Welcome to the MoCAAAE Online Exhibition!
Bend Your Eye On Vacancy
New Works by Anna Abhau Elliott
On View April 10 - 23
MoCAAAE
Studio 328
The Gatewood Building
527 Highland Avenue
Greensboro, NC
Open 24/7
The MoCAAAE is thrilled to invite you to the latest exhibition of works by Anna Abhau Elliott. Bend Your Eye on Vacancy explores a vision towards a truly interdisciplinary art, combining sculpture, text, installation, and theatre practices. Elliott’s work uses archives of histories artistic, personal, and geographical to create layers that function beyond the sum of their parts.
Anna Abhau Elliott explores the power of the invisible. She uses her experience in the theatre to guide the viewer on a journey beyond the realm of the physical, moving into a different plane of imaginary reality populated by spirit guides, holy fools, genetic ghosts, the specter of Death, and the city of Philadelphia. Elliott presents invisibility not as emptiness, but as lively presence.
The Artist would like to thank: Billy Dee, Sarah Laponte, Taylor Allison, Neeraj Sebastian and Sarah Ragan for being generous with their skills and time, and to the rest of the wonderful cohort for being supportive, lovely, and adventurous! Photos by Sarah Laponte.
Studio 328
The Gatewood Building
527 Highland Avenue
Greensboro, NC
Open 24/7
The MoCAAAE is thrilled to invite you to the latest exhibition of works by Anna Abhau Elliott. Bend Your Eye on Vacancy explores a vision towards a truly interdisciplinary art, combining sculpture, text, installation, and theatre practices. Elliott’s work uses archives of histories artistic, personal, and geographical to create layers that function beyond the sum of their parts.
Anna Abhau Elliott explores the power of the invisible. She uses her experience in the theatre to guide the viewer on a journey beyond the realm of the physical, moving into a different plane of imaginary reality populated by spirit guides, holy fools, genetic ghosts, the specter of Death, and the city of Philadelphia. Elliott presents invisibility not as emptiness, but as lively presence.
The Artist would like to thank: Billy Dee, Sarah Laponte, Taylor Allison, Neeraj Sebastian and Sarah Ragan for being generous with their skills and time, and to the rest of the wonderful cohort for being supportive, lovely, and adventurous! Photos by Sarah Laponte.
Featured Works
2803 Spring Garden
Anna Abhau Elliott
American, born 1988
2803 Spring Garden, 2021
Mixed media (cigarette butts, A&P Brand beer cans, .25 cent frozen pot pies, Burial brewing craft beer cans, FAB brand baguettes, dust, lint, sawdust, tar, smoke, mice droppings), invisibility.
These two sarcophagi-like structures were created by compressing objects from two eras in Elliott’s family. When she relocated to Greensboro, she was surprised to learn that her father had lived in a duplex in the very same neighborhood, just minutes away from Elliott’s current home. They both went to the same grocery store, the Lindley Park Bestway. In this sculpture, experiences of both generations are compressed into geological strata, recalling archaeological middens piles and dinosaur fossils. The shape of the objects come from a third person’s memory from the 2008 renovation of the Bestway. The new owners removed the shelving in the aisles, revealing inches of cigarettes, dust, bits of trash, and more—likely swept under the shelves or shoved between the holes. After all, the building has been in use since 1947.
“I thought, wow, my dad’s DNA on a cigarette butt probably rested inside the Bestway from the mid-1970’s to the mid-2000’s. What’s that really about? How far can I go without just ending up back at home?”
Audio Experience:
An interview with UNCG librarian and urban architectural historian David Gwynn on the history of the Bestway grocery store.
American, born 1988
2803 Spring Garden, 2021
Mixed media (cigarette butts, A&P Brand beer cans, .25 cent frozen pot pies, Burial brewing craft beer cans, FAB brand baguettes, dust, lint, sawdust, tar, smoke, mice droppings), invisibility.
These two sarcophagi-like structures were created by compressing objects from two eras in Elliott’s family. When she relocated to Greensboro, she was surprised to learn that her father had lived in a duplex in the very same neighborhood, just minutes away from Elliott’s current home. They both went to the same grocery store, the Lindley Park Bestway. In this sculpture, experiences of both generations are compressed into geological strata, recalling archaeological middens piles and dinosaur fossils. The shape of the objects come from a third person’s memory from the 2008 renovation of the Bestway. The new owners removed the shelving in the aisles, revealing inches of cigarettes, dust, bits of trash, and more—likely swept under the shelves or shoved between the holes. After all, the building has been in use since 1947.
“I thought, wow, my dad’s DNA on a cigarette butt probably rested inside the Bestway from the mid-1970’s to the mid-2000’s. What’s that really about? How far can I go without just ending up back at home?”
Audio Experience:
An interview with UNCG librarian and urban architectural historian David Gwynn on the history of the Bestway grocery store.
| bestwayaudio.mp3 |
The Pea and the Sun
Anna Abhau Elliott
American, born 1988
The Pea and the Sun, 2021
Glass, metal, invisibility
“Given a solid ball in 3‑dimensional space, there exists a decomposition of the ball into a finite number of disjoint subsets, which can then be put back together in a different way to yield two identical copies of the original ball. However, the pieces themselves are not "solids" in the usual sense, but infinite scatterings of points.”
—Wikipedia, “The Banach-Tarski Paradox.”
This sculptural investigation of reflection, refraction, and distortion gets its name from the 1921 Banach-Tarski Paradox. This concept, which Elliott describes as “a real-life Borges story,” has inspired her for years. Here, she applies this idea to the self. As the viewer looks into the two balancing glass orbs, they will notice the contrast in size. These two spheres are actually an identical mass, though their volume is clearly very different. The viewer may also notice among the shifting prisms of light their own reflection, seeing themselves in multiple iterations, sizes, orientations, and distortions.
“I didn’t meet my half-brother until I was in my late teens, but we have so much in common. Was this just a function of us both growing up middle class in the mid-Atlantic, or were our father’s genes expressing themselves? When my half-brother holds his hands clasped at his chest like my Mamoo who he never met, is it a coincidence? Is it a coincidence that we both love for “Mystery Science Theater 3000?” Should we say “I love you” to each other? And if I see myself in him, who is it, really, that I love?”
Audio Experience:
Sounds from “Mystery Science Theatre 3000.”
American, born 1988
The Pea and the Sun, 2021
Glass, metal, invisibility
“Given a solid ball in 3‑dimensional space, there exists a decomposition of the ball into a finite number of disjoint subsets, which can then be put back together in a different way to yield two identical copies of the original ball. However, the pieces themselves are not "solids" in the usual sense, but infinite scatterings of points.”
—Wikipedia, “The Banach-Tarski Paradox.”
This sculptural investigation of reflection, refraction, and distortion gets its name from the 1921 Banach-Tarski Paradox. This concept, which Elliott describes as “a real-life Borges story,” has inspired her for years. Here, she applies this idea to the self. As the viewer looks into the two balancing glass orbs, they will notice the contrast in size. These two spheres are actually an identical mass, though their volume is clearly very different. The viewer may also notice among the shifting prisms of light their own reflection, seeing themselves in multiple iterations, sizes, orientations, and distortions.
“I didn’t meet my half-brother until I was in my late teens, but we have so much in common. Was this just a function of us both growing up middle class in the mid-Atlantic, or were our father’s genes expressing themselves? When my half-brother holds his hands clasped at his chest like my Mamoo who he never met, is it a coincidence? Is it a coincidence that we both love for “Mystery Science Theater 3000?” Should we say “I love you” to each other? And if I see myself in him, who is it, really, that I love?”
Audio Experience:
Sounds from “Mystery Science Theatre 3000.”
| mst3kaudio.mp3 |
I Think I Saw Your Wisdom There
Anna Abhau Elliott
American, born 1988
I Think I Saw Your Wisdom There, 2021
Kid gloves, wire, mirrors, video projection, invisibility
“A sentence is but a cheveril glove to a good wit: how quickly the wrong side may be turned outward!”
—Feste, “Twelfth Night,” Act 3 Scene 1, by William Shakespeare
Two inside-out kid gloves shimmer in floating reflection, suggesting a Fata Morgana (a type of mirage common at sea). In Elliott’s piece, she investigates a short scene in “Twelfth Night.” This scene, in which the disguised-as-a-boy Viola exchanges jokes with Feste, the wandering clown, is seemingly insignificant for the plot, but it actually connects many thematic investigations in other parts of the play: doubling, mirroring, gender, sex, birth, and transformation. Elliott puts a singular focus on two characters who are constantly on the move, transforming themselves to fit into a variety of circumstances. What happens when they are alone and can “be themselves?”
“‘Twelfth Night’ was the first Shakespeare play that I really fell in love with. My family and I started going to see productions of it everywhere, kind of like roadies. At first, I was grateful to see an androgynous femme lead, especially one who was pulled in two directions by a man and a woman (it reminded me of my divorced parents). I had the great fortune to play Malvolio, the uptight steward who survives a humiliating practical joke. I think it’s Shakespeare at his best: weird, sharp, demanding, hilarious, and melancholy.”
Audio Experience:
Explore Elizabethan theatre history with acting practitioners Jordan Rose Frye and J Moliere.
American, born 1988
I Think I Saw Your Wisdom There, 2021
Kid gloves, wire, mirrors, video projection, invisibility
“A sentence is but a cheveril glove to a good wit: how quickly the wrong side may be turned outward!”
—Feste, “Twelfth Night,” Act 3 Scene 1, by William Shakespeare
Two inside-out kid gloves shimmer in floating reflection, suggesting a Fata Morgana (a type of mirage common at sea). In Elliott’s piece, she investigates a short scene in “Twelfth Night.” This scene, in which the disguised-as-a-boy Viola exchanges jokes with Feste, the wandering clown, is seemingly insignificant for the plot, but it actually connects many thematic investigations in other parts of the play: doubling, mirroring, gender, sex, birth, and transformation. Elliott puts a singular focus on two characters who are constantly on the move, transforming themselves to fit into a variety of circumstances. What happens when they are alone and can “be themselves?”
“‘Twelfth Night’ was the first Shakespeare play that I really fell in love with. My family and I started going to see productions of it everywhere, kind of like roadies. At first, I was grateful to see an androgynous femme lead, especially one who was pulled in two directions by a man and a woman (it reminded me of my divorced parents). I had the great fortune to play Malvolio, the uptight steward who survives a humiliating practical joke. I think it’s Shakespeare at his best: weird, sharp, demanding, hilarious, and melancholy.”
Audio Experience:
Explore Elizabethan theatre history with acting practitioners Jordan Rose Frye and J Moliere.
| jandjjokes.mp3 |
I've Already Walked By Your Side For Some Time
Anna Abhau Elliott
American, born 1988
I’ve Already Walked By Your Side For Some Time
Springerle Cookies, Frames, Invisibility
This series of mounted images are made by stamping cookie dough with wooden molds. This technique is based on a German legacy of woodcutting and metal engraving. Traditionally, this style of cookie, flavored with anise and called a Springerle, is made around Christmas time, and depicts images of holiday cheer. Here, Elliott has created cookies that depict a different focus of Northern European woodcuts: Death with a capital D. The cookies, in their square shape, sit next to one another like panels in a comic strip, highlighting the macabre humor and wit of Death throughout the ages. Elliott invites these characters into dialogue with her own lineage of German and English European immigrants to the United States, tracing the journey of art and family from the Black Death to the Coronavirus. Look closely to find a depiction of Elliott’s great-great grandfather, John Herman Heitman, who, at age 13, was one of the few survivors of a nine week tempest-tossed passage on a ship from Hamburg to New Orleans in 1846. He lived a long life in Indiana, dying at 81. There are also visual references to song lyrics from English folk ballads, whose lyrics and stories travelled with immigrants from Europe to many parts of the USA.
“I found these 1488 woodcuts in a random book of images about music, and I just cracked up. Death is out here with high spirits and a totally wacky collection of instruments, hoping to entice the Pope and other very self-serious humans to come along to the next world. It has a pitch-perfect tone. I don’t think it trivializes Death—instead, it shows how absurd we are for dressing up in these goofy costumes for our jobs, as if that matters. I think Death has quite a job, but he seems to really appreciate the opportunity to bring rest to us busy mortals.”
Audio Experience:
Elliott performs “Little Margaret.” This ballad was first noted in England in 1611. This version of lyrics and tune is from Appalachia in 1983.
American, born 1988
I’ve Already Walked By Your Side For Some Time
Springerle Cookies, Frames, Invisibility
This series of mounted images are made by stamping cookie dough with wooden molds. This technique is based on a German legacy of woodcutting and metal engraving. Traditionally, this style of cookie, flavored with anise and called a Springerle, is made around Christmas time, and depicts images of holiday cheer. Here, Elliott has created cookies that depict a different focus of Northern European woodcuts: Death with a capital D. The cookies, in their square shape, sit next to one another like panels in a comic strip, highlighting the macabre humor and wit of Death throughout the ages. Elliott invites these characters into dialogue with her own lineage of German and English European immigrants to the United States, tracing the journey of art and family from the Black Death to the Coronavirus. Look closely to find a depiction of Elliott’s great-great grandfather, John Herman Heitman, who, at age 13, was one of the few survivors of a nine week tempest-tossed passage on a ship from Hamburg to New Orleans in 1846. He lived a long life in Indiana, dying at 81. There are also visual references to song lyrics from English folk ballads, whose lyrics and stories travelled with immigrants from Europe to many parts of the USA.
“I found these 1488 woodcuts in a random book of images about music, and I just cracked up. Death is out here with high spirits and a totally wacky collection of instruments, hoping to entice the Pope and other very self-serious humans to come along to the next world. It has a pitch-perfect tone. I don’t think it trivializes Death—instead, it shows how absurd we are for dressing up in these goofy costumes for our jobs, as if that matters. I think Death has quite a job, but he seems to really appreciate the opportunity to bring rest to us busy mortals.”
Audio Experience:
Elliott performs “Little Margaret.” This ballad was first noted in England in 1611. This version of lyrics and tune is from Appalachia in 1983.
| littemargaret.mp3 |
Ra, Sun / The Philly Sound
Anna Abhau Elliott
American, born 1988
Ra, Sun / The Philly Sound, 2021
Gold lame, glass, modified doll house, gold spray paint, platform boot, invisibility
This sculpture depicts a particular headpiece worn by both the Egyptian god Hathor and by jazz musician and ur-Afrofuturist Sun Ra, who lived in Philadelphia for decades. Though the phrase the “Philly sound” typically refers to a specific style of soul music, Elliott expands this definition to include Sun Ra’s experimental jazz work, as well as her father’s time as a more casual musician in the city. Elliott’s father said that his bandmate Ricky, a narcoleptic guitarist, noticed that Sun Ra was listed in the phone book. Ricky would periodically call Ra up, and the two would have chats about jazz, outer space, and philosophy.
The house-like structure below Hathor’s headpiece is modeled on a house from the Germantown neighborhood, where Elliott’s best friend grew up. Elliott has transformed this house into a reliquary, as one may peek into the windows and see a replica of a platform boot worn in Sun Ra’s seminal 1974 film, Space is the Place. This Catholic imagery comes from the Italian-American influence on much of Elliott’s father’s life. His band, the Band of Gold, was managed by a low-level mobster-affiliated music label, and one day, in anticipation of a big meeting, the band manager took the guys to a cathedral on 5th and Brown. In the basement, there is a physical relic of a saint. The manager prayed earnestly over the object, as the band mates looked on quizzically. It is unclear how the meeting went.
“My dad’s stories about the music scene in Philly seem to slip in and out of reality. They sound just preposterous, but then, Philly is a pretty preposterous place. My dad and my hometown don’t seem like they’re rooted in mysticism, but I could be wrong.”
Audio Experience:
Elliott secretly interviews her father about his experiences as a 14-year-old saxophone player at a Black music venue in Clayton, New Jersey in the 1960’s.
American, born 1988
Ra, Sun / The Philly Sound, 2021
Gold lame, glass, modified doll house, gold spray paint, platform boot, invisibility
This sculpture depicts a particular headpiece worn by both the Egyptian god Hathor and by jazz musician and ur-Afrofuturist Sun Ra, who lived in Philadelphia for decades. Though the phrase the “Philly sound” typically refers to a specific style of soul music, Elliott expands this definition to include Sun Ra’s experimental jazz work, as well as her father’s time as a more casual musician in the city. Elliott’s father said that his bandmate Ricky, a narcoleptic guitarist, noticed that Sun Ra was listed in the phone book. Ricky would periodically call Ra up, and the two would have chats about jazz, outer space, and philosophy.
The house-like structure below Hathor’s headpiece is modeled on a house from the Germantown neighborhood, where Elliott’s best friend grew up. Elliott has transformed this house into a reliquary, as one may peek into the windows and see a replica of a platform boot worn in Sun Ra’s seminal 1974 film, Space is the Place. This Catholic imagery comes from the Italian-American influence on much of Elliott’s father’s life. His band, the Band of Gold, was managed by a low-level mobster-affiliated music label, and one day, in anticipation of a big meeting, the band manager took the guys to a cathedral on 5th and Brown. In the basement, there is a physical relic of a saint. The manager prayed earnestly over the object, as the band mates looked on quizzically. It is unclear how the meeting went.
“My dad’s stories about the music scene in Philly seem to slip in and out of reality. They sound just preposterous, but then, Philly is a pretty preposterous place. My dad and my hometown don’t seem like they’re rooted in mysticism, but I could be wrong.”
Audio Experience:
Elliott secretly interviews her father about his experiences as a 14-year-old saxophone player at a Black music venue in Clayton, New Jersey in the 1960’s.
| dadclayton.mp3 |
Tubman Mural -->
Anna Abhau Elliott
American, born 1988
Tubman Mural—>, 2021
Marble, invisibility
In this piece, Elliott clashes together her middle-class museum-going upbringing with the rural life her ancestors lived on the shores of the Chesapeake. The squared stone pillar with a carved head on top is known as a herm, associated with the god Hermes, who guided travelers and brought good luck. Elliott depicts Harriet Tubman, who was born on the Chesapeake, instead of the Greek god. This herm is a signpost to another location, suggesting the memorials, community work, and tourist locations that have sprung up in Tubman’s birthplace. It also suggests Tubman’s heroic deeds.
“Tubman Mural—>” investigates Elliott’s positionality as a white artist making art about white supremacy. Fred Wilson famously created a pedestal labelled "Harriet Tubman" in his watershed Mining the Museum exhibition, which was shown in Baltimore, MD decades ago. What does Elliott's potentially redundant piece do here? Elliott’s choice to build a herm brings up with the erasure of Black people in America’s 19th-century monument culture. It also suggests the painful tradition of white people dehumanizing Black people: if Elliott depicts Harriet Tubman as a god, isn’t Tubman still dehumanized? How can Elliott make space for the incredible achievements of Harriet Tubman without mythologizing her, recognizing that her humanity made her work all the more amazing? Elliott’s family was in the same geography as Tubman, but did they contribute anything to this fight? What has Elliott inherited from them, and how can she up the ante?
“I find Southern Maryland and the Eastern Shore incredibly beautiful, austere, and tranquil. I wondered, did Harriet Tubman love Southern Maryland, or did she hate it? It was her birthplace, but was it home like releasing a knot in your solar plexus because the smells are so subtly familiar, or was it home like your throat closes and you kiss your thoughts goodbye?”
Audio Experience:
Elliott and her father guide themselves on a tour of Harriet Tubman’s birthplace.
American, born 1988
Tubman Mural—>, 2021
Marble, invisibility
In this piece, Elliott clashes together her middle-class museum-going upbringing with the rural life her ancestors lived on the shores of the Chesapeake. The squared stone pillar with a carved head on top is known as a herm, associated with the god Hermes, who guided travelers and brought good luck. Elliott depicts Harriet Tubman, who was born on the Chesapeake, instead of the Greek god. This herm is a signpost to another location, suggesting the memorials, community work, and tourist locations that have sprung up in Tubman’s birthplace. It also suggests Tubman’s heroic deeds.
“Tubman Mural—>” investigates Elliott’s positionality as a white artist making art about white supremacy. Fred Wilson famously created a pedestal labelled "Harriet Tubman" in his watershed Mining the Museum exhibition, which was shown in Baltimore, MD decades ago. What does Elliott's potentially redundant piece do here? Elliott’s choice to build a herm brings up with the erasure of Black people in America’s 19th-century monument culture. It also suggests the painful tradition of white people dehumanizing Black people: if Elliott depicts Harriet Tubman as a god, isn’t Tubman still dehumanized? How can Elliott make space for the incredible achievements of Harriet Tubman without mythologizing her, recognizing that her humanity made her work all the more amazing? Elliott’s family was in the same geography as Tubman, but did they contribute anything to this fight? What has Elliott inherited from them, and how can she up the ante?
“I find Southern Maryland and the Eastern Shore incredibly beautiful, austere, and tranquil. I wondered, did Harriet Tubman love Southern Maryland, or did she hate it? It was her birthplace, but was it home like releasing a knot in your solar plexus because the smells are so subtly familiar, or was it home like your throat closes and you kiss your thoughts goodbye?”
Audio Experience:
Elliott and her father guide themselves on a tour of Harriet Tubman’s birthplace.
| tubmanmaloneschurch.mp3 |
Museum Highlights
Anna Abhau Elliott
American, born 1988
Museum Highlights, 2021
Lightbox, wood, mixed media, invisibility
This installation imagines what might happen if all of the architectural interiors installed in the Philadelphia Museum of Art were all in one outdoor world. The panoramic curve of the light box creates a 180 degree view of a cloudy day, aimed to copy the lighting design used in many museums’ false windows and skies. Elliott has filled the landscape with references to famous art works housed in the PMA, but from unexpected angles—filling in blanks merely suggested by the artist or the installation. For example, in the lower right, a waterfall is visible in a forest, with a small hill of dead brush in the distance. This is Marcel Duchamp’s 1966 sculpture “Étant donnés,” seen from an entirely impossible angle (to see Duchamp’s actual sculpture, the audience must peer through eye holes in a wooden door). Other PMA structures include the cloister of a 13th century French abbey, a scholar’s home from 18th century China, a 16th century English hunting lodge, and notably, Ōgi Rodō’s ceremonial tea house, named Sunkaraku, or “Evanescent Joys.” The title “Museum Highlights” refers to the title of Andrea Fraser’s iconic piece of institutional critique, which was filmed at the PMA. This video shows Fraser giving a tour of the museum’s dining facilities, bathrooms, and gift shop, interspersed with troubling text written by the founders of the museum.
“It seems like the Philadelphia Museum of Art ages along with me, always meeting me where I am. As a kid, it was all about the arms and armor room, and the Japanese tea house. It wasn’t until I was in high school that I even saw Duchamp’s creepier work; and then I traveled to London and met the PMA all over again when I was standing in the Tate Modern and saw it in the background of Andra Fraser’s video. I immediately recognized the distinctive neo-Egyptian architecture and decoration! So, I’m just waiting to see what the PMA has in store for me next.”
Audio Experience:
A candid conversation with Sara Kalkstein, childhood (and current) best friend, about the emotional presences within visual art.
American, born 1988
Museum Highlights, 2021
Lightbox, wood, mixed media, invisibility
This installation imagines what might happen if all of the architectural interiors installed in the Philadelphia Museum of Art were all in one outdoor world. The panoramic curve of the light box creates a 180 degree view of a cloudy day, aimed to copy the lighting design used in many museums’ false windows and skies. Elliott has filled the landscape with references to famous art works housed in the PMA, but from unexpected angles—filling in blanks merely suggested by the artist or the installation. For example, in the lower right, a waterfall is visible in a forest, with a small hill of dead brush in the distance. This is Marcel Duchamp’s 1966 sculpture “Étant donnés,” seen from an entirely impossible angle (to see Duchamp’s actual sculpture, the audience must peer through eye holes in a wooden door). Other PMA structures include the cloister of a 13th century French abbey, a scholar’s home from 18th century China, a 16th century English hunting lodge, and notably, Ōgi Rodō’s ceremonial tea house, named Sunkaraku, or “Evanescent Joys.” The title “Museum Highlights” refers to the title of Andrea Fraser’s iconic piece of institutional critique, which was filmed at the PMA. This video shows Fraser giving a tour of the museum’s dining facilities, bathrooms, and gift shop, interspersed with troubling text written by the founders of the museum.
“It seems like the Philadelphia Museum of Art ages along with me, always meeting me where I am. As a kid, it was all about the arms and armor room, and the Japanese tea house. It wasn’t until I was in high school that I even saw Duchamp’s creepier work; and then I traveled to London and met the PMA all over again when I was standing in the Tate Modern and saw it in the background of Andra Fraser’s video. I immediately recognized the distinctive neo-Egyptian architecture and decoration! So, I’m just waiting to see what the PMA has in store for me next.”
Audio Experience:
A candid conversation with Sara Kalkstein, childhood (and current) best friend, about the emotional presences within visual art.
| saraaudio.mp3 |
Also In our Collection...
Invisible Sculpture
Andy Warhol
American, 1928 - 1987
Invisible Sculpture, 1985
Mixed media
This item is currently on loan in a traveling exhibition.
American, 1928 - 1987
Invisible Sculpture, 1985
Mixed media
This item is currently on loan in a traveling exhibition.
Don't Forget to "Exit Through The Gift Shop!"
