Barbara Kruger

Monika Sprüth, Cologne
The Scharpff Collection, Europe
Christie's, New York, May 12, 2005, lot 453
Mary Boone Gallery, New York
Acquired by the present owner from the above

Vienna, Galerie Peter Pakesch, Mike Kelley, September - October 1989
Ludwigshafen am Rhein, Wilhelm-Hack-Museum, Zeitsprünge: Künstlerische Positionen der 80er Jahre, January - February 1993, p. 59, illustrated
Hamburg, Kunsthalle, Family Values: American Art in the Eighties and Nineties. The Scharpff Collection at the Hamburger Kunsthalle, February 1997 - February 1998, pp. 61 & 67, illustrated
Los Angeles, Museum of Contemporary Art, Barbara Kruger, October 1999 - February 2000, p. 133, illustrated
New York, Whitney Museum of American Art, Barbara Kruger, July - October 2000
Durham, Nasher Museum of Art; Contemporary Arts Museum Houston, The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1991, October 2011 - April 2012
Sydney, Art Gallery New South Wales, Pop to Popism, November 2014 - March 2015

Uta Grosenick and Burkhard Riemschneider, eds., Art at the Turn of the Millennium, Cologne, 1999, p. 291, illustrated

This work is in good condition overall. There is evidence of light handling and wear along the edges of the vinyl. There are scattered surface inconsistencies in each of the four quadrants, which are visible under raking light. Unframed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

“You know, it always gets me when people say that I worked in advertising. I never did. I never had that experience of selling a particular product. When you work in magazines, it's a serial process, it's about seriality—and so is photography. Or painting. It's about serial productions. And it's true with amassing an archive—a seriality of images, a seriality of texts. And it's the same with my video work. It's about the multiplicity of images.” Barbara Kruger