View of the buildings and courtyard newly renovated by Frederick Fisher, showing a Richard Nonas wood sculpture on the ground at center, with wall texts by Lawrence Weiner and paintings by John Baldessari, all works 1997. Photo © Michael Moran.
Close-up of Pipilotti Rist’s installation Selbstlos im Lavabad, 1994, a video monitor visible through wooden floorboards near the maine entrance. Photo © Michael Moran.
View of the museum’s new café/bookstore with suspended slide viewers containing images of works by over 100 artists; from the two part group show “Heaven–Private View and Heaven–Public View.” The café’s furniture is designed by Dakota Jackson with ottomans by Tobias Rehberger. Photo © Michael Moran.
Installation view of the ground-floor “Jack Smith: Flaming Creature” retrospective, showing two “lobster costumes” from 1975 in foreground; a costume for the character Clamato, Crab Ogress of Mu, from Smith’s 1969 production Brasseries of Atlantis in background at right; and the artist’s framed “slide movies” on the walls. Photo © Michael Moran.
Installation view of Martin von Haselberg’s series of altered photographic self-portraits from 1997; in the basement. Photo © Michael Moran.
One of 10 works by Lucio Pozzi from “Ten Color Combinations Revisited,” 1976/97, all acrylic on plywood, various dimensions. This is one of several works re-created by artists from P.S. 1’s inaugural show, “Rooms.” Photo © Michael Moran.
Marina Abramovic’s Double Edge, 1995, wood, stainless-steel knives, heating elements; installed below a first-floor balcony. Photo © Michael Moran.
An untitled 1997 work by Madeleine Hatz installed in one of the building’s stairwells, oil on joint compound, painted plaster reliefs; included in the “Vertical Painting” show. Photo © Michael Moran.
Rebecca Quaytman’s silkscreen Two Places in One, Here and My Studio, 1997, installed in one of the building’s stairwells; included in the “Vertical Painting” show. Photo © Michael Moran.
Installation view of “John Coplans: A Self-Portrait,” showing recent multi-paneled photographs from an ongoing series; in a double-heighted gallery on the third floor. Photo © Michael Moran.
Installation view of Julian Schnabel’s “Ogni Angelo e Spaventoso,” which includes Marie, a hanging bronze bell from 1983, a ceiling painting, Father Pete Jacobs, from 1997, and a bronze-and-ceramic-tiled table with four wooden benches from 1997; installed on the roof in the former schools bell tower. Photo © Michael Moran.