Bruce Nauman explores the capacity to trick human perception and elicit strong emotional and intellectual responses with his propositions as evidenced in this work Floating Room, 1972 (Light Outside, Dark Inside).

Sol LeWitt was a pioneer of conceptual, minimal and process art. His geometric Wall Drawing No. 264, 1975, was produced for this exhibition by an assistant who studied with LeWitt.

While many Pop artists maintained the manufactured identity of the objects they worked with, Claes Oldenburg casually undermined them as can be seen in his work Soft Pay-Telephone, 1963.

The electric chair, then a common device for capital punishment in America, first featured in Warhol’s art in 1963 as part of his Death and Disaster series.

"Nose" (1947) by Alberto Giacometti, "Two" (1943-45) by Karel Appel and "Two Heads" (1953) by Jackson Pollock were shaped by numerous influences, among them Surrealism, Existentialism, Picasso and primitive art.

“Everything in this painting was psychological” said Chilean artist Roberto Matta of his painting Years of Fear which he created following the outbreak of war in Europe. “It was a deep wish to measure what can be felt.”

Yves Klein strives to depict space without limits in his painitng Untitled red monochrome (1959) while Lucio Fontana manipulates the canvas as an independent spatial entity in his painting Concetto spaziale, Attese (1965).

The evocation of the infinite is evident in both Jackson Pollock’s Untitled (Green Silver) (c.1949) and Mark Rothko’s Untitled (1947).

Helen Frankenthaler and Morris Louis worked with methods of staining their canvases, allowing paint and unprimed surface to become one, as can be seen in Frankenthaler’s Canal (1963) and Louis’s Saraband (1959).

The maker’s mark and emotive gesture are typically dispensed with in Minimalist art and both White Flower (1960) and Untitled No.14 (1977) exemplify Agnes Martin’s mature expression of this style.