The vertically oriented painting consists of many textures, colors and motifs. The dark ground is richly textured and covered with words, numbers and calculations sometimes partially obliterated. Two large heart shapes face each other, one in the bottom half of the canvas and the other in the top half. They are also richly covered in texture with letters and numbers. About a dozen forks are attached across the surface of the painting; they tumble from the top to the bottom. Flanking the top and bottom edges are some large X marks with thick top and bottom bars.
The large vertical painting consists of a dark ground. In the lower portion, five wooden spoons are attached. Along the upper edge is an impression of a hand and a plus and minus sign flank the right and left edges in the upper portion of the canvas. At a diagonal in the lower portion appears a long spatula or spoon shape nestled in a sandy brown area. The surface of the work is complex with numbers, letters and calculations barely visible.
Wedding ensemble. The dress is of creme satin styled as a sleeveless A-line dress, with wide shoulder straps. The neckline of the bodice is embellished with rows of satin cording forming a cross-over design. The skirt has a high waistline, and is formed of a lattice of groups of four vertical and four horizontal rows of satin cording, with a backing of creme gauze. Label sewn into inside back of dress: "Victor Costa / Bridal" With veil of silk tulle with satin binding, not shown in photograph.
Vertical gray painting with repeating linear white lines spreading from two centers, one in the upper half and one in the lower half of the painting. Many circles of various gray hues float across the surface.
The painting, White #19, is entirely made out of text. It's a painting made with oil stick, and it was done by stenciling the text of a paragraph from an essay onto the canvas with oil paint, and the more you stencil, the darker and denser the painting becomes.
Dress of striped cotton broadcloth. The "house dress" style garment is street-length, in various patterns of woven striped cotton broadcloth. It has a center front opening that extends the length of the dress and secures with 7 gold-colored metal buttons set with colored rhinestones and on hidden hook-and-eye closure at waist. The wide collar is primarily in yellow with very narrow stripes of orange and blue. The bodice is of vertical stripes of reds, purples, pinks, etc. The skirt, which gathers into the natural waist, is in vertical stripes of blues with thin maroon and green accent stripes. The short sleeves are in stripes of blues, red, yellow and white, and have french cuffs secured with metal rhinestone-set cuff-links. The dress is unlined. The accompanying belt/sash is of the same fabric as the sleeves, and is finished at the ends as cuffs with sewn-on cuff-links matching the sleeves. Designer's label sewn inside at back collar: "Todd / Oldham". Four labels sewn inside skirt at side seam: Content: "100% / Cotton" Care: "Dry Clean / Only" Size: "S" Origin: "Made / In U.S.A." From Oldham's Spring 1994 collection.
Depth is achieved by the diminishing scale of purple wavy lines atop green straight verticals. Floating to the right is a multi-shade brown frame, again with the illusion of depth and inside is a masked face.
Evening jacket of black net and gold embellishments. Collarless neckline has slight scalloped effect. Long sleeves and flared shape from waistline. Center front opening with zipper having a black tassel with 3 strands of covered globes. Constructed of layered netting with encased gold lame cut outs and leaf motifs of black lace, gold lace, beading, sequins and gold braid by Lesage. Designer's label at left side seam near armhole: "Pierre Balmain / Paris" Style number on back of designer's label: "172.377"
Sandals of silver leather. The shoes have an open, square toe, and wide strap which wraps around ankle and buckles around lower ankle with a large silver-tone buckle. 2 1/2" heel, 1" wide, 1 1/2" deep. Label: "abstracts"