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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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, 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 Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Brian Forrest
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 Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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; left wall: Glenn Ligon, Rückenfigur, 2009. Installation view at the Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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. Installation view at the Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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, and Record Profits, 2008. Installation view at the Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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. Installation view at the Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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. At center: Martha Rosler, Global Taste: A Meal in Three Courses, 1985. Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney.
Guests in front of Mary Kelly, Mimus, Act II (Meyers) , 2012, during the opening of Take It or Leave It. Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney.
A guest studies Renée Green, Mise-en-Scene: Commemorative Toile, 1992–1994, during the opening of Take It or Leave It. Hammer Museum, Los Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014. Photography by Todd Cheney.
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 Angeles
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Take 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
Proposed title treatment for Take It or Leave It, from exhibition identity document. Hammer Museum, Los Angeles
Take 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.
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
Take 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
Take 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
Take It or Leave It: Institution, Image, Ideology. February 9–May 18, 2014.
Chicago Manual of Style citation for this page
"Documentation." Take It or Leave It: Institution, Image, Ideology Digital Archive. Los Angeles: Hammer Museum, 2017. {PAGE_URL}.