| Jean Dubuffet, Volonté de puissance, 1946 |
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Wols, Bird, 1949 (similar) |
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| Jean Fautrier, Head of a Hostage no. 22, 1944 |
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Jean Fautrier, The Jewess, 1943 (flipped) |
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| Jean Dubuffet, La Métafisyx, 1950 |
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| László Moholy-Nagy, Spiral, 1945 |
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Josef Albers and Jane Slater Marquis, matière study using eggshells at Black Mountain College (no image) |
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Josef Albers, Homage to the Square, 1970 (similar) |
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| Nina Leen, The Irascibles, 1951 |
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| Willem de Kooning, Untitled, 1948-49 |
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| Robert Motherwell, At Five in the Afternoon, 1949 |
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| Mark Rothko, Number 3/No. 13 (Magenta, Black, Green on Orange), 1949 |
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| Franz Kline, Cardinal, 1950 |
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| Jackson Pollock, One (Number 31, 1950), 1950 |
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| Jackson Pollock, Number 14, 1951, 1951 |
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| Jackson Pollock, Moon Woman Cuts the Circle, c. 1943 |
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| Jackson Pollock, No. 1, 1948 |
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| Jackson Pollock, Autumn Rhythm, 1950 |
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| Barnett Newman, Onement I, 1948 |
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| Barnett Newman, Vir heroicus sublimis, 1950-51 |
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| Barnett Newman, Here and The Wild, 1950 |
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| Barnett Newman, Moment, 1946 |
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| Barnett Newman, Who’s Afraid of Red, Yellow, and Blue I, 1966 |
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| Robert Rauschenberg, Erased de Kooning Drawing, 1953 |
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| Robert Rauschenberg with John Cage, Automobile Tire Print, 1953 |
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Ellsworth Kelly, Window, Museum of Modern Art, Paris, 1949 (no image) |
| Ellsworth Kelly, Colors for a Large Wall, 1951 |
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| Cy Twombly, Free Wheeler, 1955 |
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| Eduardo Paolozzi, I Was a Rich Man’s Plaything, c. 1947 |
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| Richard Hamilton, Hommage à Chrysler Corp, 1957 |
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| Installation View of “Parallel of Life and Art,” 1953 |
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| Richard Hamilton, Just what is it that makes today’s homes so different, so appealing?, 1956 |
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| Jasper Johns, Target with Four Faces, 1955 |
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| Jasper Johns, Flag, 1954-55 |
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| Jasper Johns, Periscope (Hart Crane), 1963 |
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| Frank Stella, Die Fahne Hoch!, 1956 |
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| Frank Stella, Takht-i-Sulayman, 1967 |
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| Alberto Giacometti, Femme debout (Leoni) (Standing Woman [Leoni]), 1947 |
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| Alberto Giacometti, Trois hommes qui marchent (Three Walking Men), 1948 |
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| Francis Bacon, Study after Velázquez’s Portrait of Pope Innocent X, 1953 |
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Willem de Kooning, Woman, 1953 (similar) |
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| Jean Tinguely, Homage to New York, 1960 |
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| Christo and Jeanne-Claude, Wall of Barrels, Iron Curtain, 1961-62 |
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François Dufrêne, 1/8 of the ceiling of the first biennial of Paris, 1959 (no image) |
| Jacques de la Villeglé and Raymond Hains, Ach Alma Manétro, 1949 |
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| Daniel Spoerri, Kishka’s Breakfast, no. 1, 1960 |
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Arman, Premier Portrait-robot d’Yves Klein, 1960 (no picture - accumulation of posessions) |
| Jackson Pollock, Number 13A, 1948: Arabesque, 1948 |
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| Morris Louis, Saraband, 1959 |
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Morris Louis, Beta Kappa, 1961 |
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| Kenneth Noland, Whirl, 1960 |
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| Helen Frankenthaler, Mountains and Sea, 1952 |
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| Roy Lichtenstein, Popeye, 1961 |
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| Roy Lichtenstein, In the Car, 1963 |
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| James Rosenquist, President Elect, 1960-1/4 |
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| Ed Ruscha, Large Trademark with Eight Spotlights, 1962 |
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Ed Ruscha, Boss, 1961 (no image, black on brown "Boss" |
| Roy Lichtenstein, Golf Ball, 1962 |
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Joseph Beuys, Aktion Kukei, akoopee – Nein! Braunkreuz, Fettecken, Modellfetteckenn (Brown cross, Fat corners, Model fat corners), 1964 (no image) |
| Joseph Beuys, Fluxus action in the large auditorium of the Technical University of Aachen, July 20, 1964 |
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| Joseph Beuys, Das Schweigen von Marcel Duchamp wird überbewertet (The Silence of Marcel Duchamp is Overrated), 1964 |
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Joseph Beuys, Monument for Auschwitz, 1958 (no image - painting brown) |
| Joseph Beuys, Auschwitz-Demonstration (Seitenansicht), 1956-64 |
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| Andy Warhol, White Burning Car III, 1963 |
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| Andy Warhol, Marilyn Diptych, 1962 |
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| Andy Warhol, Lavender Disaster, 1963 |
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| Andy Warhol, Thirteen Most Wanted Men, 1964 |
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