Yazan Khalili, Medusa, 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Yazan Khalili, Medusa, 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Yazan Khalili, Medusa (detail), 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Yazan Khalili, Medusa (detail), 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

From left to right: Jasmina Metwaly, Anbar (Badrawi’s atelier), 2019, Untitled (detail), 2019–2020, and Anbar (Assem’s pictures), 2019, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Left: Jasmina Metwaly, Anbar (Badrawi’s atelier), 2019, right: Jasmina Metwaly, Untitled (detail), 2019–2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Jasmina Metwaly, Untitled, 2019–2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

From left to right: Jasmina Metwaly, Untitled (detail), 2019–2020, and Anbar (Marta’s studio), 2019, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Jasmina Metwaly, Untitled (detail), 2019–2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Front: Jasmina Metwaly, Untitled (detail), 2019–2020, back: Jasmina Metwaly, Untitled (Thank you notes), Anbar, 2019, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

Front: Kris Lemsalu Malone, Love Song Sing-Along, 2019/2020; Middle: Michèle Pagel, Birch Trunks, 2020; Back: Kyp Malone Lemsalu, Love Song Sing-Along series 1–14 (Detail: 7–14), 2019/2020; Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

Kris Lemsalu Malone, Love Song Sing-Along (Detail), 2019/2020, Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

Left: Kyp Malone Lemsalu, Love Song Sing-Along series 1–14 (Detail: 7–14), 2019/2020; Right: Kris Lemsalu Malone, Love Song Sing-Along (Detail), 2019/2020, Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

Kris Lemsalu Malone, Portrait in front of Kyp Malone Lemsalu Love Song Sing-Along series 1–14 (Detail 10), 2019/2020; Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

Kyp Malone Lemsalu at the opening performance of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

Kris Lemsalu Malone & Kyp Malone Lemsalu, 2019, photo: Eric Martin

From left to right: Hassan Sharif, Barrel, 1985; Handwriting No. 1, 1983; Handwriting No. 2, 1983; Installation view I Am The Single Work Artist at KW Institute for Contemporary Art, Berlin 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

Hassan Sharif, Installation view I Am The Single Work Artist at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

Hassan Sharif, Broom, 2016, Installation view I Am The Single Work Artist at KW Institute for Contemporary Art, Berlin 2020, Courtesy Sharjah Art Foundation Collection, Photo: Frank Sperling

Hassan Sharif, Installation view I Am The Single Work Artist at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

Hassan Sharif, Installation view I Am The Single Work Artist at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

Hassan Sharif, 1981, Courtesy Hassan Sharif Estate

Hassan Sharif, Jumping No. 1, 1983. 3 of 7 photographs, Photo-documentation of a performance in Dubai, Courtesy Estate of Hassan Sharif; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van de Eynde, Dubai

Benjamin Patterson, Piano d’oiseux tropical, 1989, Courtesy Archivio Conz, Berlin, photo: Giorgia Palmisano

Esther Ferrer, Piano con alas, 1986, Courtesy Archivio Conz, Berlin, photo: Giorgia Palmisano

Hreinn Friðfinnsson, A Pair, 2004–2005, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, Courtesy Antonio Dalle Nogare Collection, Bozen (IT), photo: Frank Sperling

Hreinn Friðfinnsson, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Hreinn Friðfinnsson, Summernights, 1990, Courtesy the artist

Hreinn Friðfinnsson, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Hreinn Friðfinnsson, Source, 1992/2005, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

Hreinn Friðfinnsson, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Hreinn Friðfinnsson, I Collected Personal Secrets, 1972–2015, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

Hreinn Friðfinnsson, First House, 1974, Courtesy the artist and i8 Gallery, Reykjavik, Galerie Nordenhake, Berlin, Meessen De Clercq, Brussels, Galería Elba Benítez, Madrid

Hreinn Friðfinnsson, Attending, 1973, Courtesy the artist and i8 Gallery, Reykjavik

Installation view The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

f.l.t.r.: Christina Ramberg, Black Widow, 1971, Courtesy Illinois State Museum, lllinois Legacy Collection; Konrad Klapheck, Der Mann in der Frau (L’homme dans la femme), 1986, Courtesy Private Collection. Installation view The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Ghislaine Leung, SHROOMS, 2016, Courtesy the artist and ESSEX STREET, New York. Installation view The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Christina Ramberg, Tight Hipped, 1974, Copyright the Estate of Christina Ramberg, Courtesy Collection of the Madison Museum of Contemporary Art, The Bill McClain Collection of Chicago Imagism.

Christina Ramberg, O.H.B., 1976, Copyright the Estate of Christina Ramberg, Courtesy Collection of Karin Tappendorf.

Christina Ramberg, Glimpsed, 1975, acrylic on Masonite, Copyright the Estate of Christina Ramberg, Courtesy Elmhurst College Art Collection.

Back: Anna Daučíková, Upbringing by Exercise, 1996/2016, 17 b/w-photographs; front right: Anna Daučíková, We Care For Four Eyes II, 2002, HD video; installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

Anna Daučíková, installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

Anna Daučíková, Expedition for Four Hands and Accompaniment (Detail), 2019, mixed media installation, with 3-channel video projection, glass, stones, publication, installation view of the exhibition at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

Anna Daučíková, Expedition for Four Hands and Accompaniment (Detail), 2019, mixed media installation, with 3-channel video projection, glass, stones, publication, installation view of the exhibition at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

Anna Daučíková, Výchova dotykom (Upbringing by touch), 1996, Courtesy the artist

Heike-Karin Föll, my brain, 2010–19; installation view (detail) speed at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Heike-Karin Föll, my brain, 2010–19; installation view (detail) speed at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Heike-Karin Föll, installation view speed at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Heike-Karin Föll, linguistic operations/spatial concepts, 2017, Courtesy the artist

Installation view ‘Image Bank’ at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the Morris/Trasov Archive, Morris and Helen Art Gallery, University of British Columbia (CA), photo: Frank Sperling

Front: Image Bank: Colour Bars – Spectrum Sets, 1972–73, Paint on wood; Center: Eric Metcalfe: Leopard Realty, ca. 1973, HD video, colour, silent; Back: General Idea: Hands of the Spirit, 1974, 5 acrylic glass wands; installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Collection of the Eric Metcalfe Fonds / Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of Britsh Columbia (CA), photo: Frank Sperling

Image Bank: Annual Report, Image Requests and Mailings, Archival materials, installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of Britsh Columbia (CA), photo: Frank Sperling

Installation view ‘Image Bank’ at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the Morris/Trasov Archive, Morris and Helen Art Gallery, University of British Columbia (CA), photo: Frank Sperling

Bob Strazicich, Mr. Peanut Mayoral Campaign: Mr. Peanut descends steps of Vancouver Court House, 1974, gelatin silver print, Collection of the Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of British Columbia

David Wojnarowicz, A Fire in My Belly, 1986–1987, video still taken from Super 8 film, installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Electronic Arts Intermix (EAI), New York, photo: Frank Sperling

Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989, New York, Photograph, Courtesy the artist, the Estate of David Wojnarowicz, and P·P·O·W, New York

Reza Abdoh, Bogeyman, 1991, video still, installation view of the exhibition Reza Abdoh, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling

The Hip-Hop Waltz of Eurydice, 1990. Written and directed by Reza Abdoh, performance at Sigma Festival, Bordeaux, 1992, photo: Patrick Veyssière

Installation view of the exhibition TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016), KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

Frank Wagner in the exhibition Félix González-Torres (1957–1996), RealimusStudio / nGbK Berlin, 1996, photo: Jürgen Henschel

Jimmy Robert, Joie noire, performance with Courtney Henry at KW Institute for Contemporary Art, 2019, Berlin, Courtesy the artist, photo: Frank Sperling

Steve Bishop, installation view of the exhibition Deliquescing, Installation in five parts, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Carlos/Ishikawa, London, Photo: Frank Sperling

Tamara Henderson, Language of Mud, 2018, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Sidsel Meineche Hansen, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Sidsel Meineche Hansen, PA.VA, 2018, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Beatriz González, Los Suicidas del Sisga No 2, 1965, Oil on canvas, Courtesy the artist, Óscar Monsalve, and Museo La Tertulia, Cali, Collection Museo La Tertulia, Cali

Jamie Crewe, Pastoral Drama, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling

Evelyn Taocheng Wang, Hospital Conversations, Three Versions of Change, 2018, installation view of the exhibition What is he afraid of?, KW Institute for Contemporary Art, 2018, Courtesy the artist and Galerie Fons Welters, photo: Frank Sperling

Lynn Hershman Leeson, Lorna, 1979–82, installation view of the exhibition First Person Plural, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling

AA Bronson, Garten der Lüste, 2018, installation view KW Institute for Contemporary Art, photo: Frank Sperling

Judith Hopf, Hand 4, 2017, Installation view at KW Institute for Contemporary Art, Courtesy the artist and Deborah Schamoni, Munich, Photo: Frank Sperling

Judith Hopf, Stepping Stairs, 2018, Courtesy Judith Hopf

Trix & Robert Haussmann, Installation view The Log-O-Rithmic Slide Rule: A Retrospective KW Institute for Contemporary Art, Photo: Frank Sperling

Trix & Robert Haussmann, Ionic column stump, Lehrstück V, Function Follows Forms, 1978, Modell, Zabrowsky Modellbau, Dumeng Raffainer, photo: Fred Waldvogel, Courtesy Trix & Robert Haussmann

Philippe Van Snick, Dag/Nacht, 1984–ongoing, Installation view entrance gate, KW Institute for Contemporary Art, Photo: Frank Sperling, Courtesy Tatjana Pieters.