The poster itself depicts two tourists watching a skeleton of a deceased whale.

Result #1

The poster itself depicts two tourists watching a skeleton of a deceased whale. The image, which is from a drawing by one of the artists, is placed in a colorful, full-color, and sometimes striking pattern. The image of the whale is accompanied by a photograph of a man in a hat and blue shirt standing in front of the Art Institute of Chicago, the citys modern-art museum. In this image, the artist is seen from behind, while the museum is seen from above, as if he were viewing the work in a gallery. The image of the whale, which is also from a drawing, is placed in the foreground, while the hat and shirt are hidden behind a curtain of colored light. The two figures are separated by a curtain of light. The title of the drawing is also drawn in pencil and graphite. Here, the work is illuminated with a face that is both grotesque and sweet. This is the same face that appears in the drawing, on the right, where the two tourists are. The two figures are shown together in this drawing, as if they were once again in the same place, but in a different place. The work is also accompanied by a reproduction of a photograph of the inside of a museum, which is a replica of one of the institutions that the artist visited when he was in his early twenties. The work is also accompanied by a plaster replica of a wall of the museums galleries, which is placed on the floor. The wall is covered with a white plaster plaster that resembles a wall of a plaster church. It is a mock-up of a church, but it is covered with a plaster and it is covered in light. In the past, the artist has shown his work as a plaster cast, and it is here that the artist is showing it as an actual church, complete with its vestments and its altar.The works that were on display were made between 1987 and 2009. The piece that was installed in the gallery is called The Unseen Church, 2009.

Result #2

The poster itself depicts two tourists watching a skeleton of a deceased whale. The poster is printed on a plywood panel, and the photograph is taken from a video of a group of people in a park. In both cases, the photographs and the video are taken from different parts of the same country. This creates a temporal gap between the two events, which is accentuated by the fact that the two events are never identical. In this sense, the poster and the video are the same in meaning. The poster and the video are like each other in the same way that the dead whale and the person in the video are like each other. Both are still images. They have no specific time in the world. They exist in the world as identical images. The same is true of the poster and the person in the video. The poster and the person in the poster both have an identical time, and both have identical subjects. The poster and the person in the video have the same place in the world. They exist as identical images. The poster and the person in the video are like the whale and the person in the video. They are both still photographs. The poster and the person in the video are like the whale and the person in the video. They are both still photographs. The poster and the person in the video have the same place in the world. They exist as identical images. The poster and the person in the video have the same place in the world. They exist as identical photographs. The poster and the person in the video have the same place in the world. They exist as identical images. The poster and the person in the video have the same place in the world. They exist as identical images. The poster and the person in the video have the same place in the world. They exist as identical photographs. The poster and the person in the video have the same place in the world. They exist as identical photographs. The poster and the person in the video have the same place in the world. They exist as identical photographs.

Result #3

The poster itself depicts two tourists watching a skeleton of a deceased whale. It is an odd juxtaposition of a giant fossil and a sexual fetish—the polar opposites of a woman and the male part of the same gender. Perhaps the most overt example of the sexual symbol is a poster showing a woman looking at a man who is also looking at her. Here the man is an enormous man who has his head down and is about to slit the poster in half. The woman is a woman who is also looking at him, and he is looking at her in turn. A typical illustration of this sexual fetish would show a woman with her legs spread and her hands on her hips and her hands on her purse. In this case, the woman is looking at the man from behind and is bound and gagged. The man is looking at her from above, and she is looking down from above and is covered in a tarpaulin. In this sense, it is a double image of two figures, one looking at the other and vice versa. The man is trying to take her in, but she is too afraid to take him in.The double image of man and woman in the same pose is repeated in two of the other works in the show. In one of these, the man is showing off his magnificent body to the woman. She is showing him off in a way that is both more seductive and more pathetic than he intended. In another, a woman is trying to kiss the man who is standing behind her. The man is trying to kiss her, but she cant. In the third piece, a woman is trying to give birth to a baby. The man who is holding the womans hand holds her down and the womans body defecates on him. The man is trying to kiss her, but she cant. The man reaches forward and grabs her hand, and the womans body defecates on him. The man reaches forward and grabs her hand, and the womans body defecates on him.

Result #4

The poster itself depicts two tourists watching a skeleton of a deceased whale. The image, which shows a group of people on a beach in the Bahamas, was made from a photograph of a young man reading the New York Times from a telephone booth, and the poster has been modified to include the words of the title. The text reads: . . . Theres a lot of news in the world, and theres no sense reading it all from newsstands. The newspaper is full of pictures of the World Trade Center, but its also full of white-on-white pictures of places where people have gone to celebrate, and theres no caption. The poster suggests that the world is full of problems and no one seems to be addressing them. The poster is a statement about the world as seen through the eyes of a tourist. The problem is that nobody is actually reading the newspapers.The two pieces in the show are similarly ironic. In one, a giant rubber ape with a human-size face is stuck at the entrance to a hotel. It is also stuck in the hotel lobby. The ape is the hotel guests, and they have taken it up, although they are not guests, but hotel employees. The hotel is the same hotel where the apes owner has been staying. The ape is also the hotel, which is in the shape of a star. The apes owner is the hotel manager. The two elements of the work are placed in dialogue with the viewer.The problem with ironic work is that it is often derivative. It is often derivative in the sense that it is based on the spectacle of the world, but not in the sense that it is self-referential. Rather, it is self-referential because it is ironic, and ironic because it is ironic. It is ironic that the apes owner has been staying in that hotel for four months, and the apes owner is the same man who has been staying there for four years.

Result #5

The poster itself depicts two tourists watching a skeleton of a deceased whale. The title, The Dead Whale, comes from a phrase in the Italian poet Paolo Uccello, who wrote of the humpback whale who is the ultimate symbol of the unwholesome. The poster, which is based on a photograph by Michael Aupetras of the humpback whale, includes a caption and a text that both add to the sense of unease and uncertainty. The text, written by the artist, is an excerpt from an interview with the critic and artist Mark Morris that was published in the New York Times shortly after the project was launched. It is an extract from a conversation that began with the idea that the whale would be the ultimate symbol of the inevitable loss of innocence in the age of globalization.The two other pieces in the show are not actually installations but photographs by artists who have made works using the same principle. The difference is that the original work was a sculpture and was placed in the gallery; the installation is a video and a digital reproduction. The video, in which the artist speaks with a female voice, shows the same figures in a variety of poses, while the photographic reproduction of a reproduction, which was also made with the same process, is a sculpture of a large hand holding a huge piece of paper. The hand is an oblique reference to the fact that the hand of a woman is often an arm, an index of the subjectivity of both the female and the male. The video and the photographic reproduction, in turn, allude to the idea of the hand, which is a symbol of possession, but also of freedom. The hand becomes a sign of the bearer of knowledge, and the hand of a woman, of the sign of the possession of knowledge. The hand is also the symbol of the female body, which is expressed in terms of the body that can be identified with it. The hand becomes a sign of the female body that can be exploited, but which is free, that is, it is not a threat.