Ryan

El sueño (La noche de los pobres), or Sleep (The night of the poor), is a part of a series of lithographs created by Diego Rivera that were published in New York by the Weyhe Gallery in 1932. El sueño portrays a group of Mexican campesinos, or rural peasantry, sleeping huddled together for warmth and support.

What a lot of rhinos! As many as twenty-one rhinoceros are standing in a plaza surrounded by adobe walls not far from a big city—settings that are very different from the grassland territories of wild rhinos.

In his Portrait of Moisés Sáenz, artist David Alfaro Siqueiros has brought together several of his interests: modernist art styles that emphasized expressiveness; Revolutionary Mexico’s pride in its indigenous history; and post-Revolution governmental emphasis on universal education and literacy.

Tim House (In Green Pastures), the child-size sculpture by Rob and Christian Clayton, is a vibrantly painted wooden structure covered with words and images. The sculpture, with its cross bearing the name “Tim”, and its pointed roof and split door, is reminiscent of a clubhouse, a one-room schoolhouse, or a small church.

In Untitled Film Still #30, a distraught woman stares slack-jawed from within a dimly lit room. The setting is claustrophobic, with its dark windows, shallow depth of field, and blurred detail.

The flat picture plane of Christina Ramberg’s small acrylic painting, Untitled, is divided into a two-by-two grid of equilateral squares. Each quadrant foregrounds a shadowy, hard-edged form that appears to rest atop a delicate piece of pleated paper or ruffled fabric.

Nick’s Restaurant is a portrait of brothers Dino and Tom Christ in their long-established family restaurant. No customers or restaurant paraphernalia are in evidence, only the two owners.

In Barbara Rossi’s 1974 painting on Plexiglas Eye Deal, a mass of globular forms appears to emerge upwards from beyond the bottom of the picture plane. Surreal, amorphous shapes twist and wind in an otherworldly configuration that is both figurative and abstract.

Regulatory Body presents a vibrant scene of brightly painted objects both familiar and puzzling. Red shoes, blue cannonballs, shiny gray missile heads, and peculiar machine parts are among the many items densely packed into a setting resembling a theater stage, where some of the objects function as an audience.

Andy Warhol’s photographic screenprint Birmingham Race Riot reveals a moment during a 1963 civil rights demonstration when white police officers and their dogs attacked black protesters.