On view from January 25 – August 9, 2020 at Kunst Museum Winterthur, Standard Deviations marks Walead Beshty’s first solo museum display in the German-speaking world. Regen Projects is pleased to host an exclusive digital presentation of this milestone exhibition, which reopens May 12.
Presenting several new works by Beshty for the first time, Standard Deviations places particular emphasis on the artist's current output. A portion of the exhibition is also dedicated to surveying Beshty's notable early works, such as his photograms — which first brought him to international attention — as well as works from his well-known FedEx series.
The exhibition in Winterthur was curated by Lynn Kost and created in collaboration with MAMCO Geneva. To commemorate the co-presentation, a new, comprehensive monograph will be published by Koenig Books.
"Beshty accepts the multi-contextuality of art in society and the inherent difficulty to formulate valid statements through art. His work does not comment on the world or explain it. His works simply bear witness to their own existence by being physically present, circulating in the system, and literally portraying them."
— Lynn Kost, from Walead Beshty: Work in Exhibition 2011 – 2020
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Installation view of Walead Beshty: Standard Deviations
Kunst Museum Winterthur, Winterthur, Switzerland
January 25 - August 9, 2020
Photo: Reto Kaufmann
Copper Surrogates
The art handling-based Copper Surrogate works are polished raw copper panels that are handled with bare hands during their installation and deinstallation, causing the surface of the panels to patina where they come into contact with the bodies of the installers. The Copper Surrogates propose a continuity between the installation and display of the work and the work’s physical appearance, drawing these aspects of the “life” of a work of art together—aspects which are usually treated as discrete. To this end, the works cannot ever be mistaken for existing in isolation; one must accept their dependence on their immediate surroundings and the labor used to install them. What is more, they cannot be seen as separate from these elements; their immediate environment is worn on their reflective surfaces, as are the marks of the hands that installed them.
FedEx Works
Despite operating largely out of public view, the circulation of artworks is dependent on an expansive international system that is as central to their display as any other conventionally acknowledged material support (such as frames, plinths, walls, or architecture). The division between the work of art and its means of circulation has always been arbitrary—artworks have always been embedded in a transactional distributive network, and have always been informed, i.e. been given form, by this network. This reliance has only grown increasingly significant as art circulation has become more global and rapid, and artworks have become accepted as both an asset class and financial tool. The FedEx works imbued these circulation systems within the artwork, making the support part of the active production and reception of the work. In short, the transport is a visible part of the work, a necessary element of the work’s “appearance” and is indistinguishable from the work itself. There is, in fact, no work without transaction and transmission, whether concrete or abstract. Furthermore, the airway bills, customs forms, and pro-forma affixed to the works indicate the provenance of the work and the system of obligations that support the travel of the work, as each form indicates an agreement between parties centered around the object. Thus, the work is a form of contract between parties, and this contract, like the transportation system it is a part of, is a necessary and unavoidable component of the work of art.
Non-Pictorial Photographic Works
The non-pictorial photographic works began out of an attempt to collapse the distinction between depictions and their material support by using the paper itself to define the forms. Depending on the size of the paper, the forms on its surface will be different (whether they are curled, folded, or crumpled), because each piece of paper is only manipulatable in ways that are specific to it. The distinction between what is represented on the surface of the photograph and the photographic material is removed (unlike a normal photograph, where the picture and the material support are kept conceptually separate). Furthermore, the paper acts like a conventional negative, casting an image of itself onto itself, further eliminating the separateness of "image" and material. This causes some instances where a literal fold or curl in the paper is echoed by a shape describing that fold or curl, while in other instances, this produces shapes that are not directly manifest in the topography of the paper. In the instances where the form shown on the surface is discontinuous with the surface the form is on, the paper has served as a “negative” that produces an image of itself on its surface. It could be said that the paper cast a shadow of itself onto itself, and because the paper is photographic, this momentary “shadow” can be fixed in place.
Office Works
The Office Works are produced from outdated or out-of-use electronics from the artist’s studio or exhibition spaces. The machines are drilled straight through the object using a diamond-head drill bit. The components of the object are then disassembled and arranged at intervals on a 1 1/4-inch diameter steel dowel and mounting stand. Electronic connections between components are then reconnected and the work is powered on, resulting in the machine persisting in its attempt to operate. Error codes, beeping, and repeated attempts at startup are part of the normal functioning of the work. The height of the stand is the height of the artist. Misuse of these objects produces an unexpected uncanniness and that logic is extended to the point where they stand upright like other figures in the room and continue to be animate. That tension between the impulse to anthropomorphize technological objects, and then, the base fact that these are just things, is the tension that animates the work.
Steel Surrogate (48” x 120” 16 Gauge 304 Stainless Steel Alloy, Convex Curve) / Steel Surrogate (48” x 120” 16 Gauge 304 Stainless Steel Alloy, Concave Curve) / Steel Surrogate (48" x 120" 16 Gauge 304 Stainless Steel Alloy, Convex Curve)
2019
Polished steel, 3 parts
48 x 33 x 9 inches (121.9 x 83.8 x 22.9 cm)
48 x 33 x 17 inches (121.9 x 83.8 x 43.2 cm)
48 x 33 x 9 inches (121.9 x 83.8 x 22.9 cm)
Copper Surrogates (48” x 120” 48 ounce C11000 Copper Alloy, Convex Curve / 48” x 120” 48 ounce C11000 Copper Alloy, Concave Curve: February 12/18, 2019, Los Angeles, California; January 13–17, 2020, Winterthur, Switzerland)
2019–
Polished copper, 2 parts
Diptych,
Concave Dimensions:
24 x 33 x 9 inches (61 x 83.8 x 22.9 cm)
Convex Dimensions:
24 x 33 x 17 inches (61 x 83.8 x 43.2 cm)
Body Print (Azithromycin 250 mg Dose Pack, Lorazepam 1 mg Tablet, Metronidazole Topical 0.75%GL, Lower Rib Cage and Attending Soft Tissues, Left Metacarpophalangeal Joint and Attending Soft Tissues)
2017
Etched copper-clad FR-4 glass-reinforced epoxy laminate board
12 x 8 inches (30.5 x 20.3 cm) each, 5 parts
Copper Tube (FedEx® Tube ©2005 FEDEX 139752 REV 10/05 SSCC), International Priority, Los Angeles–Brussels trk#875468975982, September 8–13, 2011, International Priority, Groot Bijgaarden–Geneva trk#804219510690, May 17–24, 2019, Priority Overnight, Geneva– Winterthur trk#776185632420, September 10–11, 2019
2011–
Polished copper, accrued FedEx shipping labels
6 x 6 x 40 inches (15.2 x 15.2 x 101.6 cm)
FedEx® Medium Framed Art Box 2011 FedEx 163095 REV 7/11, International Priority, Los Angeles–Geneva trk#775101486139, April 30–May 3, 2019, Priority Overnight, Geneva–Winterthur trk#776185494170, September 10–11, 2019
2019–
Laminated glass, FedEx shipping box, accrued FedEx shipping and tracking labels
33 3/4 x 4 x 28 inches (85.7 x 10.2 x 71.1 cm)
Office Work (Apple iBook Intel Core 2 Duo/2.13 13-inch)
2016
Apple iBook Intel Core 2 Duo/2.13 13-inch, steel, extension cord, timer
72 x 16 7/8 x 17 3/8 inches (182.9 x 42.9 x 44.1 cm)
Sharp PN-LE901 90-inch HD 1080p LED-backlit LCD TV
2018
Sharp PN-LE901 90-inch HD 1080p LED-backlit LCD TV
80 7/8 x 47 11/16 x 4 1/2 inches (205.4 x 121.1 x 11.4 cm)
Cross-Contaminated Inverted RA4 Contact Print (MYC/Six Magnet: Los Angeles, California, April 11, 2016; Fujicolor Crystal Archive Super Type C, Em. No. 112-006; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174; 07216)
2017
Color photographic paper
101 5/8 x 129 1/8 inches (258.1 x 328 cm)
RA4 Contact Print / Processor Stall YMC/Six Magnet: Los Angeles, California, September 12, 2014, Fujicolor Crystal Archive Super Type C, Em. No. 112-006, 100114), Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174
2016
Color photographic paper and brushed and polished brass frame
121 1/2 x 51 1/2 inches (305.4 x 130.8 cm)
Transparency, 2017 [Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) February 2–7, 2017 LAX/MIA MIA/LAX; Negative (Kodak Portra 400NC Em. No. 1022) February 2–7, 2017 LAX/MIA MIA/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) March 19–30, 2017 LAX/HND NRT/LAX; Negative (Kodak Portra 400NC Em. No. 1022) March 19–30, 2017 LAX/HND NRT/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) April 12–24, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) April 12–24, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) May 23– 26, 2017 LAX/YVR YVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) May 23– 26, 2017 LAX/YVR YVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Negative (Kodak Portra 400NC Em. No. 1022) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 11–14, 2017 LAX/ASE ASE/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 11–14, 2017 LAX/ASE ASE/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 18–30, 2017 LAX/GDL PVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 18–30, 2017 LAX/GDL PVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) September 5–8, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) September 5–8, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX]
2018
Epson Ultrachrome K3 archival ink jet print on Hahnemühle FineArt Pearl Paper
18 parts, each:
14 1/2 x 11 5/8 x 1 1/2 inches
Transparency, 2017 [Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) February 2–7, 2017 LAX/MIA MIA/LAX; Negative (Kodak Portra 400NC Em. No. 1022) February 2–7, 2017 LAX/MIA MIA/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) March 19–30, 2017 LAX/HND NRT/LAX; Negative (Kodak Portra 400NC Em. No. 1022) March 19–30, 2017 LAX/HND NRT/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) April 12–24, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) April 12–24, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) May 23–26, 2017 LAX/YVR YVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) May 23–26, 2017 LAX/YVR YVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Negative (Kodak Portra 400NC Em. No. 1022) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 11–14, 2017 LAX/ASE ASE/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 11–14, 2017 LAX/ASE ASE/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 18–30, 2017 LAX/GDL PVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 18–30, 2017 LAX/GDL PVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) September 5–8, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) September 5–8, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX] (detail)
2018
Epson Ultrachrome K3 archival ink jet print on Hahnemühle FineArt Pearl Paper
18 parts, each:
14 1/2 x 11 5/8 x 1 1/2 inches
Selected Works (2009–2011/November 15, 2010–March 16, 2011)
2011
Color photographic paper, black and white photographic paper, archival inkjet papers
90 x 50 inches (228.6 x 127 cm)
Make Ready 3: Uncut Signature [Walead Beshty: Securities and Exchanges, Ullens Center for Contemporary Art: Beijing, Jing Cai Shi Ji, Beijing, China, September 23, 2011]
2011
Seven-color offset on coated paper
34 3/4 x 23 1/2 x 1/4 inches (88.3 x 59.7 x .6 cm)
Blind Collage (Three 180º Rotations, The New York Times, January 21, 2020)
2020
Newspaper, tape, and 22 karat gold leaf
39 1/8 x 31 1/4 x 1 1/2 inches (99.4 x 79.4 x 3.8 cm)
K5 FIX YOUR CREDIT (800) 791-6365; PARAMOS LA VENTA de Su CASA en 24 HORAS! No es bancarota o modificaci.n 562-443-7300; PINK SLIPLOANS CASH IN 1 HOUR 800.910.6901 SE HABLA ESPAŃOL WWW.LOAN4TITLE.COM; TAX ADVANCE $2,500 MONEY WITHIN 24HRS 323-481-0787; I BUY HOUSES FAST CA$H ANY AREA, PRICE, CONDITION 818-574-3999; ELIMINE 2DA HIPOTECA (LINEA DE CREDITO) PORGRAMA DEL GOBIERNO *GRATIS* (323) 804-9910
2020
Cast acrylic, acrylic enamel, vinyl screen ink
18 x 24 x 24 inches (45.7 x 61 x 61 cm)
"Interdependency is an important aspect of the work, a way it points outside the boundaries and partitions around the art object. It’s also a matter of using existing procedures in a way that was not intended … to take systems that are meant to be neutral, mute carriers and show how they 'inform' the things which they transmit or circulate, how they permeate our experience of objects."
— Walead Beshty in conversation with Lionel Bovier, from Walead Beshty: Work in Exhibition 2011 – 2020
![Transparency, 2017 [Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) February 2–7, 2017 LAX/MIA MIA/LAX; Negative (Kodak Portra 400NC Em. No. 1022) February 2–7, 2017 LAX/MIA MIA/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) March 19–30, 2017 LAX/HND NRT/LAX; Negative (Kodak Portra 400NC Em. No. 1022) March 19–30, 2017 LAX/HND NRT/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) April 12–24, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) April 12–24, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) May 23– 26, 2017 LAX/YVR YVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) May 23– 26, 2017 LAX/YVR YVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Negative (Kodak Portra 400NC Em. No. 1022) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 11–14, 2017 LAX/ASE ASE/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 11–14, 2017 LAX/ASE ASE/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 18–30, 2017 LAX/GDL PVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 18–30, 2017 LAX/GDL PVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) September 5–8, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) September 5–8, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX]
2018
Epson Ultrachrome K3 archival ink jet print on Hahnemühle FineArt Pearl Paper
18 parts, each:
14 1/2 x 11 5/8 x 1 1/2 inches](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/d755e9783c37732d0b4d0f377b7dc907.jpeg)
![Transparency, 2017 [Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) February 2–7, 2017 LAX/MIA MIA/LAX; Negative (Kodak Portra 400NC Em. No. 1022) February 2–7, 2017 LAX/MIA MIA/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) March 19–30, 2017 LAX/HND NRT/LAX; Negative (Kodak Portra 400NC Em. No. 1022) March 19–30, 2017 LAX/HND NRT/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) April 12–24, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) April 12–24, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) May 23–26, 2017 LAX/YVR YVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) May 23–26, 2017 LAX/YVR YVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Negative (Kodak Portra 400NC Em. No. 1022) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 11–14, 2017 LAX/ASE ASE/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 11–14, 2017 LAX/ASE ASE/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 18–30, 2017 LAX/GDL PVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 18–30, 2017 LAX/GDL PVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) September 5–8, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) September 5–8, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX] (detail)
2018
Epson Ultrachrome K3 archival ink jet print on Hahnemühle FineArt Pearl Paper
18 parts, each:
14 1/2 x 11 5/8 x 1 1/2 inches](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/c588603181c6126f917abe12e3bcca78.jpeg)
![Make Ready 3: Uncut Signature [Walead Beshty: Securities and Exchanges, Ullens Center for Contemporary Art: Beijing, Jing Cai Shi Ji, Beijing, China, September 23, 2011] 
2011
Seven-color offset on coated paper
34 3/4 x 23 1/2 x 1/4 inches (88.3 x 59.7 x .6 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/288b36a3b7eb536df9bbac7d10c98fe8.jpeg)
![Transparency, 2017 [Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) February 2–7, 2017 LAX/MIA MIA/LAX; Negative (Kodak Portra 400NC Em. No. 1022) February 2–7, 2017 LAX/MIA MIA/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) March 19–30, 2017 LAX/HND NRT/LAX; Negative (Kodak Portra 400NC Em. No. 1022) March 19–30, 2017 LAX/HND NRT/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) April 12–24, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) April 12–24, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) May 23– 26, 2017 LAX/YVR YVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) May 23– 26, 2017 LAX/YVR YVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Negative (Kodak Portra 400NC Em. No. 1022) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 11–14, 2017 LAX/ASE ASE/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 11–14, 2017 LAX/ASE ASE/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 18–30, 2017 LAX/GDL PVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 18–30, 2017 LAX/GDL PVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) September 5–8, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) September 5–8, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX]
2018
Epson Ultrachrome K3 archival ink jet print on Hahnemühle FineArt Pearl Paper
18 parts, each:
14 1/2 x 11 5/8 x 1 1/2 inches](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/d755e9783c37732d0b4d0f377b7dc907.jpeg)
![Transparency, 2017 [Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) February 2–7, 2017 LAX/MIA MIA/LAX; Negative (Kodak Portra 400NC Em. No. 1022) February 2–7, 2017 LAX/MIA MIA/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) March 19–30, 2017 LAX/HND NRT/LAX; Negative (Kodak Portra 400NC Em. No. 1022) March 19–30, 2017 LAX/HND NRT/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) April 12–24, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) April 12–24, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) May 23–26, 2017 LAX/YVR YVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) May 23–26, 2017 LAX/YVR YVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Negative (Kodak Portra 400NC Em. No. 1022) June 11–25, 2017 LAX/ORD/ALB ALB/PHL/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 11–14, 2017 LAX/ASE ASE/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 11–14, 2017 LAX/ASE ASE/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) July 18–30, 2017 LAX/GDL PVR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) July 18–30, 2017 LAX/GDL PVR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) September 5–8, 2017 LAX/EWR EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) September 5–8, 2017 LAX/EWR EWR/LAX; Positive (Fujichrome RDPIII Provia 100F Em. No. 05481) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX; Negative (Kodak Portra 400NC Em. No. 1022) October 29–November 4, 2017 LAX/EWR/FCO MXP/EWR/LAX] (detail)
2018
Epson Ultrachrome K3 archival ink jet print on Hahnemühle FineArt Pearl Paper
18 parts, each:
14 1/2 x 11 5/8 x 1 1/2 inches](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/c588603181c6126f917abe12e3bcca78.jpeg)
![Make Ready 3: Uncut Signature [Walead Beshty: Securities and Exchanges, Ullens Center for Contemporary Art: Beijing, Jing Cai Shi Ji, Beijing, China, September 23, 2011] 
2011
Seven-color offset on coated paper
34 3/4 x 23 1/2 x 1/4 inches (88.3 x 59.7 x .6 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/288b36a3b7eb536df9bbac7d10c98fe8.jpeg)
