West Bund Art & Design Past Nov 8 – Nov 10, 2024 Shanghai Art Fair DetailsWest Bund Art & DesignWest Bund Art CenterBooth A128Nov 8 – 10, 2024Connect (opens in a new window) West Bund (opens in a new window) @westbundartfair (opens in a new window) @pacegalleryAbove: Mao Yan, Fish Head for Goya, 2012 © Mao Yan Pace Gallery is pleased to reveal details of its presentation for the 2024 edition of West Bund Art & Design in Shanghai. The gallery’s booth (#A128) will feature paintings, sculptures, and photography by international and intergenerational artists across its program, including leading Chinese figures Mao Yan, Qiu Xiaofei, Sui Jianguo, Yin Xiuzhen, and Zhang Xiaogang. The booth will also spotlight works by Jean Dubuffet, Torkwase Dyson, Alicja Kwade, Yoshitomo Nara, Maysha Mohamedi, Robert Nava, Louise Nevelson, Kenjiro Okazaki, Marina Perez Simão, Kiki Smith, Mika Tajima, and other artists.Highlights will include a large-scale painting by the renowned Japanese artist, critic, and theorist Kenjiro Okazaki, who investigates time, space, and perception through a language of abstraction in his work across mediums. The 2023 painting by Okazaki on Pace’s booth features the artist’s gestural forms across two canvases. Inviting a continually shifting visual experience that eschews any single overall impression or reading, this radiant, richly textured work is built up with mixtures of acrylic paints that, both reflecting and transmitting light, give each canvas a glowing appearance. The lengthy and elaborate titles of the artist’s paintings are works of art in and of themselves, offering poetic entry points into his abstractions. Concurrent with West Bund Art & Design, Okazaki is presenting work in A Personal View of Japanese Contemporary Art: Takahashi Ryutaro Collection, a group show at the Museum of Contemporary Art Tokyo.The booth will also feature a 2024 textile painting from Mika Tajima’s ongoing Negative Entropy series, a body of work that also figures in the artist’s ongoing solo exhibition at Pace’s Hong Kong gallery.In the Negative Entropy series, the artist contends with what is captured, preserved, concealed, and lost in the translation of ephemeral energy into material form, a process that speaks to the relationships between individual agency, humanity, globalization, and the rise of big data.New paintings by Torkwase Dyson, Maysha Mohamedi, and Marina Perez Simão will be presented alongside a mixed media sculpture from Yin Xiuzhen’s Wall Instruments series and a brass abstraction created by Sui Jianguo using high-definition 3D scanning and printing technologies to capture the contours of his hands. Ceramics by Yoshitomo Nara, whose solo exhibition at the Guggenheim Museum Bilbao in Spain will travel to the Museum Frieder Burda in Germany later this fall, will also be exhibited prominently on Pace’s booth. Read More Featured Works Marina Perez Simão, Untitled, 2024, oil on linen, 19-11/16" × 15-3/4" (50 cm × 40 cm) Learn More Marina Perez Simãob. 1980, Vitória, Brazil Close modal Marina Perez Simão Untitled 2024 oil on linen 19-11/16" × 15-3/4" (50 cm × 40 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Brent Wadden, Untitled, 2020, hand woven fibres, wool, cotton and acrylic on canvas, 114 cm × 130 cm (44-7/8" × 51-3/16") Learn More Brent Waddenb. 1979, Nova Scotia, Canada Close modal Brent Wadden Untitled 2020 hand woven fibres, wool, cotton and acrylic on canvas 114 cm × 130 cm (44-7/8" × 51-3/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kenjiro Okazaki, 「あんなところに鳥の巣が」きっと巣にはまだ羽も生えない生れてやつと四五日位の不恰好な雛たちが四五羽。「どんなに可愛いいのかと思つたら」、爪先き立ちで首を伸ばし巣の中をのぞき込んだ、彼女はびっくりしたようにそう言った。 このまま私たちがここに住んでいるのだったら!だが何だつて、小鳥たちは、こんな私たちの手の屆く近さで、たくさん花を咲かせる、野茨の茂みの枝を選んだのだろう。莫迦といへば莫迦だけど、なんだか小鳥たちがいじらしい気がした。/ In such a place, a bird’s nest… 4or5 misshapen, featherless, 4or5 days old chicks? They were supposed to be cute,” she said in wonder as she stood on tiptoe, craning her neck to behold the nest. We could stay here! But what drove these little birds to choose a branch of this wild rose bush, so adjacent to us and blooming with flowers? They were rash, but I felt a strange tenderness for them. (From Tatsuo Hori's "The The Leaving Nest"), 2023, acrylic on canvas, 208 cm × 117 cm × 6 cm (81-7/8" × 46-1/16" × 2-3/8") Learn More Kenjiro Okazakib. 1955, Tokyo, Japan Close modal Kenjiro Okazaki 「あんなところに鳥の巣が」きっと巣にはまだ羽も生えない生れてやつと四五日位の不恰好な雛たちが四五羽。「どんなに可愛いいのかと思つたら」、爪先き立ちで首を伸ばし巣の中をのぞき込んだ、彼女はびっくりしたようにそう言った。 このまま私たちがここに住んでいるのだったら!だが何だつて、小鳥たちは、こんな私たちの手の屆く近さで、たくさん花を咲かせる、野茨の茂みの枝を選んだのだろう。莫迦といへば莫迦だけど、なんだか小鳥たちがいじらしい気がした。/ In such a place, a bird’s nest… 4or5 misshapen, featherless, 4or5 days old chicks? They were supposed to be cute,” she said in wonder as she stood on tiptoe, craning her neck to behold the nest. We could stay here! But what drove these little birds to choose a branch of this wild rose bush, so adjacent to us and blooming with flowers? They were rash, but I felt a strange tenderness for them. (From Tatsuo Hori's "The The Leaving Nest") 2023 acrylic on canvas 208 cm × 117 cm × 6 cm (81-7/8" × 46-1/16" × 2-3/8") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Mika Tajima, Negative Entropy (Seishoji Priest Prayer Drumming, Teal, Quad), 2024, cotton, polyester, nylon, wool, wool acoustic baffling felt, and white oak, 72" × 54-1/2" × 1-5/8" (182.9 cm × 138.4 cm × 4.1 cm) Learn More Mika Tajimab. 1975, Los Angeles Close modal Mika Tajima Negative Entropy (Seishoji Priest Prayer Drumming, Teal, Quad) 2024 cotton, polyester, nylon, wool, wool acoustic baffling felt, and white oak 72" × 54-1/2" × 1-5/8" (182.9 cm × 138.4 cm × 4.1 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Maysha Mohamedi, Playhouse, 2024, oil on canvas, 33" × 28" (83.8 cm × 71.1 cm) Learn More Maysha Mohamedib. 1980, Los Angeles Close modal Maysha Mohamedi Playhouse 2024 oil on canvas 33" × 28" (83.8 cm × 71.1 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alicja Kwade, A year (2022) and 275 missing days, 2024, watch hands on cardboard, brass, framed, 205 cm × 311 cm × 7 cm (80-11/16" × 10' 2-7/16" × 2-3/4") Learn More Close modal Alicja Kwade A year (2022) and 275 missing days 2024 watch hands on cardboard, brass, framed 205 cm × 311 cm × 7 cm (80-11/16" × 10' 2-7/16" × 2-3/4") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alicja Kwadeb. 1979, Katowice, Poland Read More Jean Dubuffet, Site avec 4 personnages, July 29, 1981, acrylic on canvas-backed paper, 26-1/2" x 19-3/4" (67.3 x 50.2 cm) Learn More Jean Dubuffetb. 1901, Le Havre, Franced. 1985, Paris Close modal Jean Dubuffet Site avec 4 personnages July 29, 1981 acrylic on canvas-backed paper 26-1/2" x 19-3/4" (67.3 x 50.2 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Robert Nava, Capybara vs Devil, 2023, acrylic and oil on canvas, 72" × 72" (182.9 cm × 182.9 cm) Learn More Robert Navab. 1985, East Chicago, IndianaIn Capybara vs Devil (2023), Robert Nava presents a dramatic clash between a horned devil and a retreating capybara, set against a stormy seascape under a tempestuous sky. Three lightning bolts erupt from the devil as it leaps toward the capybara, whose form is outlined in echoing spray-painted lines, perhaps tracing its escape route. Rendered in acrylic and oil paint on a large-scale square canvas, the work bears components of Nava’s visual language: frenetic mark-making, vibrant colors, and raw energy form the foundation of this dynamic work. Driven by a desire to create “new myths,” Nava draws from a wide array of inspirations, including cartoons, religious iconography, and art historical references ranging from Goya to Picasso. The titular characters in the present work appear throughout Nava’s oeuvre in various forms, suggesting multilayered narratives rife with figures who call into question preconceived notions of good and evil, inviting viewers to explore their own interpretations. Nava’s paintings follow their own logic, existing in a realm steeped in possibility, where beings transform and interact, belying the complexity of their origins. Close modal Robert Nava Capybara vs Devil 2023 acrylic and oil on canvas 72" × 72" (182.9 cm × 182.9 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Qiu Xiaofei, Trotskyky Grew into a Tree, 2020, oil on linen, 38 cm × 46 cm (14-15/16" × 18-1/8") Learn More Qiu Xiaofeib. 1977, Harbin, China Close modal Qiu Xiaofei Trotskyky Grew into a Tree 2020 oil on linen 38 cm × 46 cm (14-15/16" × 18-1/8") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Gideon Appah, A Love Song, 2022, Oil and acrylic on canvas, 180 cm × 160.7 cm (70-7/8" × 63-1/4") Learn More Gideon Appahb. 1987, Accra, Ghana Close modal Gideon Appah A Love Song 2022 Oil and acrylic on canvas 180 cm × 160.7 cm (70-7/8" × 63-1/4") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Zhang Xiaogang, Black Stone, 2014, oil on paper, 23-15/16" x 20" (60.8 cm x 50.8 cm) framed, 38-3/8" × 28-15/16" (97.5 cm × 73.5 cm) Learn More Zhang Xiaogangb. 1958, Kunming, Yunnan Province, China Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Zhang Xiaogang Black Stone 2014 oil on paper 23-15/16" x 20" (60.8 cm x 50.8 cm) framed, 38-3/8" × 28-15/16" (97.5 cm × 73.5 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kiki Smith, Sleeping Woman with Peacock, 2004, collage, ink on Nepalese paper, 5' 4" x 9' 8" (162.6 cm x 294.6 cm) Learn More Close modal Kiki Smith Sleeping Woman with Peacock 2004 collage, ink on Nepalese paper 5' 4" x 9' 8" (162.6 cm x 294.6 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kiki Smithb. 1954, Nuremberg, GermanySleeping Woman with Peacock (2004), a monumental collage nearly ten feet high and over five feet wide, demonstrates Kiki Smith’s career-spanning exploration of the interconnectedness of humans and the natural world. In the mid-1990s, Smith shifted her focus from the human form to include animals and the cosmos. The expansion from inner to outer world, from micro to macro, exists in the lineage of her ever-evolving oeuvre, and is exemplified by the entwined shapes of human and bird in the present work. Smith’s reconciliation of human and fauna developed from her drawing practice, as she explains, “One of the reasons I started looking at animals came from drawing skin and the hair follicles on the human body. Then I started drawing animals because I liked to draw their hair. I realized how similar we are to birds or to other mammals; the proportions change from one to the next, but how the hair and skin move on a face is the same as how hair patterns itself on an animal’s body.” [1] In the present work, a woman lies with her arms crossed over her chest, while a peacock rests on top of her, its feathers extending across the collaged piece of Nepalese paper, materializing the relation between human and animal on the drawing plane. Birds first appeared in Smith’s practice in 1992 and hold significant meaning for the artist as a symbol of the beauty of the natural world. The physical and visual ambiguity between the two figures suggests they are almost connected, retaining their individuality, yet expressing an emotional closeness. The peacock’s feathers, starting at the woman’s waist, resemble a skirt or train, or perhaps serve to protect her from the elements. Through an ongoing study of the relationship between humans and animals, Smith broadens the field of identity and perception.Kiki Smith quoted in Invention/Intervention: Kiki Smith and the Museums, (Pittsburgh, Pennsylvania: Carnegie Museum of Art, 1998), n.p. Read More Kiki Smith, Sleep, 2018, bronze, 23-1/4" × 18-1/2" × 11-1/2" (59.1 cm × 47 cm × 29.2 cm) Learn More Close modal Kiki Smith Sleep 2018 bronze 23-1/4" × 18-1/2" × 11-1/2" (59.1 cm × 47 cm × 29.2 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kiki Smith, Eclipse II, 2014, bronze, 10" x 12" x 3-1/4" (25.4 cm x 30.5 cm x 8.3 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Kiki Smith Eclipse II 2014 bronze 10" x 12" x 3-1/4" (25.4 cm x 30.5 cm x 8.3 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kohei Nawa, Pixcell-Greater Kudu, 2012, mixed media, 163 cm × 100 cm × 98 cm (64-3/16" × 39-3/8" × 38-9/16") 212 kg (467 lb 6 oz) Learn More Kohei Nawab. 1975, Osaka, Japan Close modal Kohei Nawa Pixcell-Greater Kudu 2012 mixed media 163 cm × 100 cm × 98 cm (64-3/16" × 39-3/8" × 38-9/16") 212 kg (467 lb 6 oz) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Mao Yan, Fish Head for Goya, 2012, oil on canvas, 90 cm x 130 cm (35-7/16" x 51-3/16") Learn More Close modal Mao Yan Fish Head for Goya 2012 oil on canvas 90 cm x 130 cm (35-7/16" x 51-3/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Mao Yanb. 1968, Hunan Province, ChinaFish Head for Goya (2012) embeds Mao Yan in a rich tradition of still life painting while offering a deeply modern, personal take on the genre. The title and composition pay homage to Spanish romantic painter Francisco de Goya, whose oeuvre of emotionally charged and often darkly surreal works also contains lesser known still lifes, of which he is believed to have produced twelve. [1] These works, marked by their stark depictions of slaughtered animals— such as the shimmering pile of dead fish in Still Life with Golden Bream (1808–12)—represent a radical departure from the lush imagery typically associated with the genre, evoking deep pathos and reflecting the violence of his time. Working in the same medium, Mao mutes Goya’s palette, painting within the confines of greyscale, which the artist describes as his “compositional compass,” explaining, “I basically reduce saturations and colors in life to the lowest degree possible.” [2] This allows him to distance his work from specific cultural associations, instead rooting it in an emotional landscape that emphasizes mortality, isolation, and existential reflection. While Goya’s still lifes were influenced by the political turmoil of his time, imbuing his depictions of death with social commentary, Mao opts for a more introspective exploration of mortality that transcends specific contexts. Mao’s work pays tribute to Goya’s still lifes, bridging Goya’s profound reflections on mortality and existence with a modern sensibility.Peter Cherry and William B. Jordan, “Goya and the Still Life,” in Spanish Still Life from Velázquez to Goya (London: The National Gallery, 1995), 175.Mao Yan quoted in Emily McDermott, “Lost in Time: Mao Yan at Pace," (opens in a new window) Interview Magazine, 11 March 2015 Read More Mao Yan, Broken Teeth No. 3, 2022, oil on canvas, 40 cm × 30 cm (15-3/4" × 11-13/16") Learn More Close modal Mao Yan Broken Teeth No. 3 2022 oil on canvas 40 cm × 30 cm (15-3/4" × 11-13/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Mao Yan, Broken Teeth No. 6, 2022, oil on canvas, 40 cm × 30 cm (15-3/4" × 11-13/16") Learn More Close modal Mao Yan Broken Teeth No. 6 2022 oil on canvas 40 cm × 30 cm (15-3/4" × 11-13/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Huong Dodinh, K.A. 270, 2022, Organic binders and natural pigments on canvas mounted on wood, 135 cm × 84 cm × 4 cm (53-1/8" × 33-1/16" × 1-9/16") Learn More Huong Dodinhb. 1945, Soc Trang, Vietnam Close modal Huong Dodinh K.A. 270 2022 Organic binders and natural pigments on canvas mounted on wood 135 cm × 84 cm × 4 cm (53-1/8" × 33-1/16" × 1-9/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Torkwase Dyson, Undrowned 1 (Bird and Lava), 2024, acrylic on canvas, 64" × 72" × 2" (162.6 cm × 182.9 cm × 5.1 cm) Learn More Close modal Torkwase Dyson Undrowned 1 (Bird and Lava) 2024 acrylic on canvas 64" × 72" × 2" (162.6 cm × 182.9 cm × 5.1 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Torkwase Dysonb. 1973, Chicago, Illinois Read More Louise Nevelson, Untitled, 1976-78, wood painted black, 84-1/2" x 36-1/2" x 7-3/4" (214.6 cm x 92.7 cm x 19.7 cm) Learn More Close modal Louise Nevelson Untitled 1976-78 wood painted black 84-1/2" x 36-1/2" x 7-3/4" (214.6 cm x 92.7 cm x 19.7 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Louise Nevelson, Untitled, 1970, cardboard, metal, and wood collage on board, 30-1/4" × 20" × 1-1/4" (76.8 cm × 50.8 cm × 3.2 cm) 31-1/8" × 21-1/8" × 3" (79.1 cm × 53.7 cm × 7.6 cm), frame Learn More Close modal Louise Nevelson Untitled 1970 cardboard, metal, and wood collage on board 30-1/4" × 20" × 1-1/4" (76.8 cm × 50.8 cm × 3.2 cm) 31-1/8" × 21-1/8" × 3" (79.1 cm × 53.7 cm × 7.6 cm), frame Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Louise Nevelsonb. 1899, Kievd. 1988, New York Read More Brice Guilbert, Fournez, 2023, oil stick on wood, 23 cm × 28 cm (9-1/16" × 11") Learn More Brice Guilbertb. 1979, Montpellier, France Close modal Brice Guilbert Fournez 2023 oil stick on wood 23 cm × 28 cm (9-1/16" × 11") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Brice Guilbert, Fournez, 2023, oil stick on wood, 210 cm × 250 cm (82-11/16" × 8' 2-7/16") Learn More Close modal Brice Guilbert Fournez 2023 oil stick on wood 210 cm × 250 cm (82-11/16" × 8' 2-7/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Brice Guilbert, Island, 2023, oil stick on wood, 210 cm × 250 cm (82-11/16" × 8' 2-7/16") Learn More Close modal Brice Guilbert Island 2023 oil stick on wood 210 cm × 250 cm (82-11/16" × 8' 2-7/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Sui Jianguo, Shape of Void · S, 2023, brass, 40 cm × 63 cm × 38 cm (15-3/4" × 24-13/16" × 14-15/16") Learn More Sui Jianguob. 1956, Qingdao, China Close modal Sui Jianguo Shape of Void · S 2023 brass 40 cm × 63 cm × 38 cm (15-3/4" × 24-13/16" × 14-15/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Adam Pendleton, WE (we are not successive), 2015, silkscreen ink on mirror polished stainless steel, 46-13/16" x 61-1/2" (118.9 cm x 156.1 cm) letter W, 46-13/16" x 35-5/8" (118.9 cm x 90.5 cm) letter E Learn More Close modal Adam Pendleton WE (we are not successive) 2015 silkscreen ink on mirror polished stainless steel 46-13/16" x 61-1/2" (118.9 cm x 156.1 cm) letter W, 46-13/16" x 35-5/8" (118.9 cm x 90.5 cm) letter E Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Adam Pendletonb. 1984, Richmond, Virginia Read More Nina Katchadourian, Easy Magic for Evening Parties, from the series What I Know About Magic ("Sorted Books" project, 1993 and ongoing), 2022, c-print, print, 12-1/2" × 26" (31.8 cm × 66 cm) framed, 13-5/8" × 27-1/8" (34.6 cm × 68.9 cm) Learn More Nina Katchadourianb. 1968, Stanford, California Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Nina Katchadourian Easy Magic for Evening Parties, from the series What I Know About Magic ("Sorted Books" project, 1993 and ongoing) 2022 c-print print, 12-1/2" × 26" (31.8 cm × 66 cm) framed, 13-5/8" × 27-1/8" (34.6 cm × 68.9 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Nina Katchadourian, More Magic, from the series What I Know About Magic ("Sorted Books" project, 1993 and ongoing), 2022, c-print, print, 12-1/2" × 26" (31.8 cm × 66 cm) framed, 13-5/8" × 27-1/8" (34.6 cm × 68.9 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Nina Katchadourian More Magic, from the series What I Know About Magic ("Sorted Books" project, 1993 and ongoing) 2022 c-print print, 12-1/2" × 26" (31.8 cm × 66 cm) framed, 13-5/8" × 27-1/8" (34.6 cm × 68.9 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Nina Katchadourian, Great Magic, from the series What I Know About Magic ("Sorted Books" project, 1993 and ongoing), 2022, c-print, print, 12-1/2" × 26" (31.8 cm × 66 cm) framed, 13-5/8" × 27-1/8" (34.6 cm × 68.9 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Nina Katchadourian Great Magic, from the series What I Know About Magic ("Sorted Books" project, 1993 and ongoing) 2022 c-print print, 12-1/2" × 26" (31.8 cm × 66 cm) framed, 13-5/8" × 27-1/8" (34.6 cm × 68.9 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Yin Xiuzhen, Wall Instrument No. 28, 2019-2021, porcelain, used clothes, 95.5 cm × 98.5 cm × 11 cm (37-5/8" × 38-3/4" × 4-5/16") Learn More Yin Xiuzhenb. 1963, Beijing, China Close modal Yin Xiuzhen Wall Instrument No. 28 2019-2021 porcelain, used clothes 95.5 cm × 98.5 cm × 11 cm (37-5/8" × 38-3/4" × 4-5/16") Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back To inquire about any of the artists or works featured here, please email us at inquiries@pacegallery.com. 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