Credits

Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967–68, Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel, Exhibition file courtesy Electronic Arts Intermix (EAI), New York, still: EAI

Contrapposto Split, 2017, Mock-up installation for 4K 120fps 3D projection, Nauman studio, New Mexico, 2017, Collection the artist, Courtesy Sperone Westwater, New York, photo: Susanna Carlisle, courtesy the artist and Sperone Westwater, New York

Contrapposto Studies, i through vii , 2015/16 (detail), Emanuel Hoffmann Foundation, gift of the president 2017, on permanent loan to the Öffentliche Kunstsammlung Basel; and The Museum of Modern Art, New York, acquired in part through the generosity of Agnes Gund, photo: Courtesy the artist and Sperone Westwater, New York

Corridor Installation (Nick Wilder Installation), 1970, Friedrich Christian Flick Collection im Hamburger Bahnhof, Berlin, photo: Courtesy Friedrich Christian Flick Collection

First Hologram Series: Making Faces B, 1968, Emanuel Hoffmann Foundation, gift of the president 2013, on permanent loan to the Öffentliche Kunstsammlung Basel, photo: Bisig & Bayer, Basel

Green Horses, 1988, purchased jointly by the Albright-Knox Art Gallery, Buffalo, New York, with funds from the Bequest of Arthur B. Michael,
by exchange; and the Whitney Museum of American Art, New York, with funds from the Director‘s Discretionary Fund and the Painting and Sculpture Committee, 2007, photo: Ron Amstutz

Human Nature / Life Death / Knows Doesn‘t Know, 1983, Los Angeles County Museum of Art. Modern and Contemporary Art Council Fund, photo: © Museum Associates/LACMA

Leaping Foxes, 2018, Emanuel Hoffmann Foundation, gift of the president 2018, on permanent loan to the Öffentliche Kunstsammlung Basel, photo: Tom Bisig, Basel

Light Trap for Henry Moore No. 1, 1967, Glenstone Museum, Potomac, Maryland, photo: Alex Jamison

Mapping the Studio II with color shift, flip, flop, & flip/flop (Fat Chance John Cage), 2001, installation view at Sperone Westwater, purchased jointly by Tate, London, with funds provided by the American Fund for the Tate Gallery; Centre Pompidou, Musée national d’art moderne, Paris, with the support of Mr and Mrs William S. Fisher Family Foundation and the Georges Pompidou Art Culture Foundation; and Kunstmuseum Basel, photo: Courtesy the artist and Sperone Westwater, New York

Model for Trench and Four Buried Passages, 1977, Glenstone Museum, Potomac, Maryland, photo: Tom Bisig, Basel

My Name as Though It Were Written on the Surface of the Moon, 1968, Sammlung Migros Museum für Gegenwartskunst, photo: Stefan Altenburger Photography, Zurich

One Hundred Live and Die, 1984, Collection of Benesse Holdings, Inc. / Benesse House Museum, Naoshima, photo: Dorothy Zeidman, Courtesy the artist and Sperone Westwater, New York

Reenactment of Bruce Naumans Wall-Floor Positions, 1968, Bruce Nauman: Disappearing Acts, 17 March to 26 August 2018, Schaulager® Münchenstein/Basel, photo: Tom Bisig, Basel

Seven Wax Templates of the Left Half of My Body Spread over 12 Feet, 1967, Emanuel Hoffmann Foundation, on permanent loan to
the Öffentliche Kunstsammlung Basel, photo: Kunstmuseum Basel, Martin P. Bühler

Sex and Death by Murder and Suicide, 1985, Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel, photo: Bisig & Bayer, Basel

Still from Shelby Kennedy, The Bruce Nauman Story, 1968, 16mm film, black and white, sound, 11 min.

The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967, Collection the artist, exhibition copy, photo: Tom Bisig, Basel

Three Heads Fountain (Juliet, Andrew, Rinde), 2005, private collection, Madrid, photo: Tom van Eynde, Courtesy Donald Young Gallery, Chicago

Untitled, 1965, The Art Institute of Chicago, Twentieth-Century Purchase Fund, photo: The Art Institute of Chicago / Art Resource, NY

White Anger, Red Danger, Yellow Peril, Black Death, 1984, The Museum of Modern Art, New York. Gift of Werner and Elaine Dannheisser, digital image © 2018 The Museum of Modern Art, New York, Department of Imaging and Visual Resources, photo: Jonathan Muzikar

Wall-Floor Positions, 1968, The Museum of Modern Art, New York. Purchase, purchased from Video Data Bank, The School of the
Art Institute of Chicago, exhibition file courtesy Electronic Arts Intermix (EAI), New York, stills: EAI

Installation view: Works by Bruce Nauman, Bruce Nauman: Disappearing Acts, 17 March to 26 August 2018, Schaulager® Münchenstein/Basel, Schaulager® Münchenstein/Basel, installation view with works by Bruce Nauman, photo: Tom Bisig, Basel

Installation view: Bruce Nauman, Green Horses, 1988, Bruce Nauman: Disappearing Acts, 17 March to 26 August 2018, Schaulager®, Münchenstein/Basel, Schaulager® Münchenstein/Basel, installation view with Bruce Nauman, Green Horses, 1988, purchased jointly by the Albright-Knox Art Gallery, Buffalo, New York, with funds from the Bequest of Arthur B. Michael, by exchange; and the Whitney Museum of American Art, New York, with funds from the Director‘s Discretionary Fund and the Painting and Sculpture Committee, 2007, photo: Tom Bisig, Basel

Installation view: Bruce Nauman, Get Out of My Mind, Get Out of This Room, 1968, Collection Jack and Nell Wendler. Courtesy Sperone Westwater, New York, photo: Tom Bisig, Basel

Installation view: Bruce Nauman, Plaster Steps, 1997-1998, Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel, photo: Tom Bisig, Basel

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