Essays," 1979–81, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
A guest takes a photo in front of Jenny Holzer, Inflammatory Essays, 1979–81, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Close up of Felix Gonzalez-Torres, "Untitled (Death by Gun)," 1990, at the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Close up of Felix Gonzalez-Torres, Untitled (Death by Gun), 1990, at the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests outside the galleries during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests outside the galleries during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests outside the galleries during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests outside the galleries during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in courtyard during the opening of "Take It or Leave It." At center: Martha Rosler, "Global Taste: A Meal in Three Courses," 1985. Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery during the opening of Take It or Leave It. At center: Martha Rosler, Global Taste: A Meal in Three Courses, 1985. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![A guest takes a poster from Felix Gonzalez-Torres, "Untitled (Death by Gun)," 1990, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
A guest takes a poster from Felix Gonzalez-Torres, Untitled (Death by Gun), 1990, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![A guest takes in Rirkrit Tiravanija, "untitled 2014 (up against the wall motherfucker)," 2014, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
A guest takes in Rirkrit Tiravanija, untitled 2014 (up against the wall motherfucker), 2014, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![DJs perform in the courtyard during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
DJs perform in the courtyard during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests outside galleries during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests outside galleries during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![A guest studies Adrian Piper, "Cornered," 1988, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
A guest studies Adrian Piper, Cornered, 1988, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery during the opening of "Take It or Leave It," Felix Gonzalez-Torres, "Untitled (USA Today)," 1990 in foreground, Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery during the opening of Take It or Leave It, Felix Gonzalez-Torres, Untitled (USA Today), 1990 in foreground. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests display a t-shirt from Rirkrit Tiravanija, "untitled 2014 (up against the wall motherfucker)," 2014, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests display a t-shirt from Rirkrit Tiravanija, untitled 2014 (up against the wall motherfucker), 2014, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests study Zoe Leonard, "Survey," 2012, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests study Zoe Leonard, Survey, 2012, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in front of Matt Mullican, "7 /12 Bulletin Boards," 2013, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in front of Matt Mullican, 7 /12 Bulletin Boards, 2013 during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Artist Matt Mullican (second from left, in glasses) and guests in gallery during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Artist Matt Mullican (second from left, in glasses) and guests in gallery during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![A guest looks at Mary Kelly, "Post-Partum Document: Documentation VI, Prewriting Alphabet, Exergue and Diary," 1978 (second version, 2010), during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
A guest looks at Mary Kelly, Post-Partum Document: Documentation VI, Prewriting Alphabet, Exergue and Diary, 1978 (second version, 2010), during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests sit in Stephen Prina, The Second Sentence of Everything that I Read Is You: Mourning Sex," 2005–7, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests sit in Stephen Prina, The Second Sentence of Everything that I Read Is You: Mourning Sex, 2005–7, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with Nayland Blake, "Dual Restraint," 1990, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with Nayland Blake, Dual Restraint, 1990, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in front of Mary Kelly, <em>Mimus, Act II (Meyers) </em>, 2012, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in front of Mary Kelly, Mimus, Act II (Meyers) , 2012, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with Tom Burr, "Propped Perfume," 2008, works by Silvia Kolbowski, Allan McCollum, and Louise Lawler during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with Tom Burr, Propped Perfume, 2008, works by Silvia Kolbowski, Allan McCollum, and Louise Lawler during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with two Mark Dion installations during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with two Mark Dion installations during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with Cady Noland, "Frame Device," 1989, works by Sue Williams, John Miller, Zoe Leonard, and Sherrie Levine during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with Cady Noland, Frame Device, 1989, works by Sue Williams, John Miller, Zoe Leonard, and Sherrie Levine during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with works by Jenny Holzer, Robert Gober, and Sherrie Levine during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with works by Jenny Holzer, Robert Gober, and Sherrie Levine during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests examine Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests examine Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests outside galleries during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests outside galleries during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with Mike Kelley, "Craft Morphology Flow Chart," 1991, works by Fred Wilson, Paul McCarthy, and Sue Williams during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with Mike Kelley, Craft Morphology Flow Chart, 1991, works by Fred Wilson, Paul McCarthy, and Sue Williams during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests climb the stairs in front of Barbara Kruger, "Untitled (Hello/Goodbye)," 2014, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests climb the stairs in front of Barbara Kruger, Untitled (Hello/Goodbye), 2014, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests look at two paintings by David Wojnarowicz during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests look at two paintings by David Wojnarowicz during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests take in Allan McCollum, "Collection of One Hundred and Twenty Drawings," 1989/93, and works from the video library during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests take in Allan McCollum, Collection of One Hundred and Twenty Drawings, 1989/93, and works from the video library during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![A guest reaches for a candy from Felix Gonzalez-Torres, "Untitled (USA Today)," 1990. Hammer Museum, Los Angeles]()
A guest reaches for a candy from Felix Gonzalez-Torres, Untitled (USA Today), 1990. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests outside galleries during the opening of "Take It or Leave It." Artist William Leavitt (in glasses) can be seen at center. Hammer Museum, Los Angeles, February 8, 2014]()
Guests outside galleries during the opening of Take It or Leave It. Artist William Leavitt (in glasses) can be seen at center. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Renée Green, "Mise-en-Scene: Commemorative Toile," 1992–1994, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
A guest studies Renée Green, Mise-en-Scene: Commemorative Toile, 1992–1994, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in Stephen Prina, The Second Sentence of Everything that I Read Is You: Mourning Sex," 2005–7, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in Stephen Prina, The Second Sentence of Everything that I Read Is You: Mourning Sex, 2005–7, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests examine Glenn Ligon, "Notes on the Margin of the 'Black Book,'" 1991–93, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests examine Glenn Ligon, Notes on the Margin of the "Black Book," 1991–93, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests congregate under Fred Wilson, "To Die Upon a Kiss," 2011, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests congregate under Fred Wilson, To Die Upon a Kiss, 2011, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests encircle Felix Gonzalez-Torres, "Untitled (USA Today)," 1990, Hammer Museum, Los Angeles]()
Guests encircle Felix Gonzalez-Torres, Untitled (USA Today), 1990. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests contemplate Rirkrit Tiravanija, "untitled 2014 (up against the wall motherfucker)," 2014, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests contemplate Rirkrit Tiravanija, untitled 2014 (up against the wall motherfucker), 2014, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![From left to right: curators Anne Ellegood and Johanna Burton, artists Andrea Fraser and Mary Kelly, and director Ann Philbin at the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
From left to right: curators Anne Ellegood and Johanna Burton, artists Andrea Fraser and Mary Kelly, and director Ann Philbin at the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests watch videos from the video library during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests watch videos from the video library during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests outside galleries during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests outside galleries during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in gallery with Tom Burr, "Propped Perfume," 2008, works by Mary Kelly, Adrian Piper, and Martha Rosler during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in gallery with Tom Burr, Propped Perfume, works by Mary Kelly, Adrian Piper, and Martha Rosler during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Door to the galleries, with Andrea Fraser, "Official Welcome," 2001–2003, visible beyond, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Door to the galleries, with Andrea Fraser, Official Welcome, 2001–2003, visible beyond, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests in front of Barbara Kruger, "Untitled (Hello/Goodbye)," 2014, in museum lobby during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests in front of Barbara Kruger, Untitled (Hello/Goodbye), 2014, in museum lobby during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Exhibition co-curators Anne Ellegood (left) and Johanna Burton (right) in front of Allan McCollum, "Collection of One Hundred and Twenty Drawings," 1989/93, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Exhibition co-curators Anne Ellegood (left) and Johanna Burton (right) in front of Allan McCollum, Collection of One Hundred and Twenty Drawings, 1989/93, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Guests admire Nayland Blake, "Feeder 2," 1998, during the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
Guests admire Nayland Blake, Feeder 2, 1998, during the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![From left to right: curator Anne Ellegood, artists Thomas Lawson and Allan McCollum, and curator Johanna Burton at the opening of "Take It or Leave It," Hammer Museum, Los Angeles, February 8, 2014]()
From left to right: curator Anne Ellegood, artists Thomas Lawson and Allan McCollum, and curator Johanna Burton at the opening of Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney. -
![Proposed design for "Artforum" advertisement for "Take It or Leave It," from exhibition identity document. Hammer Museum, Los Angeles]()
Proposed design for Artforum advertisement for Take It or Leave It, from exhibition identity document. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Proposed lobby title wall signage for "Take It or Leave It," from exhibition identity document. Hammer Museum, Los Angeles]()
Proposed lobby title wall signage for Take It or Leave It, from exhibition identity document. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Design for advertisement for "Take It or Leave It." Hammer Museum, Los Angeles]()
Design for advertisement for Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Alternate designs for "Artforum" advertisement for "Take It or Leave It," from exhibition identity document. Hammer Museum, Los Angeles]()
Alternate designs for Artforum advertisement for Take It or Leave It, from exhibition identity document. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Proposed building banner design for "Take It or Leave It," from exhibition identity document. Hammer Museum, Los Angeles]()
Proposed building banner design for Take It or Leave It, from exhibition identity document. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Design for Artforum advertisement for "Take It or Leave It." Hammer Museum, Los Angeles]()
Design for Artforum advertisement for Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Design for KCRW advertisement for "Take It or Leave It." Hammer Museum, Los Angeles]()
Design for KCRW advertisement for Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Preliminary invitation design for "Take It or Leave It" opening, from exhibition identity document. Hammer Museum, Los Angeles]()
Preliminary invitation design for Take It or Leave It opening, from exhibition identity document. Hammer Museum, Los Angeles -
![Proposed title treatment for "Take It or Leave It," from exhibition identity document. Hammer Museum, Los Angeles]()
Proposed title treatment for Take It or Leave It, from exhibition identity document. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Front design for invitation to the opening of "Take It or Leave It," February 8, 2014.]()
Front design for invitation to the opening of Take It or Leave It, February 8, 2014.Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Back design for invitation to the opening of "Take It or Leave It," February 8, 2014]()
Back design for invitation to the opening of Take It or Leave It, February 8, 2014Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Design for Los Angeles Magazine advertisement for "Take It or Leave It." Hammer Museum, Los Angeles]()
Design for Los Angeles Magazine advertisement for Take It or Leave It. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. -
![Proposed title wall signage for "Take It or Leave It," from exhibition identity document. Hammer Museum, Los Angeles]()
Proposed title wall signage for Take It or Leave It, from exhibition identity document. Hammer Museum, Los AngelesTake It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014.
