Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015
400 N. Peoria, Chicago

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Kay Rosen, Elvis, Elvis, 1994, latex paint on wall, courtesy of the artist and Krakow Witkin Gallery, Boston; Gaylen Gerber, Backdrop/Over My Head: Encounters with Art in a Flyover City, n.d., background paper, Aluminum push-pins, courtesy of the artist and Layr, Vienna, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Kay Rosen, Elvis, Elvis, 1994, latex paint on wall, courtesy of the artist and Krakow Witkin Gallery, Boston; Gaylen Gerber, Backdrop/Over My Head: Encounters with Art in a Flyover City, n.d., background paper, Aluminum push-pins, courtesy of the artist and Layr, Vienna; Martin Puryear, Untitled, 1989, Bronze, edition 1 of 5, courtesy Helyn Goldenberg and Michael Alper; Tony Lewis, Untitled 5 (2015–), 2025, graphite on paper; Untitled 8 (2016-), 2025, graphite on paper, courtesy of the artist, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Kay Rosen, Elvis, Elvis, 1994, latex paint on wall, courtesy of the artist and Krakow Witkin Gallery, Boston; Gaylen Gerber, Backdrop/Over My Head: Encounters with Art in a Flyover City, n.d., background paper, Aluminum push-pins, courtesy of the artist and Layr, Vienna, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Gaylen Gerber, Backdrop/Over My Head: Encounters with Art in a Flyover City, n.d., background paper, Aluminum push-pins, courtesy of the artist and Layr, Vienna; Martin Puryear, Untitled, 1989, Bronze, edition 1 of 5, courtesy Helyn Goldenberg and Michael Alper; Jordan Wolfson, Perfect Lover, 2007, digital animation transferred to 16 mm film, color, sound; 3 min., edition of 3 plus 2 AP, Courtesy of the artist and Gagosian, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Jordan Wolfson, Perfect Lover, 2007, digital animation transferred to 16 mm film, color, sound; 3 min., edition of 3 plus 2 AP, Courtesy of the artist and Gagosian, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Jordan Wolfson, Perfect Lover, 2007, digital animation transferred to 16 mm film, color, sound; 3 min., edition of 3 plus 2 AP, Courtesy of the artist and Gagosian, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Jordan Wolfson, Perfect Lover, 2007, digital animation transferred to 16 mm film, color, sound; 3 min., edition of 3 plus 2 AP, Courtesy of the artist and Gagosian, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Tony Lewis, Untitled 5 (2015–), 2025, graphite on paper; Untitled 8 (2016-), 2025, graphite on paper, courtesy of the artist; Kay Rosen, Elvis, Elvis, 1994, latex paint on wall, courtesy of the artist and Krakow Witkin Gallery, Boston; Gaylen Gerber, Backdrop/Over My Head: Encounters with Art in a Flyover City, n.d., background paper, Aluminum push-pins, courtesy of the artist and Layr, Vienna; Martin Puryear, Untitled, 1989, Bronze, edition 1 of 5, courtesy Helyn Goldenberg and Michael Alper, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Martin Puryear, Untitled, 1989, Bronze, edition 1 of 5, courtesy Helyn Goldenberg and Michael Alper, Photo: Robert Heishman and Robert Salazar, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Martin Puryear, Untitled, 1989, Bronze, edition 1 of 5, courtesy Helyn Goldenberg and Michael Alper, Photo: Robert Heishman and Robert Salazar; Tony Lewis, Untitled 5 (2015–), 2025, graphite on paper; Untitled 8 (2016-), 2025, graphite on paper, courtesy of the artist; Rosemarie Trockel, Dutch Door, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Rosemarie Trockel, She is Dead 4, 2008, mixed media, courtesy of the artist and Sprüth-Magers, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Rosemarie Trockel, Dutch Door, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Rosemarie Trockel, She is Dead 4, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Rosemarie Trackel, Something of Tomorrow 2, 2008, mixed media, courtesy of the artist and Sprüth-Magers, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Rosemarie Trockel, Dutch Door, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Rosemarie Trockel, She is Dead 4, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Rosemarie Trackel, Something of Tomorrow 2, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Tony Lewis, Untitled 5 (2015–), 2025, graphite on paper; Untitled 8 (2016-), 2025, graphite on paper, courtesy of the artist; Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum, courtesy of the estate of Dara Birnbaum and Marion Goodman Gallery, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum; Tony Lewis, Untitled 5 (2015–), 2025, graphite on paper; Untitled 8 (2016-), 2025, graphite on paper, courtesy of the artist; courtesy of the estate of Dara Birnbaum and Marion Goodman Gallery, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Rosemarie Trackel, Something of Tomorrow 2, 2008, mixed media, courtesy of the artist and Sprüth-Magers; Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum, Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum, Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum; Tony Lewis, Untitled 5 (2015–), 2025, graphite on paper; Untitled 8 (2016-), 2025, graphite on paper, courtesy of the artist; Molly Zuckerman-Hartung, Notley, 2013, latex housepaint, enamel, and spray paint on dropcloth, hinged in two attached parts, courtesy of the artist and Corbett vs. Dempsey; Wendy Jacob, Untitled, 1988, rubber, fans, and timing motors, courtesy of the artist, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum; Molly Zuckerman-Hartung, Notley, 2013, latex housepaint, enamel, and spray paint on dropcloth, hinged in two attached parts, courtesy of the artist and Corbett vs. Dempsey; Wendy Jacob, Untitled, 1988, rubber, fans, and timing motors, courtesy of the artist, Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Molly Zuckerman-Hartung, Notley, 2013, latex housepaint, enamel, and spray paint on dropcloth, hinged in two attached parts, courtesy of the artist and Corbett vs. Dempsey, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum; Molly Zuckerman-Hartung, Notley, 2013, latex housepaint, enamel, and spray paint on dropcloth, hinged in two attached parts, courtesy of the artist and Corbett vs. Dempsey; Wendy Jacob, Untitled, 1988, rubber, fans, and timing motors, courtesy of the artist, Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Wendy Jacob, Untitled, 1988, rubber, fans, and timing motors, courtesy of the artist, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum; Molly Zuckerman-Hartung, Notley, 2013, latex housepaint, enamel, and spray paint on dropcloth, hinged in two attached parts, courtesy of the artist and Corbett vs. Dempsey; Wendy Jacob, Untitled, 1988, rubber, fans, and timing motors, courtesy of the artist; Kay Rosen, Elvis, Elvis, 1994, latex paint on wall, courtesy of the artist and Krakow Witkin Gallery, Boston; Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: left to right, Dara Birnbaum, Tiananmen Square: Break-In Transmission, 1990, 5-channel color video, 4 channels of stereo sound, surveillance switcher and custom-designed support system, edition of 2, 1 AP, Collection of Glenstone Museum; Molly Zuckerman-Hartung, Notley, 2013, latex housepaint, enamel, and spray paint on dropcloth, hinged in two attached parts, courtesy of the artist and Corbett vs. Dempsey; Wendy Jacob, Untitled, 1988, rubber, fans, and timing motors, courtesy of the artist, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015, Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015, Photo: Gaylen Gerber

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Gaylen Geber, Support, n.d., oil paint on souvenir from Eggs, 2014 by Darren Bader, Courtesy of the artist and Layr, Vienna, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Rashid Johnson, Remembering D.B. Cooper, 2013, five-marked wooden chairs, shea butter, plants and burlap, courtesy of the artist and Monique Meloche Gallery, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Rashid Johnson, Remembering D.B. Cooper, 2013, five hand-marked wooden chairs, shea butter, plants and burlap, courtesy of the artist and Monique Meloche Gallery, Photo: Robert Heishman and Robert Salazar

Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Installation view, Over My Head: Encounters with Conceptual Art in a Flyover City, 1984–2015: Rashid Johnson, Remembering D.B. Cooper, 2013, five hand-marked wooden chairs, shea butter, plants and burlap, courtesy of the artist and Monique Meloche Gallery, Photo: Robert Heishman and Robert Salazar