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Wolfe von Lenkiewicz, The Garden of Earthly Delights, 2012Oil on canvas © Wolfe von Lenkiewicz  Article on HuffPost Arts: http://www.huffingtonpost.com/2012/09/08/wolfe-von-lenkiewicz-goes_n_1857854.html
Lygia Clark, Fantastic Architecture 1, 1963/2013at Basel Unlimited 2013
Hélio Oiticica, Eden, 1969, installation, Whitechapel Art Gallery, London, 1969,Collection César e Claudio Oiticica
Lygia Clark, Fantastic Architecture 1, 1963. Archival Image, 1963Copyright ‘The World of Lygia Clark’ Cultural Association, Rio de Janeiro TONIGHT | Alison Jacques Gallery presents Lygia Clark’s Fantastic Architecture at the BASEL UNLIMITED preview TONIGHT 4-7PM - Art Basel 2013 info: www.alisonjacquesgallery.com “Lygia Clark’s internationally renowned career followed a fascinating, radical trajectory: from abstract geometric collages of card, through participatory sculptures to immersive, experiential works, from the 1950s to the 80s. During the early 60s in Brazil, Clark created an archetypal series of Bichos (Creatures), hinged aluminum structures that she encouraged others to manipulate into myriad configurations. In 1963, she made a very particular group of Bicho maquettes called Fantastic Architecture – each conceived to be realized on a monumental scale with the intention of collaborating with structural engineers and fabricators. Production costs proved prohibitively high at the time, but Clark’s strong desire for these architectural constructions to materialize was clear in the structural properties of the maquettes themselves, which are further evidenced in her photographs and writings, all of which remain in her archive. Alison Jacques Gallery has collaborated with the Clark Family and The World of Lygia Clark Cultural Association to actualize the first of these huge sculptures as close to Clark’s intentions as possible, exactly fifty years after she first envisaged them.”
Ryan Trecartin and Lizzie Fitch, Local Dock, Public Crop, Porch Limit, 2011-2013 At the 55th Venice Biennale, Prima Materia, Punta della Dogana, Venice, 2013.
William Blake, Satan, c.1790 etching and engraving, after a deisgn by Henry Fuseli, Inscribed below in pen and ink, H. Fuseli R. A. Pi  Satan W. Blake sculp.  Collection: The Morgan Library & Museum, New York This hideous head of a man howling in torment is also known as “Head of a Damned Soul in Dante’s Inferno.” Impressions of the print are very rare—only five known proofs of a single state are extant—and the general lack of lettering on known examples suggests that the print was never properly published. Blake likely executed this large-scale print ca. 1790 as an experiment to entertain his friend Henry Fuseli. This copy once belonged to the great Blake scholar Sir Geoffrey Keynes (1887–1982), who gave it to his friend Charles Ryskamp.
Rudolf Stingel, Untitled, 2013, Oil on canvasinstalled at Palazzo Grassi, François Pinault Foundation55th Venice Biennale, 2013