The Sea Ranch: Architecture, Environment, and Idealism

Vija Celmins: Saying the Unsayable

Vija Celmins on her life in (and out of) the studio

Artist Talk: Jeff Wall on Walker Evans

Etel Adnan on art and urgency

Etel Adnan on lightning-strike paintings and words as gestures

Magritte Home Movies

Andrew C. Zeek: Tullytown, Pennsylvania

Barney Skibinski: Newport, Delaware

Mitchell Dakelman: New Brunswick, New Jersey

Super 8 Films from Rein Jelle Terpstra’s The People’s View

Robert Rauschenberg and the Agility of Images

Artist Salon with John Akomfrah

Limited Edition Call and Response: Alex Escalante + Antic Meet

Limited Edition Call and Response: Leyya Tawil + Glacial Decoy

Limited Edition Call and Response: Keith Hennessy + Pelican

Kerry Tribe on empathy in health care

O Grivo’s sculptural orchestra

Bea Nettles’s photographic tarot deck

Robert Rauschenberg: Erasing the Rules

Isamu Noguchi: There’s no such thing as time

Judy Chicago: The Female Aesthetic

Julie Mehretu Artist Talk

Open Rehearsals (For a new song, for a new city)

Predictive Engineering³ Colloquium

Sean McFarland’s metaphysical way of looking

How ORFN’s graffiti inspires Alicia McCarthy

Rafael Lozano-Hemmer’s biometric portraiture

Alicia McCarthy: Visually listening to bands of colors

Lindsey White: How humor threatens us

Liam Everett: The art of obstruction

Christina Kubisch: Discovering new sounds

Jacqueline Kiyomi Gordon: The slipperiness of sound

Richard T. Walker on landscape and desire

Sean McFarland: Landscape photography as failed record

Larry Sultan: Documenting a hidden side of the suburbs

Larry Sultan discovers his family through photography

Peaks and perils: The life of Carleton Watkins

“Crimes against photography”: Man Ray and the "rayograph"

Sun pictures: Henry Fox Talbot and the first photographs

Pictures from a glass house: Julia Margaret Cameron’s portraits

Changes in Photography: Three Symposia

Journey through the soundscape of a boiler room with Bill Fontana

Bill Fontana: The makings of a sound sculptor

Anselm Kiefer: “My paintings change”

Park McArthur: Places of commemoration

Robert Frank as a young artist

Will Rogan's Mediums channel artists lost to time

Lieko Shiga on Kitakama village and the 2011 tsunami

PlaySFMOMA: Augmented Reality Game Jam

Tomás Saraceno: Building “future flying cities” with spiders

Anselm Kiefer: History is a clay

Previously Screened: TAKE THE 5:10 TO DREAMLAND

Online Screening: Bruce Conner

William Kentridge: The Refusal of Time

Marco Breuer: Pushing the boundaries of photography

Njideka Akunyili Crosby’s Janded: Between two cultures

Ursula von Rydingsvard on sculpture and ancestry

Sohei Nishino’s maps trace more than the city

Previously Screened: TEN SECOND FILM

Previously Screened: AMERICA IS WAITING

Previously Screened: VALSE TRISTE

Bruce Conner: It’s All True

Nobuyoshi Araki: Journey through life and death

Chris Kallmyer: A Paradise Choir

Akiyoshi Taniguchi’s meditations on photography

Rinko Kawauchi contemplates the small mysteries of life

Tomoko Sawada’s self-portraits create familiar characters

Eikoh Hosoe: Does photography reflect truth?

Nobuyoshi Araki’s “more is more” approach to photography

Daido Moriyama on the essence of photography

Kikuji Kawada on the Atomic Bomb Dome and postwar Japan

Ishiuchi Miyako’s early life near Yokosuka’s U.S. military base

Keizo Kitajima in the former USSR

Asako Narahashi’s photos from the sea

Hiromi Tsuchida: Documenting Japan’s past and present

Ishiuchi Miyako: What is a scar?

Issei Suda on the drama of photography

Daido Moriyama on social rebellion in 1960s Japan

Visual Activism

Craig Dykers: Designing the New SFMOMA

Jürg Lehni’s extraordinary drawing machine

Thomas Schütte: Playing with materials

Robert Frank on photographing The Americans

Dana Schutz on the personalities of paintings

Anthony Hernandez: Peeling away the layers of the Mojave Desert

Robert Adams: Photographing a “landscape of mistakes”

Ron Nagle: The sculptural language of hair loss

Harrell Fletcher and Miranda July on Learning to Love You More

Ron Nagle on the ceramic “revolution”

Sol LeWitt’s Loopy Doopy: The Installation

Ken Hakuta: My uncle Nam June Paik

Museum as Producer: Julia Scher’s Predictive Engineering

The Living Wall

Jananne Al-Ani on the Middle Eastern landscape

The Artist Initiative: Installing Ellsworth Kelly

Leonor Antunes on the architecture of inspiration

Julia Scher: Predictive Engineering

Claudy Jongstra on art and sustainability

Jason Lazarus: “At sea” with found photographs

Robert Adams's sobering photographs of clearcutting in the Pacific Northwest

How Mike Mandel created new meaning from old photographs

Slices of time: Eadweard Muybridge’s cinematic legacy

Mike Mandel’s Baseball-Photographer Trading Cards

Michael Jang’s family snapshots

Catherine Opie’s groundbreaking queer portraiture

Janet Delaney on South of Market

Janet Delaney on hand-painted signs

Judith Joy Ross: Protest the War

Leo Rubinfien: How do you photograph a psychological wound?

An-My Lê: Landscapes of war

Rabih Mroué on “the war against the image”

Miranda July and Harrell Fletcher’s Learning to Love You More: Piggybacking assignments

The friendship of Monsieur Matisse and Mrs. Stein

Rosana Castrillo Diaz on finding meaning in the everyday

Football and perception: Matthew Barney on the field emblem

Pipilotti Rist’s fairy tale about a destructive goddess 

Romare Bearden and the civil rights movement

Discovering a hidden Picasso

The mecca of modern art: Stein salons in Paris

The Steins: Bay Area natives and premier collectors of modern art

The Steins: Visionary collectors of the avant-garde

Picasso and Gertrude Stein: A friendship of inspiration

Conservation nation: Eva Hesse’s Aught

“Hold these people in your hand”: Deborah Luster’s photographs of prisoners

Josef Albers’s Tenayuca: From pyramid to painting

Michael Jang: The night the Sex Pistols broke up

How Michael Jang photographed the most glamorous celebrities of 1970s Beverly Hills

John Divola: “Time is a verb”

John Divola: Photographing abandoned houses

Fred Wilson’s museum interventions

Jon Rubin’s Pictures Collected From Museum Visitors’ Wallets

Reinhard Mucha: Showing the show

Katharina Fritsch’s giant animal sculptures

Richard Deacon on being a “fabricator”

Is Photography Over?

Joan Brown: Life-size art

Betye Saar blends the mystery of history

The mysticism of Betye Saar

The Windhover project: The wings of Nathan Oliveira’s mind

Jay DeFeo and Wally Hedrick’s Christmas parties

Imogen Cunningham: The obstacles of portrait photographers

Imogen Cunningham: Why people like flowers

Imogen Cunningham on earning a living

Robert Arneson on the “spiritual presence” of Peter Voulkos

David Park’s surprisingly “convincing” figures

David Park’s rejection of Abstract Expressionism

Nathan Oliveira on inspiration

Nathan Oliveira: Abstract Expressionism lets “the paint define the painting”

Nathan Oliveira confronting a creative “stone wall”

Frank Stella on “relief painting”

David Smith on color

Richard Serra’s Surprise Attack

Why Susan Rothenberg is hard on herself

Susan Rothenberg on her artistic process

Jackson Pollock’s drip-painting process

Nathan Oliveira: Painting is beautiful and essential

Elizabeth Murray: Finding the artist inside the painting

Robert Gober poses as a bride

Willem de Kooning on painting women

Gender roles according to Louise Bourgeois

Breakability: The essential quality of pottery for Louise Bourgeois

The illusion of Marcel Duchamp’s readymade Fountain

Tina Modotti: Silent film star

On target: Jasper Johns on creating his target paintings

Riding the waves of Ansel Adams’s Surf Sequence

How Edward Kienholz started scavenging for materials

Because he says so: Jasper Johns is not a Dadaist

Eva Hesse’s installations: Never the same twice

Eva Hesse’s feminist point of view

Choosing a “sour” Gerhard Richter painting

Eva Hesse created structures of chaos

Eva Hesse: Shaped by environment

Eva Hesse’s zest for life

Gerhard Richter: The un-painting of a picture

The lines of Piet Mondrian

Lindy Roy’s retail concept for Vitra

Philip Guston paints the KKK

Grace McCann Morley's populist approach to founding SFMOMA

Walter Gropius in the (Bau)haus

Nashormeh Lindo: The Harlem Renaissance opened the eyes of the establishment

Robert Bechtle: An underpainting to enhance the color

Antony Gormley answers: What is art?

Richard Tuttle treats words as art

Why was Richard Tuttle’s 1975 exhibition so controversial?

SFMOMA’s New Visual Identity

Pipilotti Rist’s “instant diamonds”

Frank Stella describes “art worth making”

How Zen poems influenced Brice Marden’s paintings

Sol LeWitt on Eva Hesse’s “junky” materials

Richard Diebenkorn: Inspired by natural light

Richard Diebenkorn: Seeing the world in abstraction

Jackson Pollock: Paintings have a life of their own

Robert Rauschenberg, Willem de Kooning, and a bottle of Jack Daniels

Robert Bechtle: The intensity embedded in the paint

Doris Salcedo on her Colombian heritage

Doris Salcedo role-plays to shape her practice

Romare Bearden: Advocate, guru, nurturer

Ed Ruscha: Breaking his own rules

Kara Walker depicts violence and sadness that can't be seen

Chris Johanson’s “free-form” process

Chris Johanson’s energy explosion

Richard Diebenkorn’s collaborative printing process

Richard Diebenkorn’s portraits of fellow Marines

Robert Rauschenberg to John Cage: “Be careful and drive straight”

Amy Franceschini reimagines World War II–era community gardens for San Francisco

Anselm Kiefer: We use mythology to give life meaning

Imogen Cunningham: Driven by curiosity

Imogen Cunningham on enjoying the tedious work in the darkroom

David Park: California vs. New York

David Park believed art should be troublesome

David Park at home

Betye Saar on adding mystery in her work

Dorothea Lange: The camera teaches people how to see

Henry Wessel: The view from the driver’s seat

Henry Wessel: Why it’s better to see without recognizing

Betye Saar’s particular solitude

Imogen Cunningham on The Tonight Show with Johnny Carson

Edward Weston: Nature is “the great stimulus”

Richard Diebenkorn: “The sky took the place of the ocean”

David Park’s love of jazz

Dorothea Lange: From snapshots to documentary

Dorothea Lange on the Great Depression in San Francisco

Robert Rauschenberg pays tribute to John Cage

William Kentridge: transformation with animation

Jay DeFeo’s The Rose: The enormous painting that was “almost alive”

William Kentridge and his animated alter egos

Completely out of whack: Kerry James Marshall on his murals for SFMOMA

Kerry James Marshall wants to see black people in art, all the time

Olafur Eliasson wants you to slow down and take your time

Matthew Barney on ambergris, a.k.a. whale waste

Matthew Barney on using plastics and petroleum jelly

Robert Rauschenberg on his most personal works

Robert Rauschenberg believes two is better than one

Sargent Johnson on surviving the Great Depression

Joan Brown escapes to Alcatraz

Joan Brown gets what she wants

Joan Brown finds success in surprise

Louise Bourgeois’s cluster of spiders

Rediscovering Jay DeFeo’s The Rose

Robert Arneson’s portraits have nothing to do with ego

Robert Arneson on the “seductiveness” of clay

Richard Misrach: Graffiti in the wake of Hurricane Katrina

Jim Goldberg: Why do we keep making the same mistakes?

Stephanie Syjuco on the economy of art

Harrell Fletcher and Miranda July’s Learning to Love You More: Web-based assignments designed to get people to leave their computers

Philip Guston at work in his studio

Robert Rauschenberg in Pelican

Time-lapse of a Sol LeWitt Wall Drawing installation

Richard Serra throws molten lead inside SFMOMA

Graffiti is a sport, and Barry McGee a sportsman

Will Rogan: “We are on this planet that’s spinning around the sun and it’s totally insane”

Squeak Carnwath paints the places in her mind

Untangling the puzzle of Sol LeWitt’s open cubes

From cross-stitch to cake with Gay Outlaw

Hung Liu: There’s dignity in a woman handling a machine

David Best is a burning man

William Allan brings books back to life

Jordan Kantor on the act of looking and looking again

Diego Rivera: The gateway to Mexican culture and politics

Formal differences: Frida Kahlo vs. Diego Rivera

Jim Campbell: Transmitted in light

Miranda July and Harrell Fletcher’s Learning to Love You More: Before web 2.0

Naoya Hatakeyama on what’s awe-some

Fallen Sky: Naoya Hatakeyama goes beneath the earth for art

Kamau Amu Patton and the machine that’s always learning

How Daniela Rossell’s photographs came to be viewed as images of Mexico’s “poster girls of corruption”

Robert Arneson’s controversial portrait of Mayor Moscone

Daniela Rossell questions “female territories”

Akram Zaatari describes Hashem el Madani’s “photography of the working class”

Parra on getting “weirded out”

Trevor Paglen photographs classified “black sites”

Adrian Ghenie started a gallery because he was a “failure”

Time-lapse of Parra’s mural Weirded Out

Adrian Ghenie: Painting a dictator in the moment before his execution

Adrian Ghenie: Attending art school in Communist Romania

Yto Barrada on laziness as resistance

Tuan Andrew Nguyen: Using graffiti and breakdancing to rebrand a country

Tuan Andrew Nguyen: Straddling two cultures and building a platform for art

Miranda July and Harrell Fletcher’s Learning to Love You More: Instant acceptance

Óscar Muñoz explores memory through ephemeral materials

Óscar Muñoz created an art space that thrives on uncertainty

Trevor Paglen on the secret history of early Yosemite photography

Pablo López Luz on shooting the landscape of Mexico City

Alejandro Cartagena on photographing while walking through dry riverbeds

Akram Zaatari: Collecting images from the Arab world

Stephanie Syjuco creates knockoffs of works of art

The legendary Wayne E & Wayne R show

Matthew Ritchie: Art is not an equation

Louise Nevelson shares her sculpture studio

Louise Nevelson: Architect of light and shadow

Louise Bourgeois became an artist to fight back

Glenn Ligon confronts slavery

Frank Stella: Creating canvases in new shapes

Frida Kahlo: Feminist and Chicana icon

Judy Chicago: It’s a man’s world

Gibberish and human hair: What it takes to install Gu Wenda

From Revlon to Robert Smithson: Mary Heilmann finds inspiration everywhere

Gu Wenda on the artist as peacemaker

Mark di Suvero likes to work with his hands

How Gu Wenda turns hair and glue into works of art

Gates of steel: Mark di Suvero and his path to welding

Tiffany Chung: Maps are about people

Photographer David Goldblatt exposes humanity in former criminals

The photographs of South African nightclub bouncer Billy Monk

In Boksburg, David Goldblatt photographs the reality of apartheid

Matthew Ritchie on the game of chance

Frank Stella on Jackson Pollock: The hand, the eye, and the body

Matthew Ritchie: Abstraction is metaphysical

Let’s talk about sex: AA Bronson pushes critics to consider queer culture

Lynn Hershman Leeson’s seductive chat bot

Bow and arrow to the heart: Mark di Suvero’s love for the Golden Gate

Judy Chicago’s “cunt cheerleaders”

Louise Bourgeois’s work isn’t always feminist

Frida Kahlo’s evolution

Glenn Ligon’s self-portraits fall apart

Glenn Ligon on “the idea of a black man”

Vija Celmins wants you to open your heart and eyes

From the Big Bang to now: Matthew Ritchie's stories

Kerry James Marshall goes grisaille

Robert Gober’s sneaky drag performance

Rubber, lead, and steel: Richard Serra’s materials

Richard Serra’s “risk-taking masculinity”

Richard Serra: On trial for Tilted Arc

Hilla and Bernd Becher invented a new genre of photography

Mark Bradford’s Open Studio Introduction

Petah Coyne: “Materials are a language”

Bill Viola at SFMOMA

Ansel Adams’s moon in Moonrise, Hernandez, New Mexico

The suspense of Ansel Adams’s famous moonrise

Eva Hesse and gender

Ansel Adams on protecting the environment

Ansel Adams: Photographic technique as a means to an end

Ansel Adams visualizing the final print

Yosemite and the work of Ansel Adams

Climbing with Ansel Adams and friends

Andy Warhol makes a silkscreen

What is Pop art to Andy Warhol?

Jasper Johns doesn’t “settle” in his art

Eva Hesse: “Life doesn’t last; art doesn’t last”

Jenny Holzer’s public “clichés”

At the Blue House with Frida and Diego

Judy Chicago prepares for a dinner party with female heroes

Philip Guston: Abstract Expressionist?

Philip Guston: Mysteries of the working process

Piet Mondrian: Painting and dancing

Piet Mondrian and Theo van Doesburg: Spreading De Stijl

Diagonal lines: A disagreement between Mondrian and van Doesburg

Claude Cahun: Queer Surrealist

Piet Mondrian: Into abstraction

Gerhard Richter doesn’t have the answer either

Wind River Lodge: Lindy Roy’s design for extreme winter sports

Philip Guston’s sociopolitical paintings

Lindy Roy’s liquid inspiration for Poolhouse

Gary Hill: Your actions reflect yourself

Doris Salcedo: Memory as the essence of work

Why Pipilotti Rist works with video

Ed Ruscha on combining painting and photography

Ed Ruscha: Drawing with gunpowder

Ed Ruscha: Painting words

The many lives of Lee Miller

Trains, snakes, and guitars: The collages of Romare Bearden

Pipilotti Rist: Our hearts are “rinsed” every second

Ed Ruscha’s big-city visions

Gary Hill doesn’t miss a beat

Doris Salcedo: "Extreme experiences as a point of departure"

Painting versus photography: Jeff Wall compares and contrasts

Richard Tuttle: Pushing the limits of art

Richard Tuttle: Art is an adventure

Gary Hill gets down to the neurons

Robert Bechtle: The camera is a sketchbook

Robert Bechtle: Paintings are not as ephemeral as photographs

Why would Picasso hide a painting?

What is cheese? A reality lesson from René Magritte

Jeff Wall advocates for staged photography

Romance novels and slave narratives: Kara Walker imagines herself in a book

Robert Bechtle gets (photo)real

Kara Walker on the dark side of imagination

Kara Walker explains her interest in “demoted” art forms

When “everything was perfect”: An introduction to Richard Tuttle

Time-lapse of Ann Hamilton’s installation of indigo blue

Jeff Wall: “I begin by not photographing”

It’s alive! Richard Tuttle creates a wire piece at SFMOMA

Olafur Eliasson: Everyone sees a different rainbow

Brice Marden on finding inspiration in olive groves

Brice Marden: How to look at paintings

Ann Hamilton evokes the working class with the color blue

Matthew Barney and ancient Japanese whaling traditions

Matthew Barney puts his body into his work

Deborah Luster: Helping prisoners show themselves to the world

Why Deborah Luster decided to photograph prisoners

“The people who stole the prisoners”: Deborah Luster’s accidental performance work

Anselm Kiefer: An artist is “outside of the world”

Henry Wessel: Photographing while “half asleep”

Ann Hamilton gives voice to Charleston’s invisible history

“Un-reading”: Ann Hamilton erases texts to make room for other stories

How Richard Serra influenced Matthew Barney

What does a solid-gray painting have to do with Bob Dylan? Brice Marden explains

Teresita Fernández harnesses the behavior of fire

Premature mortality: William Kentridge reflects on the AIDS epidemic in South Africa

Kerry James Marshall: Requiem for a decade

Kerry James Marshall: Art is a series of visual problems that need to be solved

David Ireland at 500 Capp Street

Donald Fisher on collecting art

In the studio with Olafur Eliasson

Experimenting in the lab with Olafur Eliasson

Frank Stella: Rebuilding painting

Tina Modotti and Edward Weston found an artists’ paradise in Mexico

Olafur Eliasson’s machine: A phenomenon maker

All things must come to an end: the deinstallation of Sol LeWitt’s SFMOMA murals

Beach life: William Kentridge and Tide Table

Wright Morris: Dear Son Have Moved, Eddie Cahow, and Model T

Wright Morris: God’s Country, End of the World, Grain Elevators, and Cover the People

Form, growth, behavior: The making of Andrew Kudless’s “bulbous” sculpture

Wright Morris: Clara, Holy Things, and House or Ark

Frank Stella and the art of the protractor

Wright Morris: Abandoned House, Ed’s Room, and Robin Hood

Daniel Schwartz: “My university is the road”

Traveling “through the eye of history” with photographer Daniel Schwartz

Jim Goldberg’s compassionate lens

Klara Kristalova on the darker side of childhood

Talking trash, over Skype, with Tiago Carneiro da Cunha

A large and flickering grid of light by Jim Campbell

Stephen Shore Artist Talk

Reimagining the Museum: The First Sketches

Have you seen my bird? Rigo 23’s “found lost bird” posters

Painting Diego Rivera’s frescoes

Richard Serra answers: Why make art?

Advice from Richard Serra: Clear away the clutter and do your own thing

How do you take notes? Richard Serra draws his thoughts

Breaking Ground on the New SFMOMA

Douglas Gordon on working with elephants

Building Our Future: SFMOMA Expands

Cliff Hengst: Maybe

Lamia Joreige maps Beirut’s tumultuous past and future

The Futurefarmers on picnics and Powers of Ten

AA Bronson and his fictional museum Cornucopia

Helène Aylon “midwifes” an image

David Smith and the search for “accidental beauty”

Kevin Killian and Poets’ Theater Present Wet Paint

“Too Much Is Enough”: A Talk on Garry Winogrand

Lamia Joreige on disappearance and memories of war

Leo Villareal on The Bay Lights

Mapping nine centuries of a Romanian city with Tiffany Chung

The story of Ernest Cole, a black photographer in South Africa during apartheid

The Futurefarmers stand on one leg, together

Yto Barrada on how the Strait of Gibraltar shapes life in Tangier

Vik Muniz on his series The Best of Life.

Time-Lapse: Mark di Suvero at Crissy Field

Larger than life! David Wilson and his sixteen-foot-high ink drawing Frog Woman Rock

Where did all the art go? Jonn Herschend and stories of the SFMOMA evacuation

Fake snacks and jack-o’-lanterns: Josh Faught takes us to the Neptune Society Columbarium

Mike Mills finds the past in the present, interviewing the “futurists” of Los Altos

Charles R. Garoian: The teacher who was called to the principal’s office

Christian Jankowski needs subtitles for Silicon Valley Talksa

Open your eyes! Rediscover San Francisco with David Wilson’s Arrivals

Kateřina Šedá holds the Los Altos World Records

Spencer Finch takes viewers from technicolor to black and white

Jeremy Blake: A waking dream

Jonn Herschend on finding beauty behind the scenes

Alec Soth photographs loneliness in Silicon Valley

Soul food for the brain: Chris Johanson and public sculpture

Trailer for Stories from the Evacuation

Zarouhie Abdalian makes social sound in downtown Oakland

Jessica Stockholder creates an intersection with the intersection

Visual Activism symposium: Favianna Rodriguez and Teddy Cruz

Visual Activism symposium: Michelle Dizon

Visual Activism symposium: Jeff Derksen and Sabine Bitter

Visual Activism symposium: Shannon Jackson and Tina Takemoto

Visual Activism symposium: Jerome Reyes, Nine Yamamoto-Masson, and Srinivas Aditya Mopidevi

Visual Activism symposium: Lisa Parks

Visual Activism symposium: Gran Fury

Visual Activism symposium: Carlos Motta

Seeing yourself seeing: Olafur Eliasson

John Baldessari explains his “strange mind”

John Baldessari on fighting the “photography” label

Sophie Calle’s voyeuristic portraits of hotel rooms

Jim Melchert on his slide projection Changing Walls

Mel Bochner transforms a wall with chalk

Sophie Calle on becoming an artist

Ewan Gibbs on his San Francisco drawings

Markus Schinwald’s strange prostheses and erotic table legs

75 Reasons to Live: Jens Hoffmann on Felix Gonzalez Torres’s “Untitled” (America #1)

75 Reasons to Live: Megan Brian on Marilyn Minter’s Strut

75 Reasons to Live: Michelle Tea on Andy Warhol’s Self-Portrait

75 Reasons to Live: Sanjit Sethi on Augustus William Ericson’s Slab of Redwood for a London Dining Table Designed to Seat Forty Guests—Diameter 15 Feet

75 Reasons to Live: Leslie Shows on Arthur Dove’s Silver Ball No. 2

75 Reasons to Live: Johnny Ray Huston on Diane Arbus’s Xmas Tree in a Living Room, Levittown, L.I.

75 Reasons to Live: Sam Green on Unknown artist’s Untitled [Women Racing]

75 Reasons to Live: Chris Perez on Barry McGee’s Untitled

75 Reasons to Live: Apsara DiQuinzio on Cady Noland’s Enquirer Page with Eyes Cut Out

75 Reasons to Live: Lisa Robertson on Eva Hesse’s Sans II

75 Reasons to Live: Jeffrey Fraenkel on Diane Arbus’s A Young Brooklyn Family Going for a Sunday Outing, N.Y.C.

75 Reasons to Live: Janet Bishop on Watercolors by schoolboys, ages 10-16, from the Chirodzo Art Centre, Southern Rhodesia, 1957

75 Reasons to Live: Suzanne Stein on Constant’s New Babylon

75 Reasons to Live: Anne McGuire on Anne Bremer’s Sentinels

75 Reasons to Live: Lynn Hershman Leeson on Tina Modotti’s Convent of Tepotzolán, Mexico

75 Reasons to Live: Mark Jensen on Bruce Nauman’s Wax Impressions of the Knees of Five Famous Artists

75 Reasons to Live: Joseph Becker on Giovanni Pintori’s Poster

75 Reasons to Live: Margaret Tedesco on Claude Cahun’s Untitled (Self-Portrait)

75 Reasons to Live: John Zarobell on Bruce Conner’s LOOKING GLASS

75 Reasons to Live: Meg Shiffler on Felix Gonzalez-Torres’s “Untitled” (America #1)

75 Reasons to Live: Rachel Rosen on Eadweard Muybridge’s Panorama of Francisco from California Street Hill

75 Reasons to Live: Michelle Barger on Doris Salcedo’s Unland: irreversible witness

75 Reasons to Live: Chip Lord on Terry Fox’s A Metaphor

75 Reasons to Live: Jennifer Dunlop Fletcher on J. B. Blunk’s Invisible Presence

75 Reasons to Live: Tony Labat on Howard Fried’s Inside the Harlequin: Approach-Avoidance III and II

75 Reasons to Live: Sandra Phillips on Alfred Stieglitz’s Georgia O’Keeffe — Neck

75 Reasons to Live: Dominic Willsdon on László Moholy-Nagy’s Vom Funkturm (From the Radio Tower)

75 Reasons to Live: Duane R. Deterville on Pablo Picasso’s Tête de trois quarts (Head in Three-Quarter View)

75 Reasons to Live: Beth Lisick on Chris Johanson’s Untitled (Figures with black presence)

75 Reasons to Live: Henry Urbach on Ewan Gibbs’s San Francisco

75 Reasons to Live: Renny Pritikin on Robert Arneson’s Harvey

75 Reasons to Live: Stephanie Hanor on Bruce Conner’s SOUND OF ONE HAND ANGEL

75 Reasons to Live: Stephen Hartman on Felix Gonzalez-Torres’s “Untitled” (Golden)

75 Reasons to Live: Peter Samis on Wright Morris’s Storefronts, Western Kansas

75 Reasons to Live: Julio César Morales on Ansel Adams’s Diego Rivera Painting the Fresco “Still Life and Blossoming Almond Trees”

75 Reasons to Live: Lawrence Rinder on Lebbeus Woods’s Quake City, from the San Francisco Project: Inhabiting the Quake

75 Reasons to Live: Kamau Patton on Nata Piaskowski’s Untitled [Playing Handball]

75 Reasons to Live: Carey Perloff on Robbert Flick’s Along Ocean Park, Looking West, Summer

75 Reasons to Live: Catherine Wagner on Mike Mandel and Larry Sultan’s Untitled, from the installation Evidence

75 Reasons to Live: Craig Baldwin on Wallace Berman’s Semina 7

75 Reasons to Live: Martin Venezky on Unknown artist’s Untitled [California Rancher/Cowboy in Front of a Backdrop]

75 Reasons to Live: Kaja Silverman on Robert Rauschenberg’s Cy + Roman Steps (I-V)

75 Reasons to Live: Rick Prelinger on Willard E. Worden’s Observatory in Ruins, Golden Gate Park, San Francisco

75 Reasons to Live: Lori Fogarty on Dorothea Lange’s Migrant Worker, Coachella Valley, California

75 Reasons to Live: Rex Ray on Andy Warhol’s Self-Portrait

75 Reasons to Live: Chris Sollars on Bruce Nauman’s Wax Impressions of the Knees of Five Famous Artists

75 Reasons to Live: Rudolf Frieling on Felix Gonzalez-Torres’s “Untitled” (Golden)

75 Reasons to Live: Iain A. Boal on Elaine Mayes’s Interracial Couple and Baby, Golden Gate Park, August, 1968

75 Reasons to Live: Yves Béhar on Barry McGee’s Untitled

75 Reasons to Live: Stephanie Syjuco on Sherrie Levine’s La Fortune (After Man Ray)

75 Reasons to Live: Trevor Paglen on Will Rogan’s Untitled, from the series Public Sculpture

75 Reasons to Live: B. Ruby Rich on Edward Weston’s Legs in Hammock, Laguna

75 Reasons to Live: Kota Ezawa on Jeff Koons’s Michael Jackson and Bubbles

75 Reasons to Live: Kevin Killian on Andy Warhol’s National Velvet

75 Reasons to Live: Carrie Pilto on Henri Matisse’s La fille aux yeux verts (The Girl with Green Eyes)

75 Reasons to Live: Jennifer Sonderby on Leslie Shows’s Two Ways to Organize

75 Reasons to Live: Jennifer A. González on Felix Gonzalez-Torres’s Untitled

75 Reasons to Live: Renée Green on On Kawara’s MAR. 16, 1993, from the Today series

75 Reasons to Live: Glen Helfand on Ed Ruscha’s Thirty-four Parking Lots in Los Angeles

75 Reasons to Live: Pamela Z on Robert Rauschenberg’s Collection (formerly Untitled)

75 Reasons to Live: Kenneth Foster on Joanne Leonard’s Sad Dreams on Cold Mornings

75 Reasons to Live: Neal Benezra on Clyfford Still’s Untitled [formerly Self-Portrait]

75 Reasons to Live: Allison Smith on J. Wilbur Sandison’s Quilt

Susan Meiselas on “the ethics of seeing”

Liz Deschenes on her camera-less photography

Peter Campus says, “You can’t see yourself”

Abelardo Morell and the magic of the camera obscura

Alison Rossiter gives new life to old photographic paper

75 Reasons to Live: Chad Coerver on Anthony Hernandez’s Oakland #1

75 Reasons to Live: Lisa Sutcliffe on Penelope Umbrico’s 5,377,183 Suns from Flickr (Partial) 4/28/09

75 Reasons to Live: Ellen Arenson on Clyfford Still’s Untitled, 1951-52

75 Reasons to Live: Gary Garrels on Robert Ryman’s Untitled, 1958

75 Reasons to Live: Raelle Myrick-Hodges on John Collier Jr.’s Bureau with Portraits and Mementos (and self-portrait), Picuris Pueblo, NM

75 Reasons to Live: Bill Fontana on Dan Graham’s Double Cylinder (The Kiss)

75 Reasons to Live: Sarah Roberts on Terry Fox’s Pendulum Spit Bite

75 Reasons to Live: Anne Walsh on Unknown artist’s Untitled [Women Racing]

75 Reasons to Live: Whitney Chadwick on Ed Ruscha’s Every Building on the Sunset Strip

75 Reasons to Live: Robert Bechtle on Richard Diebenkorn’s Coffee

Peter Campus on his most famous work and why he hates it

Hans Haacke: Fighting the establishment

Vito Acconci wants revolution

Barbara Bosworth looks slowly and observes the landscape

75 Reasons to Live: Rebecca Solnit on Jay DeFeo’s The Verónica

Fred Wilson on “degradaria”

Louise Bourgeois: Unlike family, geometry never fails you

Mildred Howard’s houses hold memories

Doug Hall’s giant Tesla coil

Tony Oursler’s “electronic effigies”: Between two spaces

Richard Learoyd takes us inside his giant homemade camera

Brice Marden: What painting is all about

Brice Marden: Abstract painting can take you to paradise

Ant Farm on becoming “underground architects”

The message is for the media: Ant Farm and Media Burn

Stephen Shore ditched school for Warhol’s Factory

Stephen Shore: Taking photographs that “feel like seeing”

John Baldessari sings Sol LeWitt

Njideka Akunyili Crosby on painting cultural collision

Doug Hall on his utopian generation

Re-framed: Social Practice Brings the Public into the Picture

A Neighborhood Thing: The Mission Art Scene in the '90s

Kill Your TV: How Bay Area Video Art Exploded in the 1970s

Vija Celmins began with recognizable surfaces

The Country Dog Gentlemen Travel to Extraordinary Worlds: Introduction

The Country Dog Gentlemen Travel to Extraordinary Worlds: Louise Bourgeois

Julia Scher discusses the impact of the Artist Initiative

The Country Dog Gentlemen Travel to Extraordinary Worlds: Sargent Johnson

The Country Dog Gentlemen Travel to Extraordinary Worlds: Henri Matisse

The Country Dog Gentlemen Travel to Extraordinary Worlds: Joseph Stella

The Country Dog Gentlemen Travel to Extraordinary Worlds: Diego Rivera

The Country Dog Gentlemen Travel to Extraordinary Worlds: Frida Kahlo

The Country Dog Gentlemen Travel to Extraordinary Worlds: René Magritte

The Country Dog Gentlemen Travel to Extraordinary Worlds: Piet Mondrian

Art + Data Day

The Country Dog Gentlemen Travel to Extraordinary Worlds: Georgia O’Keeffe

Tony Cragg, radical materialist

Bearing Witness

The Country Dog Gentlemen Travel to Extraordinary Worlds: Robert Rauschenberg

The Country Dog Gentlemen Travel to Extraordinary Worlds: Jackson Pollock

Paul Kos in the Sierras

Tony Cragg’s utilitarian materials

Ellsworth Kelly explains abstraction

Our Expansion

Installation of Richard Serra’s Sculpture Sequence