Nigel Hall, Geography of an Unnamed Place (1981). Painted aluminium 101 x 96 x 61cm. Photography courtesy Annely Juda Fine Art, London
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Nigel Hall, Geography of an Unnamed Place (1981). Painted aluminium 101 x 96 x 61cm. Photography courtesy Annely Juda Fine Art, London

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Pablo Picasso, Woman in a Grey Armchair (1939). Oil on canvas 130 x 97 cm. Collection of Marina Picasso.
Gerda Peterich. Merce Cunningham, 1952.
Herbert Zangs (Krefeld 1924 ā 2003), Ohne Title, 1953. Collage on whitened wood.
Anne Truitt, 26 July '73, 1973. Acrylic and graphite on paper.

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Elliott Erwitt. Il mio sguardo sul mondo Un mix di scatti celebri e iconici e altri mai esposti, selezionati dallo stesso autore per la mostra di Elliott Erwitt a Pordenone.
#62 Gianugo Polesello e il āLaboratorio Veneziaā Una mostra che fa emergere il valore dellāattivitĆ didattica e di ricerca di Gianugo Polesello, docente IUAV e il suo rilievo nella riflessione teorica e operativa sulla cittĆ metropolitana lagunare di Venezia.
A new artistic conception 1960 Attraverso la memoria di una storica mostra del 1960 Tornabuoni offre una panoramica delle trasformazioni in corso nellāambito dellāarte italiana ed europea del dopoguerra.
Enzo Cacciola (1945) āN. 46ā 2023 Multigum on canvas and iron
Felima Art Haus
CosticÄ Acsinte (1897 - 1984)

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Gerhard Richter. Abstract Painting (Ravine) [CR: 837-2], 1996. Oil on canvas.
https://www.gerhard-richter.com
Wolfgang Tillmans. Silver 159, 2010. Emulsion on paper (unique).
https://www.tillmans.co.uk/
Shio Kusaka b.1972, (dot 37), 2011. Glazed stoneware.
Wolfgang Tillmans. Silver 61 (11 11 00), 2000. Unique chromogenic print.
https://www.tillmans.co.uk/
Isamu Noguchi. Akari light sculpture, model BB3-55DD, Ozeki & Co., Ltd. USA / Japan, 1951

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Wolfgang Tillmans, Silver 120, 2013. Unique chromogenic print.
Silver 120 reflects Wolfgang Tillmansā exploration of abstract and cameraless photography. Starting in 1992, the Silver series compiles experimental work that celebrates āthe processā. In the series, silver nitrate-coated paper is exposed to a wide range of processes such as light, salts and chemicals, resulting in unpredictable marks, colours and shapes. Traces left on the paper shift the attention away from a photographic rendering to a deep sense of materiality. source
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