Born Too Late

Paul Klee, "Eros," 1923, watercolor, gouache, pencil, paper

Dan Flavin "icon V (Coran’s Broadway Flesh)" 1962 Oil on cold gesso on Masonite, porcelain receptacles, pull chains, and clear incandescent “candle” bulbs. 31 5/8 x 31 5/8 x 9 7/8 inches (80.5 x 80.5 x 25.1 cm) including fixtures and lamps Photo by Bill Jacobson, New York © 2009 Stephen Flavin/Artists Rights Society (ARS), New York; courtesy of David Zwirner, New York/London.

Sigmar Polke, "Apparatus Whereby One Potato Can Orbit Another," 1969

Kate Bush, 1981

A fascinating read: "Simon Hantaï's Discontent," on Hyperallergic 

Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950; 1950-134-972

Another Brutalist building in peril, with added intrigue.

Sir Roland Penrose (1900-1984)  Seeing is Believing (L'Ile Invisible), 1937  oil on canvas, 40 x 30 in. (101.6 x 76.3 cm.) 

Sophie Taeuber-Arp, Composition of Circles and Overlapping Angles, 1930 (Museum of Modern Art, New York)

Talking Heads at CBGB, December 1975

Wall of Voodoo, “Back in Flesh," from “Urgh! A Music War" (1981).

The song is 2000x better than the lip-synching.

Vilhelm Hammershøi, Woman in an Interior, c. 1905

Saw this in the fabulous Materializing Six Years: Lucy B. Lippard and the Emergence of Conceptual Art exhibition at the Brooklyn Museum of Art last December. The vials contain chewed and fermented pages from Clement Greenberg's Art and Culture.