It is often said that we are currently undergoing the second major technological revolution. The first brought us the acceleration of traffic, the railway system, the automobile and, finally, aviation. The current revolution is riding on electromagnetic waves and has led to such an acceleration of communications that information is now available in real time -- that means immediately, no matter where it comes from. With the aid of equipment such as computers, mobile phones, scanners etc., people can call up this information any time and be present everywhere, as long as they are in a position to use the media and analyze the information. This means that the patterns of reception have been more or less reworked, in order to adapt them to the patterns prescribed by technology. As electronic proximity does not require physical contact, a new sphere has emerged that no longer distinguishes between the private and the public. Jordan Crandall's multimedia installation *suspension* observes this space created by the mediation of a variety of technical networks as "a dynamic combination of reality and virtuality," inquiring into "alternate modes of access, navigation, and inhabitation" of electronic space. "Suspension explores the ways in which viewing agencies, bodies and inhabited spaces are mobilized and cross-formatted through various 'protocols' and 'vehicles.'"

The interactive system of video cameras, video players, projectors, computers, digital image processors, scan converters, animations, and various adjustment facilities automatically catapults the exhibition visitor into one of those new hybrid spaces of simultaneously real and virtual (distributed) presence. Voluntarily or not, the visitor begins to exert an influence. "The installation is crisscrossed with networks of projections and multiple agencies both local (within the Kassel exhibition space) and remote (via the Internet). Inhabitants simultaneously originate and interrupt the projective flow. The location of viewing is multiplied and mobilized, dispersed and re-routed. The interference patterns generate fields of competing orientations, which prompt calibrations no longer measured in terms such as distance and magnitude." Rhythm and speed of events determine the changes within the system of suspension in which matter and energy (in the sense of electro-optical or electromagnetic power) influence each other reciprocally and force the user/viewer into constant reorientation between changing protocols and viewpoints.

Jordan Crandall's artistic activities are complex and interdisciplinary. For example, he has been performing under the name The X-Art Foundation for some time now. In this role, he explores other forms of authorship connected with new technologies. In 1990, under the name Blast, he launched a project addressing the transformation of conventional patterns of perception and reception in reading and seeing. On this basis, changing forms of production in the field of publication and various techniques of systematization and regulation are being studied.

Text by Suzanne Prinz and Paul Sztulman, Documenta X

1996 - 97 Sandra Gering Gallery, New York
1995 Galerie des Archives, Paris
Javier Lopez Gallery, London
Koelnischer Kunstverein, Cologne
1994 - 95 Sandra Gering Gallery, New York

1997 documenta X, Kassel
Revisions II, Karl Ernst Osthaus Museum, Hagen, Germany
Selections from the Sackner Archive, Rosenwald Gallery, Philadelphia
Works from the Collection of the Edward P. Taylor Research Library, Art Gallery of Ontario
1996 - 97 Group exhibition, Baumgartner Gallery, Washington DC
In the Flow: Alternate Authoring Strategies, Franklin Furnace, New York
1996 in-corporeal, brat, New York
Conceptual Tools: Selected Works from the Sol LeWitt Collection, Connecticut State Univ. Gallery
Alem da Agua, Museo de Arte Extremeno e Iberoamericano, Badajoz, Portugal
Interplace Access, Viafarini, Milan
1995 Temporarily Possessed: the semi-permanent collection, New Museum of Contemporary Art, NY
Inaugral exhibition, Richard Heller Gallery, Los Angeles
Take Me (I'm Yours), Serpentine Gallery, London
SMS, Susan Inglett Gallery, New York
1994 - 95 depart, Bernard Toale Gallery, Boston
Inside/Outside, in situ, Cincinnati
1994 The Museum fuer Zukunft, Friesenwall 116, Cologne
Window installation, TZ'Art & Co Gallery, New York
1993 - 94 States of Mind, University of California Library, San Diego
1992 - 93 The Spatial Drive, The New Museum of Contemporary Art, New York

Ezra Pound Cantos, 1997 (published by Rik Gadella / Picaron Editions, Paris)
suspension figures, 1997 (published by documenta X and Walther Koenig, Cologne)
suspension vehicle RF-6000, 1997 (published by Edition Schellmann, Munich and New York)
blast5drama, 1996-97
Blast 4: Bioinformatica, 1994-95
Blast 3: Remaking Civilization, 1993
Blast: The Spatial Drive, 1992
Blast: The Blue Box, 1991
Exhibition catalogues 1994-95; 1995; 1995; 1996-97

"Bodies on the Circuit," CTHEORY, Vol. 20, No. 3, article 53, October 1997, http://www.ctheory.com.
"Convertible Vehicles," TRANS>arts.cultures.media, summer 1997, pp. 29-38 (english and spanish).
"on NetArt," ZKP4, P. Schulz, D. McCarthy, G. Lovink, V. Cosic, eds. (Ljubljana, Slovenia: Ljubljana Digital Media Lab, in assoc. With Nettime, 1997), p. 8.
"Pages and Spaces," documenta documents 3 (Germany), March 1997, pp. 92-95.
"Community of Things?," Talkback 3, 1996, http://talkback.lehman.cuny.edu/tb.
"Notes on Pages," ZKP3, in cooperation with the Metaforum III conference in Budapest, ed. Tom Bass, October 1996.
"Editorial Formations," M/E/A/N/I/N/G 19/20, 1996, p. 28.
"Network Spectacles," The Thing, April 1996, http://www.thing.net/thingnyc.
"Vegas Derive," Metamute (London), spring 1996, http://www.metamute.co.uk.
"Living in 'Celebration,'" The Thing, March 1996, http://www.thing.net/thingnyc.
"Notes Toward a Diagram of Editorialization," ZKP 95: Net Criticism, in cooperation with the "Next Five Minutes" conference in Amsterdam/Rotterdam, January 1996, n.p.
"From Pages to Parangoles: Radical Excess, Technology, and the Publicational Body," Mute 3 (London), fall 1995, 7.
"Netzprojekte: The Thing," K. Gerbel & P. Weibel, eds., Ars Electronica 95 (Wein/New York: SpringerVerlag, 1995), pp. 314-316.
"Alignment and Informatic Form," Art Papers, May/June 1995, pp. 9-11.
"Bioinformatic Alignments," Medien.Kunst.Passagen (Germany), winter 1995, p. IIa+b.
"Forum," M/E/A/N/I/N/G 15, spring 1994, pp. 9-12.
"Alignments," Blast 4: Bioinformatica (New York: The X-Art Foundation, 1994), n.p.
"Bioinformatics," 15 February -1 November 1994, and 3 February - 20 March 1995; "Transactivism," 1 November 1993 - 14 February 1994;
"Remaking Civilization," 23 November - 1 April 1993, on The Thing BBS, partially archived at http://www.thing.net.
"Blast," Purple Prose 13 (Paris), 1993.
"Property Relations," "Embodiments," "Crime," Blast 3: Remaking Civilization (The X-Art Foundation, 1993), n.p.
"Transactional Space," M/E/A/N/I/N/G 13, May 1993, pp. 34-41.
"wave function," The Pocket Dictionary of Spatial Drives (digital hypertext), Laura Trippi, ed. (New York: The X-Art Foundation and The New Museum of Contemporary Art, 1992).
"Entering into (the) Composition," and "The Meaning of X," in Blast: The Blue Box (New York: The X-Art Foundation, 1991), n.p.

- In Search of Dialogue Spaces, film+arc Biennial, Graz, Austria, 15 November 1997. In cooperation with the European Media Art Festival, Osnabrueck, and the Berlage Institute, Amsterdam.
- Spatial Articulations, Perspectives, and Procedures, organized by Jordan Crandall/Blast for documenta X, Kassel, 20 June - 28 September, 1997.
- "Blast," Lecture at Art School Kassel, Germany, 27 May 1997.
- Object vs Pixels, De Balie, Amsterdam, organized by Zeno Foundation, 6-7 December 1996.
- Interplace Access, Viafarini, Milan, organized by Marion Baruch/Name Diffusion, 10 December 1996, "Place Settings: Information Networks and the Reformatting of Space."
- Artifices 4: Langages en Perspective, Saint-Denis, France, organized by Jean-Louis Boissier, Anne-Marie Duguet, Francoise Agez, Maren Koepp, Lilian Terrier, and Jean-Marie Dallet, 14 November 1996.
- European Media Art Festival, "Teleopolis Newsroom," PMC-MOO/Osnabruck, Germany, organized by Kathy Rae Huffman, 14 September 1996.
- Editorial Formations, New Technologies, Publicational Bodies, American Center, Paris, organized by Jordan Crandall, 26 November 1995.
- Restructuring Editorial: Blast 4 Bioinformatica, the Contemporary Art Publication, and New Technologies, Institute of Contemporary Arts (ICA), London, organized by Jordan Crandall, 18 September 1995.
- Digital Genesis, James Joyce 95 Conference / Computing in the Humanities Users Group, Brown University, organized by Marlena Corcoran, 14 June 1995.
- Bioinformatics, electronic symposium, The Thing BBS, organized by Jordan Crandall, 15 February - 1 November 1994, and 3 February - 20 March 1995.
- Informatics: The Electronic Frontier and You, White Columns, organized by Jordan Crandall, 12 & 19 Dec, 1994.
- Transactivism, electronic symposium, The Thing BBS, organized by Jordan Crandall, 1 November 1993-14 Feb 1994.
- Creation Stories, New Jersey Institute of Technology, School of Architecture, 25 October 1993.
- Remaking Civilization, electronic symposium, The Thing BBS, organized by Jordan Crandall, 23 Nov - 1 April 1993.

- Visiting critic, "Switch/Fitting/Risk," Advanced Studio VI, with Keller Easterling, School of Architecture, Columbia University, 1997
- Visiting critic, Hani Rashid and Lise Ann Couture (Asymptote), School of Architecture, Columbia University, 1996

- Omnibus, "Interview with Jordan Crandall," Brian Holmes, summer 1997 (french, german, english).
- Rewired, "Redocumenta'd," David Hudson, 26 September 1997, http://www.rewired.com/cgi-bin/rewired_redirect.cgi?year=97&article=0926.html.
- Telepolis, "Working with and against it: Interview with Jordan Crandall," Tilman Baumgärtel, August 17 1997, http://www.heise.de/tp/english/special/ku/6180/1.html (English); http://www.heise.de/tp/deutsch/special/ku/6179/1.html (German).
- Der Spiegel, "Kunst: Auber Sichtweite. Kunstler erobern das Internet." No. 31, 28 July 1997, pp. 170-1.
- Telepolis, "Documenta X - alte Meister und neue Medien," Michael Kurzidim, June 27, 1997, http://www.heise.de/tp/deutsch/special/ku/6163/1.html.
- Spiegel Online, "Aktuell: Documenta Amalgam aus Text und Klang," Tilman Baumgaertel, Vol. 30, 1997, http://www.spiegel.de/kultur/kunst/aktuell/netzkunst.html and http://www.spiegel.de/kultur/pool/documit.html.
- The Thing, "Documenta X Forum: Blast," Ricardo Dominguez, August 1997, http://www1.thing.net.
- ArtNet, "Documenta: the really big show," Rupert Goldsworthy, August 1997, http://www.artnet.com.
- Teleopolis, "The Opening of Documenta X, A First Flash Report," Tilman Baumgartel, Kathy Rae Huffman, and Margarete Jahrmann, June 1997, http://www.heise.de/tp/po/4073/fhome.htm.
- Teleopolis, "Documenta Impressions," Kathy Rae Huffman and Margarete Jahrmann, June 1997, http://www.heise.de/tp/po/4075/fhome.htm.
- Documenta X: The Book, Catherine David and Jean-Francois Chevrier, eds., (Germany: Cantz, 1997), p. 654.
- Documenta X: Short Guide, "Jordan Crandall," Suzanne Prinz, (Germany: Cantz, 1997), p. 52-53.
- Nieuwsselectie, "Kunst in de computer," Marie-Jose Klaver, 19 August 1997, http://www.nrc.nl/W2/Nieuws/1997/08/19/Med/02.html.
- C't, "Retroperspektive: Documenta X - alte Meister und neue Medien," Michael Kurzidim, August 1997, Homepage.
- Alizente, "Documenta X," August 1997, p. 32.
- Nettime, "Maximizing Downtime: Interview with Jordan Crandall," Tillman Baumgaertel, 3 July 1997.
- Glaube im Alltag, "Documenta Parcours," Gerhard Jost, http://www.ekkw.de/glaube/documenta1.html.
- Teleopolis, "Documenta X - alte Meister und neue Medien," Michael Kurzidim, June 27, 1997, http://www.heise.de/tp/deutsch/special/ku/6163/1.html.
- Salaburger Nachrichten, "Das Medium ist nicht mehr Botschaft. Erster Rundgang durch die Documenta: Ein klares Konzept, das sensibel macht," Jana Wisniewski, June 21, 1997.
- Leonardo, "Lygia Clark and Helio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future," Simone Osthoff, Vol. 30, No. 4, 1997, pp. 279-289 + color plate B.
- Networking Artists and Poets: Assemblings from the Sackner Archive (catalogue), Craig Saper, April 1997 p. 12.
- Le Voyeur, "l'art vivant entre centres et peripheries," Paul Ardenne, spring 1997, pp. 4-5.
- Art Press, "Interplace Access," (review), Paul Ardenne, March 1997, p. XI.
- ARTnews, "Web-sight: Collecting On-Line, A Leap of Faith," Barbara Pollock, March 1997, p. 65.
- Intelligent Agent, "Blast5drama" musEleanor, C.M.S.A, http://www.intelligent agent.com/jan_blast.html.
- ThingReviews, "reading blast5drama" (review), Alex Galloway, February 1997, http://www.thing.net/thingnyc.
- MUTE, "blast5drama," no. 7, winter 1997, p. XXIII.
- Why Not Sneeze?, "A Collection of Random Comments, Commentary, and Critique Concerning 'Object vs. Pixels' Conference in Amsterdam," http://www.ccc.nl/sneeze/objects/objects2.html and http://www.ccc.nl/sneeze/objects/crandall.html Postmodern Currents: Art and Artists in the Age of Electronic Media, Margot Lovejoy (New York: Prentice Hall, 1996), p. 235.
- Leonardo, "Digital Transformations of Time: The Aesthetics of the Internet," Marlena Corcoran, Vol. 29, No. 5, 1995, pp. 375-378.
- The Village Voice, "Choices: Acts Short List--Blast5drama," Stone, 17 December 1996, p. 14. Intelligent Agent, "The X-Art Foundation and Blast," Vol. 1, No. 6, October 1996, p. 62.
- Conceptual Tools: Selected Works from the Sol LeWitt Collection (catalogue), "To Don the Parangole?," Elizabeth Langhorne (New Britain, Connecticut: Central Connecticut State University, 1996).
- Guggenheim Magazine, "Navigating Cyberspace," Jon Ippolito, summer 1996, pp. 42-43.
- Paper, "Gallery go Round," Victoria Pederson, April 1996, p. 132.
- The Thing, "ThingReviews: The X-Art Foundation," Joseph Nechvatal, January 1996, http://www.thing.net.
- Postmodern Culture, "Blast5," Vol. 6, No. 2, January 1996, http://jefferson.village.virginia.edu/pmc/.
- Art in America, "The Art World and I Go Online," Robert Atkins, December 1995, p. 62.
- Purple Prose, "Blast," Dike Blair and Elein Fleiss, no. 10, December 1995, pp. 120-23.
- Artistbook International (catalogue), "The Bookmaker's Odds: A Short, Subjective Survey of Recent Publications By Artists," Nancy Princenthal, November 1995, pp. 9-22.
- Beaux Arts, Nadine Descendre, October 1995, p. 29.
- Time Out London, "The X-Art Foundation" (review), Adrian Searle, October 1995.
- New Scientist, "Blast Off," 14 October 1995, p. 44.
- Temporarily Possessed: the semi-permanent collection (catalogue), (New York: The New Museum, 1995), p. 149.
- Guardian (London), "To log on, or not to log on..," Naseem Khan, September 29, 1995.
- Soundings, "Male and F:Email: Report from Cyberspace," Marlena Corcoran, no. 78.2, summer 1995, pp. 339-353.
- Art in America, "Bioinformatica" (review), Raphael Rubenstein, July 1995, p. 87.
- L'Uomo Vogue, "L'altro Spazio: Reale e virtuale in reciproca communicazione...," May/June 1995, p. 23.
- Flash Art, "Cologne: David Reed and Blast Magazine," Flash Art News, May/June 1995, p. 58.
- Stadt Revue, "Der unreife Betrachter, Blast 4: Bioinformatica im Kunstverein," Ilka Becker, March 1995.
- ARTnews, "Bioinformatica" (review), Gregory Volk, March 1995, p. 130.
- Medien.Kunst.Passagen, "Bioinformatica," Jeffrey Schulz, winter 1995, p. 15.
- Koelnische Rundschau, "Was vom Biergarten-Besuch ubrigblieb," Bruno F. Schneider, 16 Feb 1995.
- Fine Media Web Pages, Georg C. Puluj, vol 1.3, February 12, 1995.
- The Village Voice, "Choices: Bioinformatica," Kim Levin, 3 January 1995.
- The Volkskrant, "Porselein Katje Verandert in Aquarium," Ineke Schwartz, 30 December 1994.
- The Art Newspaper, "Cyberspace at Gering," George Bacon, December 1994.
- Cincinnati Enquirer, "Intimate Look at Landscape," Owen Findsen, 16 December 1994.
- Manhattan File, "Cyberart, Virtual Galleries and Interactive Exhibitions," G.H.Hovagimyan, December 1994.
- Flash Art, "Galleries USA," November/December 1994.
- American Way (American Airlines inflight magazine), "The MOO: Faceless Names, Fearless Players," Tony Reichhardt, 15 November 1994, p. 152.
- Paper, "Art in Space: Technology Takes the Art World," Julie Bensonen, December 1994, p. 30.
- Art in America, "Front Page," Raphael Rubinstein, November 1994, p. 31.
- Fine Art Forum, "Bioinformatica," Paul Brown, Vol. 8 No. 9-10, September/October 1994.
- Folio:, "A Blast By Any Other Name," Steve Wilson, 15 October 1994, p.38.
- New York, "Fall Preview: Art," Jonathan Napack, 12 September 1994.
- Business Week, "Information Processing: Soho Gets Hip to the I-Way," Amy Cortese, 29 August 1994, p. 72C.
- The Village Voice Literary Supplement, "Shape Shifters," Albert Mobilio, 13 April 1993.
- The Village Voice, "Scene & Heard," Robert Atkins, April 1993.
- Flash Art, "Blast: The Spatial Drive," Robert Mahoney, Summer 1992.
- High Performance #57, "Blast," Vol. 15 No. 1, spring 1992.
- Flash Art, "Flash Art News," March/April 1992.
- The Village Voice Literary Supplement, "Hot Issues," Albert Mobilio, February 1992.
- The Print Collector's Newsletter, "Artist's Book Beat," Nancy
- Princenthal, Vol. XXII, No. 6, January/February 1992.1968 Galerie Ricke, Kassel
1969 Galerie Ricke, Köln
Von-der-Heydt-Museum, Wuppertal
1970 Galerie Kuhn, Aachen
Galerie Renée Ziegler, Zürich
1971 Galerie Toni Gerber, Bern
Galerie Möllenhoff, Köln
1972 Galerie Möllenhoff, Köln
Galerie Volante Toni Gerber, Kabul
1973 Kölnischer Kunstverein, Köln
Kunstmuseum, Luzern
Galerie Pablo Stähfi, Luzern
Galerie Oppenheim, Köln
1974 Galerie Loeb, Bern
Galerie Vandres, Madrid
Galerie Oppenheirn, Köln
1975 Galerie Magers, Bonn
Oppenheirn-Studio, Köln
1976 Forum Kunst, Rottweil
1977 Städtisches Museum Schloß Morsbroich, Leverkusen
Kunstmuseum, Düsseldorf
1978 Städtische Galerie, Ravensburg
1979 Galerie Toni Gerber, Bern
Galerie Bama, Paris
Galerie 't Venster, Rotterdam
1980 Museum Folkwang, Essen
Kunstverein, Kassel
1981 Galerie Munro, Hamburg
Bernier Gallery, Athen
Galerie Bama, Paris
Galerie nächst St. Stephan, Wine
1982 Galerie Krinzinger, Innsbruck
Art in Progress, München
Galerie Baronian/Lambert, Gent
Gallery Holly Solomon, New York
1984 Museum van Hedendaagse Kunst, Gent
Museum Villa Stuck, München
1985 Galerie Dietmar Werle, Köln
1986 Düsseldorf, Galerie Schmela, Düsseldorf
Galerie Bama, Paris
1986/87 Museum Ludwig, Graphisches Kabinett, Köln
1988 Louisiana Museum of Modern Art, Humlebaek
Galerie Pablo Stähli, Zürich
1989 Württembergischer Kunstverein, Stuttgart
1989/90 Galerie Crousel-Robelin, Paris
1990/91 Nationalgalerie, Belrin
1991 Galerie Curtze, Wien
A.C.R. Galerie, Eltville
1992 Galerie Curtze, Düsseldorf
Galerie Gutsch, Belrin
1993 Galerie Holtmann, Köln
Berlin, Galerie Gutsch
1994 Galerie Orangerie-Reinz, Köln
Galerie Krips, Köln
Kunstverein Arnsberg
Galerie Ribbentrop, Eltville
- The Village Voice, "Scene & Heard," Robert Atkins, December 1991.1968 Galerie Ricke, Kassel
1969 Galerie Ricke, Köln
Von-der-Heydt-Museum, Wuppertal
1970 Galerie Kuhn, Aachen
Galerie Renée Ziegler, Zürich
1971 Galerie Toni Gerber, Bern
Galerie Möllenhoff, Köln
1972 Galerie Möllenhoff, Köln
Galerie Volante Toni Gerber, Kabul
1973 Kölnischer Kunstverein, Köln
Kunstmuseum, Luzern
Galerie Pablo Stähfi, Luzern
Galerie Oppenheim, Köln
1974 Galerie Loeb, Bern
Galerie Vandres, Madrid
Galerie Oppenheirn, Köln
1975 Galerie Magers, Bonn
Oppenheirn-Studio, Köln
1976 Forum Kunst, Rottweil
1977 Städtisches Museum Schloß Morsbroich, Leverkusen
Kunstmuseum, Düsseldorf
1978 Städtische Galerie, Ravensburg
1979 Galerie Toni Gerber, Bern
Galerie Bama, Paris
Galerie 't Venster, Rotterdam
1980 Museum Folkwang, Essen
Kunstverein, Kassel
1981 Galerie Munro, Hamburg
Bernier Gallery, Athen
Galerie Bama, Paris
Galerie nächst St. Stephan, Wine
1982 Galerie Krinzinger, Innsbruck
Art in Progress, München
Galerie Baronian/Lambert, Gent
Gallery Holly Solomon, New York
1984 Museum van Hedendaagse Kunst, Gent
Museum Villa Stuck, München
1985 Galerie Dietmar Werle, Köln
1986 Düsseldorf, Galerie Schmela, Düsseldorf
Galerie Bama, Paris
1986/87 Museum Ludwig, Graphisches Kabinett, Köln
1988 Louisiana Museum of Modern Art, Humlebaek
Galerie Pablo Stähli, Zürich
1989 Württembergischer Kunstverein, Stuttgart
1989/90 Galerie Crousel-Robelin, Paris
1990/91 Nationalgalerie, Belrin
1991 Galerie Curtze, Wien
A.C.R. Galerie, Eltville
1992 Galerie Curtze, Düsseldorf
Galerie Gutsch, Belrin
1993 Galerie Holtmann, Köln
Berlin, Galerie Gutsch
1994 Galerie Orangerie-Reinz, Köln
Galerie Krips, Köln
Kunstverein Arnsberg
Galerie Ribbentrop, Eltville
- Art in America, "Artworld," Walter Robinson, January 1992.

ARTE, Strasbourg, inteview for documenta X, 24 June 1997, 8:27 pm.
HR, Frankfurt, inteview for documenta X, 24 June 1997.
WDR Fernsehen, Cologne, inteview for documenta X, 24 June 1997 at 23.28 and 25 June at 10.57.
Radio FG, Paris, interview for "Artifices 4," 15 November 1996, 10:00 am.
Pseudo Radio, New York, hosted by G.H.Hovagimyan, 16 February 1996.
Television interview for "Bioinformatica," Arturo Carvajal, December 1994.

1994 Wittenborn Award, Art Libraries Society of North America, presented March 12, 1995 at the Museum of Contemporary Art, Montreal.

Centre Georges Pompidou, Paris
Getty Research Institute, Getty Museum, Santa Monica
The New Museum of Contemporary Art, New York
The Museum of Modern Art, New York
Indiana University Library
Karl Ernst Osthaus Museum, Hagen
Art Institute of Chicago
Williams College Museum of Art
Walker Art Center, Minneapolis
The New York Public Library
Martin Kunz, The New York Kunsthalle
The Ruth and Marvin Sackner Archive, Miami
Koelnischer Kunstverein, Cologne
Art Gallery of Ontario
Robert Schiffler Sol LeWitt