In the course of this Goodbye Art series,

So I made series of images, cuttings, and I assembled them in portfolios.

(Applause)

I continued studying craft traditions and collaborating with artisans, next in Lithuania with lace makers.

So I did a few prototypes. I got a small little grant at Stanford.

And what that does, is it inscribes the individual into the space of the institution.

These ellipses only came about because

Now, The Grey Album is a remix.

And me as the Queen.

Extruded typography that's backlit with neon.

I had met a group of children in the Caribbean island of Saint Kitts, and I did work and play with them.

So, I did this work for her.

But of course I continued creating artwork that was honest and raw, because I forgot about how people reacted to my work.

I made I took my old Macintoshes and made different objects out of them from Tokyo.

So I made sure the work was not compromised in any way and that the integrity of the work remained the same.

And all the men and women

And along the way,

These phosphors can even cause cancer.

And eventually I used this technique to create a piece of artwork.

I pushed all the theories that I had on story at the time to the limits of my understanding on this project.

We killed thousands of Post it notes.

We used the stone plates as a grid for our little piece.

Beth, you do have the Slater Bradley, yes?

There must be something else.

They get all their art and literature from dreams.

It just completely warps and distorts egos, and it creates all these unmanageable expectations about performance.

And I must say, I spent time in the Bronx working with these kids.

And we started bouncing around ideas to make a collaborative music video project.

Our mission is of cultural integration and independence.

like Jacob Lawrence, Norman Lewis,

They did a study with origami where they had professional origami makers, you know, doing the paper, it looked amazing.

And our work doesn't really resolve itself into a body in any way at all.

I started exploring the darker abscesses of the human mind.

And this exhibition is about the work of designers that help us be more elastic, and also of designers that really work on this elasticity as an opportunity.

I made an artist book that's in stainless steel instead of paper.

Anyone is allowed to mix them in different types of ways, draw connections between musical ideas, and people can burn them or create final products and continue the circle.

So yeah.

We compared his work with hers.

This one actually didn't go anywhere, but I got my feet wet doing this.

And to do this, I knew that I had to see the way in which artists work, understand the artist's studio as a laboratory, imagine, then, reinventing the museum as a think tank and looking at the exhibition as the ultimate white paper asking questions, providing the space to look and to think about answers.

At the bottom, I created a ground on which I could place the shadow of the elements that fly in the sky.

like these 36 views of the Empire State building they told me, You're making artist books.

It's considering the implications of what this generation has to say to the rest of us.

This was about 1925.

Artist Shepard Fairey has frequently used existing art in his work.