Sentences with phrase «wall display features»

The fabulous wall display features two honeycomb designs, each made up of 16 separate mirrors.

His six - wall display features several birds — a blackbird, a peacock, a duck, and a heron, as well as parrots and gulls.

The wall display features several notable public figures with backgrounds in STEM.

Not exact matches

Formerly a pharmacy and candy store, it features an inviting decor with red - brick walls, and houses a museum displaying old pill bottles and vintage toys and candy.

Aside from the tidal wave of leaks, reports from Blass, The Guardian, The Wall Street Journal, and others have pointed to two phones with curved OLED displays, the latest Qualcomm Snapdragon 835 chipsets (in the US), a new voice assistant named Bixby, and 3.5 mm headphone jacks, among other features.

The main focal point of the room will be the feature wall that displays a custom calligraphy.

The wall is on display during the Annual Meeting and features short obituaries of some of the most prominent leaders in the field.

Chic brass and marble desk in an office room features violet walls displaying a Vintage Chanel wall art.

Beautifully organized kitchen pantry features white built in shelves flanking a wall fitted with vertical tray shelves fixed above display shelves placed over white built in cutlery and linen drawers adorned with polished nickel cup pulls.

Featuring a round frame and tiny cable clips, this piece not only displays your favorite pics and keepsakes, but it also makes a wall statement too.

Bundle includes a variety of wall and feature displays.

I am using the wall concept to display categories: name wall where I display the children's name and outline the shape made by the letters in their name, rhyming wall where I feature a theme word a week and words that rhyme with this word for example: bear, dear, fear, etc..

: w / Radius Arms Shock Absorber Diameter - Front (mm): 32 Shock Absorber Diameter - Rear (mm): 35 Stabilizer Bar Diameter - Front (in): 0.79 Stabilizer Bar Diameter - Rear (in): 0.59 Steering Type: Pwr Rack & Pinion Steering Ratio -LRB-: 1), Overall: 19.0 Lock to Lock Turns (Steering): 3.2 Turning Diameter - Curb to Curb (ft): 36.7 Turning Diameter - Wall to Wall (ft): 39.4 Brake Type: Power Brake ABS System: 4 - Wheel Disc - Front (Yes or): Yes Disc - Rear (Yes or): Yes Front Brake Rotor Diam x Thickness (in): 11.4 x 0.94 Rear Brake Rotor Diam x Thickness (in): 11.3 x 0.39 + EXTERIOR 2 - tone paint (2000) Raised roof line (2000) Roof rails w / crossbars Protective rear bumper step pad Front / rear body - color bumpers Body - color lower body - side cladding Aerodynamic body - color body - side ground effects molding Front / rear splash guards Automatic - off multi-reflector halogen headlights Multi-reflector halogen fog lights w / stone shields Daytime running lights Dual body - color fold away pwr mirrors Variable intermittent windshield wipers Fixed intermittent rear window wiper / washer Front Tire Size: 225 / 60HR16 Rear Tire Size: 225 / 60HR16 Spare Tire Size: Compact Front Wheel Size (in): 16 x 6.5 Rear Wheel Size (in): 16 x 6.5 Front Wheel Material: Aluminum Rear Wheel Material: Aluminum Wheelbase (in): 104.3 Length, Overall (in): 187.4 Width, Max w / o mirrors (in): 68.7 Height, Overall (in): 63.3 Track Width, Front (in): 57.9 Track Width, Rear (in): 57.7 Min Ground Clearance (in): 7.3 Rear Door Opening Height (in): 30.2 Rear Door Opening Width (in): 43.3 Cargo Area Length @ Floor to Seat 1 (in): 74.9 Cargo Area Length @ Floor to Seat 2 (in): 43.5 Cargo Area Width @ Beltline (in): 47.2 Cargo Box Width @ Wheelhousings (in): 42.3 Cargo Box (Area) Height (in): 33.2 Liftover Height (in): 25.2 Cargo Volume to Seat 1 (ft3): 68.6 Cargo Volume to Seat 2 (ft3): 34.3 + INTERIOR Reclining front bucket seats w / height adjustable head restraints 6 - way pwr driver seat Driver seat height adjustment (2000) Driver seat adjustable lumbar support Moquette cloth seat trim 60/40 split fold down rear bench seat Rear seat headrests on all seating positions Front / rear carpeted floor mats Tilt adjustable steering column Instrumentation - inc: digital dual - mode trip odometer, ambient temp gauge Tell - tale door ajar graphic display (2000) Pwr windows w / driver - side one - touch down feature Pwr door locks Remote keyless entry Cruise control Air conditioning Rear seat heat ducts Rear window defroster w / timer Electronic AM / FM stereo w / cassette - inc: (4) speakers, clock, weatherband Front 12 - volt pwr outlet & ashtray Woodgrain patterned dash 2 front / 2 rear cupholders Dual illuminated visor vanity mirrors Overhead console - inc: sunglass holder Lighting - inc: overhead map, glove box, cargo area, trunk Front seatback net pockets Cargo area 12 - volt pwr outlet Cargo area hooks Cargo area / trunk multibox storage tray Rubber cargo tray / mat Cargo area security cover Passenger Capacity: 5 Passenger Volume (ft3): 95.9 Total Cooling System Capacity (qts): 6.5 Front Head Room (in): 38.5 Front Leg Room (in): 43.3 Front Shoulder Room (in): 53.9 Front Hip Room (in): 51.3 Second Head Room (in): 37.2 Second Leg Room (in): 34.3 Second Shoulder Room (in): 53.6 Second Hip Room (in): 51.9 + SAFETY 4 - wheel anti-lock braking system (ABS) Driver & front passenger airbags (SRS) w / passenger dual stage deployment 3 - point seatbelts on all seating positions Height adjustable shoulder belts on front seating positions Child safety rear door locks Uniform child safety seat anchorage system Energy - absorbing collapsible steering column Front / rear 5 - mph impact - absorbing bumpers Side - impact door beams Daytime running lights + EPA Fuel Economy & Specification EPA Fuel Economy Est - City (MPG): 22 EPA Fuel Economy Est - Hwy (MPG): 27 Spare Wheel Size (in): - TBD - Spare Wheel Material: - TBD - Fuel Tank Capacity, Approx (gal): 16.9 Additional Photos Buyer Resources Contact Ebay Sales Department: for more information Toll - Free: [phone] Request More Info Vehicle Condition Service History 113,287 Miles No Known Mechanical Problems Options & Features Ext / Int Color GRAYwith Interior Luxury Features Air ConditioningClimate Control SystemCruise ControlWood Trim Power Equipment Power Driver's SeatPower MirrorsPower SteeringPower Windows Safety Features All Wheel DriveChild Proof Door LocksDriver's Air BagFog LightsKeyless EntryPassenger Air BagRear Defogger Interior Carpeted Floor MatsClockCup HoldersOverhead ConsoleVanity Mirrors Exterior Body Side MoldingsOff Road TiresRear WipersRoof Rack Audio / Video AM / FMCassette Financing Information Contact us today for more information, or fill out our Online Credit Application to begin the pre-approval process today.

The mirrors are automatically displayed (when folded, this feature can be disabled to not strike a column or wall).

* 9 - Speed 948TE 4WD Automatic Transmission * (originally: $ 1095.00) Active Drive II badge; Auxiliary transmission oil cooler; Electronic range select; Hill descent control; Jeep Active Drive II; Off road suspension - Suspension Class: heavy duty - Descent Control - Auxilliary Transmission Cooler: auxiliary transmission fluid cooler - Consumer Generic Feature 0: AWD / 4WD - 4wd Type: on demand - Locking Hubs: automatic - Transfer Case: electronic hi - lo gear selection - Driven Wheels: four wheel drive * 3.2 L V6 24V VVT Engine W / ESS * (originally: $ 1745.00) 3.25 final drive ratio; 700 amp maintenance free battery; Dual bright exhaust tips; Engine oil cooler; Stop - start multiple VSM system - Engine Auto Stop / start - Engine Oil Cooler - Consumer Generic Feature 0: Upgraded Engine - Final Drive Ratio: 3.25 * Cold Weather Group * (originally: $ 895.00) All - season floor mats; Engine block heater; Exterior mirrors with heating element; Heated front seats; Heated steering wheel; Power heated mirrors; Remote start system; Windshield wiper de-icer - Heated Windshield Wiper Rests - Heated Passenger Seat: multi-level heating - Remote Engine Start - Block Heater - Consumer Generic Feature 0: Remote Start - Consumer Generic Feature 1: Heated seats - Exterior Mirror Adjustment: power - Heated Exterior Mirrors: heated - Heated Steering Wheel - Heated Driver Seat: multi-level heating - Floor Mats - Floor Mat Material: vinyl / rubber * 75th Anniversary Quick Order Package 26F * (originally: $ 0.00) Vehicle with standard equipment; 18 x 7.0 bronze painted aluminum wheels with 225 / 60R18 black side wall touring tires; 75th Anniversary badge; 75th Edition cloth / mesh bucket seats; 8.4 touchscreen display; Bronze fascia applique; Bronze grille surrounds; Bronze roof rails; Day light opening moldings; Power front and fixed rear full sunroof; Jeep 75th Anniversary Package; Jeep bronze badging; Navigation capable; 4 - way power driver lumbar adjust; 8 - way power driver seat; Remote USB port; SiriusXM satellite radio; Tangerine interior accents; Uconnect 8.4; Uconnect Access with 6 months trial - 1st Row Seat Type: bucket - 1st Row Upholstery: cloth - Consumer Generic Feature 0: Mobile Internet - Consumer Generic Feature 1: USB Inputs - Consumer Generic Feature 2: Sunroof / Moonroof - Consumer Generic Feature 3: Power Driver Seat - Consumer Generic Feature 4: Aux Audio Inputs - Roof Rack - One Touch Power Sunroof: one - touch power sunroof - 2nd Row Sunroof: fixed glass - Sunroof: power glass - Satellite Communications: Uconnect Access - Months Of Free Satellite Communications Service: 6 - Mobile Router - Height Adjustable Driver Seat: height adjustable - Driver Seat Adjustable Lumbar: power adjustable lumbar support - Number Of Driver Seat Power Adjustments: 8 * Comfort & Sound Group * (originally: $ 425.00) 9 amplified speakers with subwoofer; 4 - way power driver lumbar adjust; 8 - way power driver seat - Consumer Generic Feature 0: Power Driver Seat - Height Adjustable Driver Seat: height adjustable - Driver Seat Adjustable Lumbar: power adjustable lumbar support - Number Of Driver Seat Power Adjustments: 8This vehicle came with a free satellite radio subscription when it was new.

The 7 - inch hybrid portable TV has a suggested retail price of $ 169 and comes with an 800x480 high resolution widescreen LCD screen featuring 500:1 contrast ratio, hybrid ATSC or Mobile DTV reception, AC power or up to 3 hours of playback time on a built - in Lithium Polymer battery that can recharge while plugged in to a wall outlet or auto power source, real - time signal strength indicator, closed captioning capability, easel - back stand, English / Spanish display and 360 degree adjustable antenna.

Nevertheless, I have displayed the original proclamation on my office wall to remind me that after 29 years of writing and finally getting around to featuring my hometown's history in a novel, there is recognition of my cultural legacy to Brockport.

Featuring new giant E Ink clocks to put on walls, E Ink signage displays, the latest E Ink e-readers on the market and more.

Patterson's Mill is an authentic country store that features memorabilia and artifacts from as far back as the 1870s displayed in the aisles and on the walls.

Like many ideological displays in Cuba, the Wall is a perfectly distilled cocktail of pride and spite, featuring cartoonish renderings of Ronald Reagan in a cowboy hat, George Bush I in a Roman toga, and W. in a Nazi helmet reading a book upside down.

Offering over 2,000 square feet of interior living space, the turnkey abodes display gourmet kitchens with wood cabinets and quartz countertops, two master suites, and great rooms with tile feature walls.

Acknowledging Hilo's role in the history of hula and site of the renowned Hilo Merrie Monarch Festival, the restaurant features an extensive display of wall hangings depicting hula dancers and other representations of Hawaiiana.

The fortress - like Seongsan Ilchulbong tuff cone, with its walls rising out of the ocean, is a dramatic landscape feature, and Mount Halla, with its array of textures and colours through the changing seasons, waterfalls, display of multi-shaped rock formations and columnar - jointed cliffs, and the towering summit with its lake - filled crater, further adds to the scenic and aesthetic appeal.

The hotel will have what the brand calls a «living wall,» an interactive digital display on the property's façade that respond to human motion and features specially curated digital imagery of local artists and neighborhood experiences.

The vertical wall at times cuts back in on itself, displaying many interesting features.

One simple but really neat feature you might've seen introduced in Splinter Cell: Conviction is the way the game displays mission objectives across nearby walls, the floor, or on objects in the environment.

Bounded on the west and north sides by towering glass walls overlooking Boston's skyline, the east side displays Sandra and Gerald Fineberg Art Wall, featuring large - scale works by leading contemporary artists.

These installations, which featured things like refrigerators, gigantic photographs pasted on walls, and piles of salt on the gallery floor, seemed to physically consume the spaces in which they were displayed.

At the museum, 30 of his colorful, dynamic and sculptural Soundsuits are on view, along with seven new mixed - media commissions, video work, a site - specific wall tapestry, and a special «Map in Action» gallery will capture the Chicago - based artist's public performances in Detroit — displaying the Soundsuits worn and featuring video documentation of the activities.

A new series of wall - based works — featuring enlarged scans of halftone book reproductions printed on sheets of aluminum and layered in informal compositions — will be on display alongside large - scale cyanotype photographs.

, inspired by the wall displays inside of a barber shops, which features Martin Luther King and Malcolm X.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

The exhibition will feature large - scale vitrines, mirror wall panels and photographic works that reveal a historical link between contemporary consumer display forms and their early 20th century precursors.

On display are several new bodies of greatly varied work: a series of paintings based on Amish quilts; a series of silk - screened paintings of t - shirts; sculptures made out of stacks of flattened cardboard with enormous eyes; large - scale pattern paintings featuring panda bears; a wall with photos of cats that look like Hitler.

Spread across two floors, in a building within a walled compound, MACAAL will feature rotating exhibitions on the ground floor — which emulates the city's iconic medina — while the top floor will display the museum's permanent collection.

Inside this slender, delicate building, the prize - winning display «Luanda, Encyclopedic City» features a suite of interconnected rooms in which Cini's artworks hang resplendently on the walls — the curators were forbidden to move them — and 23 stacks of hundreds of exhibition - sized photographs sit on the floor.

Some paintings featured in New Work: Elizabeth Murray extend the limits of the medium beyond material and surface; hollowed - out canvases reveal segments of the wall behind, drawing attention not only to the fact of painting, but to the entire, combined reality of paint, canvas, and display.

A Maciunas work — drawn from the Museum's recent acquisition of the Gilbert and Lila Silverman Fluxus Collection — features hundreds of empty containers from products that Maciunas consumed during one year, systematically stacked in tall columns and displayed against the wall.

All of the exhibition's featured works have yet to be displayed on the Museum's walls.

Her installations, titled For the Love of Morris Louis, feature wall paintings and rugs of her design along with an exuberant display of ceramic objects from the Everson's collection.

The gallery features two full floors to display personal or group art work, professional lighting, wall hangings, and enough space for guests to enjoy the artwork and exhibition opening receptions.

The two - part installation «Something About Two Birds and One Stone» features a crumpled tee - shirt displaying the face of curator Jeffrey Deitch and the words «Team Jerry» («Ain't No «I» in «Team»») as well as a check from Gagosian Gallery, framed, and surrounded by large scissors wall decals («Any Way «You» Cut It»).

The main display consisted of two partitioned installations: Untitled (1992/2012), featuring 22 red aluminum squares in shallow relief that extended across two adjacent walls, and Untitled (2012), eight rectangular titanium panels positioned vertically on the floor at alternating angles, which had the effect of disrupting their relationship with the long room in which they were installed.

Students also exhibit their work in the Sculpture Quad, located between Atkinson Hall and the Studio Arts Building, which features permanent installations and temporary works by sculpture students throughout the year; on the atrium wall in the Design Building, where student work is showcased through displays that change on a monthly basis; and sometimes — if you visit at the right time — you might witness the pop - up «locker gallery» in the hallway of the Studio Arts Building.

Many things on display in «14 Rooms» would make for excellent clandestine iPhone photo fodder: there's Damien Hirst's Holly, Gretel, in which two identical twins were reading the same Jodi Picault novel under a Hirst spot painting; Marina Abramovic's Luminosity, from 1997, featuring a nude woman suspended on the wall and washed in the glare of a spotlight; an early Bruce Nauman performance called Wall - Floor Positions; and, as an epilogue, Jordan Wolfson's [Female Figure], the now - famous robot that was on view at David Zwirner earlier this ywall and washed in the glare of a spotlight; an early Bruce Nauman performance called Wall - Floor Positions; and, as an epilogue, Jordan Wolfson's [Female Figure], the now - famous robot that was on view at David Zwirner earlier this yWall - Floor Positions; and, as an epilogue, Jordan Wolfson's [Female Figure], the now - famous robot that was on view at David Zwirner earlier this year.

Here, his works engage some familiar and peculiar architectural and display features (floors, shadows, frames, walls, views) he's encountered in various historical and imaginary, current and future museums in the Arab world.

When the Bearden collage was featured in MoMA's 1974 show, «The Prevalence of Ritual,» it was displayed prominently on the wall facing visitors as they entered the exhibition, which was on view alongside Richard Hunt's sculptures.

The show also features a performance piece by Bruce Nauman — a hired actor walks the room as if the ceiling were five feet high, with the public standing outside — along with an arrangement of textured patterns on each wall and a phrase by poet Alfred Starr Hamilton, which gives the show its title and undergoes random permutations by means of an algorithm designed by Robert Pearson, with results displayed on a pile of sheets.

The show features five large screen prints, each representing the artist's interpretation of the Pillars of Islam; silk prayer rugs designed by the artist and handcrafted in Kashmir, India; a fifteen - foot - long braid of hair suspended from the ceiling; a climbing wall; embroidered sound - dampening blankets; and a display case of family photographs, letters, jewelry, and other archival materials.

This display also features Invisible Moving Wall (2001) by Jeppe Hein, where a large wall slowly moves within the spWall (2001) by Jeppe Hein, where a large wall slowly moves within the spwall slowly moves within the space.