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WORKS FROM 2019 to 1994



Full title, 2019


First exhibited at

Related Publications:

Project page: Link

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Untitled: (Global Displacement: nearly 1 in 100 people worldwide are displaced from their homes), 2018*

*Source:, 2016

Printed banner on vinyl, 36 feet x 16 feet. 


First exhibited Isabella Stewart Gardner Museum, Boston 2018


The Boston Globe, Cate McQuaid, Link

Wonderland, Greg Cook, Link

ArtDaily, Editors, Link

Photos of people fleeing war, drought and famine have been circulating on-line, haunting me for years. Looking up, these asylum seekers greet the drone with a mixture of relief and elation – even though the drone is unmanned and not human, and even though the resulting encounter is no guarantee of a rescue or entry into another country.


This is especially poignant given that a drone sighting is often a harbinger of death. To me these images function like a banner when hung vertically, a beacon. Hopeful images of people transforming as they blend into the sky, becoming even more visible at the golden hour as day turns to night. So many faces in the clouds, they look just like you and me, beckoning us to a place beyond….



For when all that was read was … so as not
to be unknown, 2012

Offset printed lithograph
23.5 x 31.5 in. (poster),
5 x 5 x 5 in. (polyhedron)
Edition of 200
Produced with Project Projects


Mousse 34, Judith Barry Link

Brooklyn Rail, Judith Barry, Link

Project Page: Link

For when all that was read was … so as not to be unknown is Judith Barry’s guidebook to the “Brain” section at dOCUMENTA (13) in Kassel, Germany.


Carolyn Christov-Bakargiev, artistic director of d(13), thematized this rotunda space as the international exhibition’s through-line: a curated “paradox, a space of many secrets, a space of violence, and a space of potential healing.” The guidebook, which uses its unique paper architecture to remap the associative histories and labyrinthine nature of the “Brain,” takes the form of a series of pages, an artist’s book, and also a sculpture. Contained yet expansive, it is printed as a poster but may, alternatively, be folded into a legible, three dimensional object; exhibition materials are presented in a non-hierarchal, non-linear array, as if to suspend its contents in a recursive space.



…cairo stories, 2011


First exhibited at the Sharjah Biennale
March 16 – May 16, 2011.
Sharjah, UAE.



Glasstire Link

Said Said..., Judith Barry Link

ArtForum, Murtaza Vali Link

Project Page: Link

…Cairo stories, continues an on-going series of ‘as-told-to’ recorded stories, based on personal interviews. Initiated in 2003 at the beginning of the Iraq War, the project explores the many different ways that Cairene women negotiate the ideological, cultural and economic conditions that are specific to Cairo. Drawing on hours of recorded interviews, Barry filmed actors recounting extracts of individual narratives. The project premiered at the Sharjah Biennial in six sites around the city of Sharjah in March 2011 and continues to tour today.



From Receiver to Remote... Channeling Spain, 2010


Judith Barry | Ken Saylor | Project Projects
Installation with Spain and US timelines + TV programming, 91 Photographs, 10 Flat screens with audio, Dimensions variable

TV/ARTS/TV, Arts Santa Monica, Barcelona


Brooklyn Rail, Judith Barry, Link

Project Page: Link

In 1990 Judith Barry and Ken Saylor designed the exhibition From Receiver to Remote Control: the television set for the New Museum, New York. In more than 20 period rooms, from the 1920’s to the ‘90’s, playing appropriate television programming, they traced how television transformed the social space of the home and family relations in the US.

In Barcelona, Spain, for Arts Santa Monica, Barry, Saylor and Project Projects have updated their earlier exhibition and research by comparing some of the differences and similarities in television history between Spain and the US in relation to ‘participatory democracy’.

While television is often considered a monolithic entity, it differs from culture to culture. Tele-visual space produces personal and collective identities across ‘national’ and global boundaries where the viewer is implicated in questions of how media is democratized. The installation consists of a US zone, a Spanish zone, and a collective zone with longer programming from both countries. A timeline comparing the history of television in Spain and the US corkscrews 360 degrees throughout the entire installation that invites the spectators participation.


Study for the mirror and garden. redux, 2003


2 channel video sound projection with mirrors, dimensions variable. Originally produced by Museum Jose Guerrero, Granada, 2003. Redux 2007.


Related publications:

Judith Barry, Michael Newman, Link

Cinema and Space(s) in the Art of Judith Barry

Kate Linker, Link

Project Page: Link

This installation uses video and special effects along with architectural mirroring to evoke the secret gardens, hidden meanings, and picaresque narratives of the “converso” tradition in Spanish literature and culture, which allowed banished cultures to survive by hiding in plain sight. At first the story seems to turn on mistaken identities, but as time ruptures & slips and characters morph into cultural archetypes, it becomes an investigation of the origins of our desire for the irrational to erupt into modern narrative space. See Judith Barry, Study for the Mirror and Garden, Museum José Guerrero, Diputación de Granada, 2003.



Border Stories, Working Title, from One Place to Another, 2000


4 channel video sound projection. Dimensions and configurations variable. First exhibited at INsite2000,San Diego/Tijuana, 2000

“There is nothing so _______ as that border in the mind” This project, an ‘ambient network’ of short stories, identity graphics and artists projects about life along the border between San Diego and Tijuana, raises questions about what media might be other than television or advertising when it appears unbidden within a cityscape. Designed to function somewhat like the ‘situationist’ notion of a “detournement”, it was sited across several consecutive windows as an invisible border between the new sanitized tourist-friendly downtown and the old seedy port city of San Diego.



Voice Off, 1999


2 channel video – sound projection. Dimensions variable. First exhibited Le Fresnoy, Tourcoing, France, 1999.


Related publications:

Voice off, Michael Newman, Link

Project Page: Link

How might the voice might be represented visually? A room is divided into two identical halves and the wall separating the room is the projection area. The videos on either side of the shared wall explore what the voice is in terms of possession and loss; presenting the viewer with two metaphoric narratives that unfold simultaneously.


On one side a dream-like sequence enacts the personal, intimate and interior encounters that one has with the voice. On the other side, a man trying to work grows increasingly distracted as he tries to locate the source of the sounds he hears.



Speedflesh, 1998


4 channel interactive video-sound projection, dimensions variable. A collaboration with Brad Miskell. First exhibited Wexner Center, Ohio, 1998


Related publications:

The Dynamics of Desire, Sarah Perks, Link

Future Cinema, Jeffrey Shaw and Peter Weibel, Link

Project Page: Link

This interactive 360 degree surround theater, also often shown on a large curved screen as it is here, allows the viewer to experience the last 5 minutes in the lives of 5 characters who are somewhere along the spectrum between human and prosthetic. Three dimensional effects place the viewer in the center of the space such that the point of view shot becomes the most potent and only locating device—similar to the space of video games. This project explores how an immersive space might flatten narrative effect such that to engage with the work, the viewer must inhabit the center of this space as an all – seeing eye.



Consigned to Border: The Terror and Possibilities in The Things not Seen, 1997


5 channel video-sound projection on a T shaped sign. Dimensions variable.

First exhibited inSITE97, San Diego 1997.


This set of 5 interlocking images poses questions of landscape and land use across the shared and identical geography of Tijuana and San Diego. It uses the violence of collage (video graphics) — in particular, it’s ability to radically rupture and transform an environment — to foreground the differences in infrastructures, flows of capital, and culture between these two sites. The T-shaped structure sets up a number of antinomies or contradictions that might be provoked by comparing the various landscapes.



The Hunt for Language, 1996

Installation. Sculpture with 4 channel 3D video projection. Also shown separately as a 3D animation. Fabric, steel, fans, 4 video projectors, 4 DVD players, synchronier. First exhibited Xavier Hufkens, Brussels 1996. 3-D animation produced 2003. First exhibited Rosamund Felsen Gallery, Los Angeles, 2004.

A shapeless blob occupies the center of a room. As you walk near it, it begins to move, flapping or stretching, trying to fly. As it moves, letters seemingly tumble out from its center, striking the 4 walls around the room, forming words which do not linger in a ‘hunt for language before it is born on the tip of the tongue…. (after Theresa Hak Kyung Cha).



Au Bout des Levres, 1996

Sculptures with video projection, plastic, motors, 3.5’ x 1.5’ x 2.2’, 1993 to present. First exhibited, Xavier Hufkens, Brussels, 1996.

These pieces use projection/animation to question the difference between language (as what can be said or written) and the visual (that which can not). Each sculpture presents the viewer with a set of references whose rebus-like meanings become clearer as the viewer interacts with them. Is the increasingly liminal status that might be ascribed to the object the result of the de-materialization of the object or merely the effect of the insistence of the visual as it coheres around the object? Presented here are five sculptures each of which raises that question in a different way.



A/Drift: Scenes from the Penetrable Culture, 1996

Exhibition design. Collaboration with Ken Saylor. Curator: Josh Decter. Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York 1996

Project Page: Link

A/drift presented the work of 92 artists and seemed to recall the Situationalist project (1957-1972), “the apparent celebration of intellectual vacancy in the work of many contemporary artists… as well as their relationship with contemporary popular culture…” Invoking two Situationalist strategies, ‘detournement’ and the ‘derive’, the exhibition design literally ‘cut through’ the exhibition walls, making the space porous and using various kinds of media to allow the works to co-mingle, producing both a complete break-down of the space as well as fostering exchange. See A/drift catalogue, Bard College, 1996.



alt.youthmedia, 1995

Exhibition design The New Museum, New York City 1995 Curator: Brian Goldfarb

Project Page: Link

An exhibition on the development of fanzines and studentproduced videos and which simultaneously turned the New Museum into a Do-It-Yourself production studio for ‘zines and music. The long graphic wall showcased ‘zine examples from many sources, while the do-it-yourself area included computers, copiers, a recording and mixing studio and production materials for producing ‘zines. Upon entering the exhibition, each visitor was given a pair of headphones which could then be plugged into the many themed stations around the space of museum. Additionally, the show included graffiti and skateboard material.



Floating Red Lips/Blissfully Unaware, 1994

Exhibition design. Collaboration with J. Abbott Miller. 3 channel video projection on scrim. First exhibited Fashion Institute of Technology, NYC, 1994.

How might meaning might be constructed if an image moved at the speed of thought? Initially derived from Christian Metz’s notion of the ‘filmic syntagma’ as the smallest unit of meaning in a film, these two pieces are also paeans to other artist’s work. Floating Red Lips is my oblique homage to lipstick and Linda Benglis while Blissfully Unaware is my tribute to Chantal Ackerman’s film, Jeanne Dielman, 23 Quai du Commerce 1080 Bruxelles. Each piece tries to condense as much meaning as possible into the shortest period of time as one narrative, no matter how short, always implies another and another…



Ha®dcell, 1994


Collaboration with Brad Miskell. Crate with ‘dead tech’ coaxed back to life: computer discards, 3 video monitors, surveillance camera, 3 video projections, 37 various other technological devices, programmed ‘random motion’ board, sound. Wood, paint, mixed media. Dimensions 6’x 6’x4’. First exhibited Thread Waxing Space, NYC 1994.

A crate seems to have fallen from the sky, spilling its contents, mostly ‘dead technology’. As you approach, it seems to move and shift slightly as though sentient. Looking inside, various parts seem to activate as you come closer. Gradually, you realize it is one organism, trying to re-animate using a humorous and low tech version of the ‘bottom -up’ approach to producing artificial intelligence.



Geoffery Beene, 1994

3 channel video installation Fashion Institute of Technology, 1994 (Designed in collaboration with J. Abbott-Miller, choreography by Linda Haberman)

For a retrospective of the fashion designer Geoffrey Beene, I was commissioned to produce a video installation that could perform two functions --- modelling the clothes and animating the tall black oblong box that is the FIT exhibition space.


Dancers, choreographed modelling the clothes, were projected to the height of the exhibition space, twenty-four feet. Three transparent screens installed full height caught the dancers movements as they seemingly traversed the space, bringing the space to life.


About Face, 1994


A Somewhat Suggestive Guide and Recent Reminiscences of my Return After a Long Absence to the Art Museum of Southampton, by Thomas Eammes Heartcrest Minature book on 5 viewing stands with magnifying glass. Site specific work for the exhibition “ A Museum Looks at Itself ”, Parrish Art Museum, 1994. It subsequently was included in the exhibition, “Seven Room/Seven Shows”, at PS1 in the 4 Walls exhibition.

Miniature books, part of the wardrobe of well-to-do Victorians, were often physiognomy or phrenology manuals. They allowed for an on-the-spot assessment of character by charting facial features, a precursor to today’ s self-help books. Physiognomy and phrenology, both pseudo-sciences, were two ways to come to terms with a rapidly transforming culture. While their biases inscribed race, ethnic and class prejudices across all representational systems –genre painting, the novel, anthropology and ethnography– they did aid in the development of legitimate sciences. This book, written humorously in the voice of a 19thc gentleman, discusses the collection of the Parrish Museum.

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