Sylvie Fleury. Serie ELA 75/K (Plumpity. Plump). 2000 Sylvie Fleury. Serie ELA 75/K (Plumpity ...Plump). 2000. Gold-plated shopping cart, plexiglas handle with vinyl text, rotating pedestal (mirror, aluminum, motor). 32-3/4 x 37-3/4 x 21-5/8 in. Courtesy of the artist and Galerie Eva Presenhuber, Zurich. [Fig. 3-1] Sylvie Fleury. Serie ELA 75/K (Plumpity ...Plump). 2000. Gold-plated shopping cart, plexiglas handle with vinyl text, rotating pedestal (mirror, aluminum, motor). 32-3/4 x 37-3/4 x 21-5/8 in. Courtesy of the artist and Galerie Eva Presenhuber, Zurich. [Fig. 3-1]

Installation view of Giorgio Armani exhibition at the Solomon R Installation view of Giorgio Armani exhibition at the Solomon R. Guggenheim Museum, New York. October, 20, 2000–January, 17, 2001. Photograph by Ellen Labenski © The Solomon R. Guggenheim Foundation, New York. [Fig. 3-2] Installation view of Giorgio Armani exhibition at the Solomon R. Guggenheim Museum, New York. October, 20, 2000–January, 17, 2001. Photograph by Ellen Labenski © The Solomon R. Guggenheim Foundation, New York. [Fig. 3-2]

Robert Mapplethorpe. Ajitto. 1981. Gelatin silver print. 30 x 40 in Robert Mapplethorpe. Ajitto. 1981. Gelatin silver print. 30 x 40 in. © 1981 Estate of Robert Mapplethorpe. [Fig. 3-3] Robert Mapplethorpe. Ajitto. 1981. Gelatin silver print. 30 x 40 in. © 1981 Estate of Robert Mapplethorpe. [Fig. 3-3]

Chris Ofili. The Holy Virgin Mary. 1996 Chris Ofili. The Holy Virgin Mary. 1996. Paper collage, oil paint, glitter, polyester, resin, map pins, and elephant dung on linen. 8 × 6 ft. Photo: Diane Bondareff/AP World Wide Photos. [Fig. 3-4] Chris Ofili. The Holy Virgin Mary. 1996. Paper collage, oil paint, glitter, polyester, resin, map pins, and elephant dung on linen. 8 × 6 ft. Photo: Diane Bondareff/AP World Wide Photos. [Fig. 3-4]

Edouard Manet. Luncheon on the Grass (Le Déjeuner sur l’herbe). 1863 Edouard Manet. Luncheon on the Grass (Le Déjeuner sur l’herbe). 1863. Oil on canvas. 7 ft. × 8 ft. 10 in. (2.13 × 2.6 m). Réunion des Musées Nationaux / Art Resource, NY. [Fig. 3-5] Edouard Manet. Luncheon on the Grass (Le Déjeuner sur l’herbe). 1863. Oil on canvas. 7 ft. × 8 ft. 10 in. (2.13 × 2.6 m). Réunion des Musées Nationaux / Art Resource, NY. [Fig. 3-5]

Marcantonio Raimondi. The Judgment of Paris (detail). c. 1488–1530 Marcantonio Raimondi. The Judgment of Paris (detail). c. 1488–1530. Oil engraving, after Raphael. Clipped impression, Plate line. 11-5/8 × 17-1/4 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Rogers Fund, 1919. (19.74.1). [Fig. 3-6] Marcantonio Raimondi. The Judgment of Paris (detail). c. 1488–1530. Oil engraving, after Raphael. Clipped impression, Plate line. 11-5/8 × 17-1/4 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Rogers Fund, 1919. (19.74.1). [Fig. 3-6]

Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912. Oil on canvas. 58 × 35 in. The Philadelphia Museum of Art / Art Resource, NY. Art © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/Succession Marcel Duchamp. [Fig. 3-7] Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912. Oil on canvas. 58 × 35 in. The Philadelphia Museum of Art / Art Resource, NY. Art © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/Succession Marcel Duchamp. [Fig. 3-7]

Etienne-Jules Marey. Man Walking in Black Suit with White Stripe Down Sides. 1883. Collection Musee Marey, Beaune, France, photograph by Jean-Claude Couval. [Fig. 3-8] Etienne-Jules Marey. Man Walking in Black Suit with White Stripe Down Sides. 1883. Collection Musee Marey, Beaune, France, photograph by Jean-Claude Couval. [Fig. 3-8]

Maya Lin. Vietnam Memorial, Washington, D. C. 1982 Maya Lin. Vietnam Memorial, Washington, D.C. 1982. Polished black granite. length 492 ft. Mark Wilson/Getty Images. [Fig. 3-9] Maya Lin. Vietnam Memorial, Washington, D.C. 1982. Polished black granite. length 492 ft. Mark Wilson/Getty Images. [Fig. 3-9]

Alexander Calder. La Grand Vitesse. 1969. Painted steel plate Alexander Calder. La Grand Vitesse. 1969. Painted steel plate. 43 × 55 ft. © 2012 Calder Foundation, New York/Artists Rights Society (ARS), New York. Calder Plaza, Vandenberg Center, Grand Rapids, Michigan. © John Corriveau, all rights reserved. [Fig. 3-10] Alexander Calder. La Grand Vitesse. 1969. Painted steel plate. 43 × 55 ft. © 2012 Calder Foundation, New York/Artists Rights Society (ARS), New York. Calder Plaza, Vandenberg Center, Grand Rapids, Michigan. © John Corriveau, all rights reserved. [Fig. 3-10]

Richard Serra. Tilted Arc. 1981. Cor-Ten steel. 12 ft. × 120 ft Richard Serra. Tilted Arc. 1981. Cor-Ten steel. 12 ft. × 120 ft. × 2-1/2 in. © 2012 Richard Serra/Artists Rights Society (ARS), New York. [Fig. 3-11] Richard Serra. Tilted Arc. 1981. Cor-Ten steel. 12 ft. × 120 ft. × 2-1/2 in. © 2012 Richard Serra/Artists Rights Society (ARS), New York. [Fig. 3-11]

Michelangelo. David (copy of original). 1501–1504 Michelangelo. David (copy of original). 1501–1504. Copy of the original as it stands in the Piazza dellaSignoria, Florence. Original in the Galleria dell’Accademia, Florence. Marble. height 13 ft. 5 in. © Bill Ross / CORBIS. [Fig. 3-12] Michelangelo. David (copy of original). 1501–1504. Copy of the original as it stands in the Piazza dellaSignoria, Florence. Original in the Galleria dell’Accademia, Florence. Marble. height 13 ft. 5 in. © Bill Ross / CORBIS. [Fig. 3-12]

Guillermo Gómez-Peña and Roberto Sifuentes. The Cruci-fiction Project Guillermo Gómez-Peña and Roberto Sifuentes. The Cruci-fiction Project. 1994. Photo: Victor Zaballa. Courtesy of Headlands Center for the Arts. [Fig. 3-13] Guillermo Gómez-Peña and Roberto Sifuentes. The Cruci-fiction Project. 1994. Photo: Victor Zaballa. Courtesy of Headlands Center for the Arts. [Fig. 3-13]

Guillermo Gómez-Peña and Coco Fusco Guillermo Gómez-Peña and Coco Fusco. Two Undiscovered Amerindians Visit London. 5/1/1992. Site-specific performance, London, England. Photograph by Peter Barker. [Fig. 3-14] Guillermo Gómez-Peña and Coco Fusco. Two Undiscovered Amerindians Visit London. 5/1/1992. Site-specific performance, London, England. Photograph by Peter Barker. [Fig. 3-14]

Guillermo Gómez-Peña and Roberto Sifuentes. The Temple of Confessions Guillermo Gómez-Peña and Roberto Sifuentes. The Temple of Confessions. 1994. Site-specific performance, Detroit Institute of the Arts, 1994. Photograph by Dirk Bakker. [Fig. 3-15] Guillermo Gómez-Peña and Roberto Sifuentes. The Temple of Confessions. 1994. Site-specific performance, Detroit Institute of the Arts, 1994. Photograph by Dirk Bakker. [Fig. 3-15]

Krzysztof Wodiczko. Homeless Vehicle. 1988 Krzysztof Wodiczko. Homeless Vehicle. 1988. Preliminary drawing showing vehicle in washing, sleeping, and resting position (day). Courtesy of the Artist and Galerie Lelong, New York. [Fig. 3-16] Krzysztof Wodiczko. Homeless Vehicle. 1988. Preliminary drawing showing vehicle in washing, sleeping, and resting position (day). Courtesy of the Artist and Galerie Lelong, New York. [Fig. 3-16]

Krzysztof Wodiczko. Homeless Vehicle in New York City. 1988-1989 Krzysztof Wodiczko. Homeless Vehicle in New York City. 1988-1989. Color photograph. Courtesy of the artist and Galerie Lelong, New York. [Fig. 3-17] Krzysztof Wodiczko. Homeless Vehicle in New York City. 1988-1989. Color photograph. Courtesy of the artist and Galerie Lelong, New York. [Fig. 3-17]

Suzanne Lacy and Leslie Labowitz. In Mourning and in Rage. 1978 Suzanne Lacy and Leslie Labowitz. In Mourning and in Rage. 1978. Photo by Maria Karras. Courtesy Suzanne Lacy. [Fig. 3-18] Suzanne Lacy and Leslie Labowitz. In Mourning and in Rage. 1978. Photo by Maria Karras. Courtesy Suzanne Lacy. [Fig. 3-18]

Suzanne Lacy. Whisper, the Waves, the Wind. 1993-1994 Suzanne Lacy. Whisper, the Waves, the Wind. 1993-1994. Courtesy of the Artist. [Fig. 3-19] Suzanne Lacy. Whisper, the Waves, the Wind. 1993-1994. Courtesy of the Artist. [Fig. 3-19]