- ItemBrazil: "Bahiana"(1955)
- ItemRosh Hashanah Dinner(2008)Rosh Hashanna Dinner is a photograph depicting the movement and passage of time. Visualized through long exposure, the traces of a lively dinner party echos in the space. Rosh Hashanna Dinner is a Photograph from Yoav Horesh's series Intransition, a series of photographs that concerns time, change, growth, and evolvement. As much as the work related to Yoav Horesh's own experiences, it also served as a visual diary and related to collective history and memory. In Rosh Hashanna Dinner, and entire duration of a holiday dinner is being compressed into a single image.
- ItemShebop(2019)Copacetic, published in 2019, is a suite of eight multi-block linocuts on handmade Hamada Kozo, backed with Sekishu Kozo, based on images created in 2018 at the 125th Street subway station in New York City. Saar expanded her original project, Hear the Lone Whistle Moan, and created Copacetic, a panoramic scene of imagined dancers, singers, musicians, and patrons enjoying Harlem’s heyday of the 1930s and 40s. Copacetic (the installation) comprises 24 laminated glass panels installed throughout the four glass shelters along the platforms. The upper windows are inspired by the Harlem-125th Street Station’s wrought iron work and designs from the African diaspora. The glass panels were adapted from Saar’s artwork, which as she explains, “gives a nod to the work of the many great African American artists of the Harlem Renaissance that have used the same medium in their practice, such as Elizabeth Catlett, Hale Woodruff and Aaron Douglas.” Saar’s palette of deep reds, blues and yellows introduces a vibrant graphic quality to the platform’s shelters, illuminated by the rising and setting sun over Harlem. Saar’s projects at the Harlem-125th Street Station encourage preservation of Harlem’s great legacy and celebrate its rich history.
- ItemLady's Slipper(2002)A single lady's slipper fills the foreground against a forested background.
- ItemOcean Oil Pour(2019)Ocean Oil Pour is part of Maggie Cardeuls' 2019 body of work called Split sun which revisits American Landscape Photography using crude oil as a painting medium in order to create evocative works that suggest a new more problematic American Identity brought by the burning and spilling of fossil fuels.