Each year, Storefront collaborates with artists, architects, and designers to commission and produce new limited edition works in various media. This editions recognize the talent and creativity of our network, and serve as a key source of support for Storefront’s mission and ongoing programming.


See below for a full list of editions that have been produced so far. For more information and to inquire about pricing and other details for each edition, please contact or call 212.431.5795. Editions can be picked up in New York City or shipped at an additional charge.




Miguel Fernández de Castro — Altar Omen (1908 | 2022), 1893 Ounces of Gold

Altar Omen (1908 | 2022)
This original artwork, currently on view at the exhibition
The Absolute Restoration of All Things at Storefront, weaves together the western hills of the Sonoran desert through an archival image from 1909 by Norwegian explorer Carl Lumholtz with a photo by Fernández de Castro from 2022 taken from the same vantage point. Over a century prior to Fernández de Castro’s visits, Lumholtz was sent on an expedition to survey the territory and advise on its potential mineral riches. In his reports, Lumholtz states: “The gold mines are of the bonanza type, and although the pockets are remarkably rich, I feel incompetent to give an opinion as to whether great mines would be found there”


In the historical image on the left, a Papago woman is seen cleaning gold artisanally, in the contemporary photo on the right, the mine’s massive pit is depicted. This framed photo diptych questions the concepts of land restoration when the devastation from the mining industrial complex is evidently irreparable. 


1893 Ounces of Gold
The central piece in the exhibition
The Absolute Restoration of All Things is a sculpture that sits within the deep pit of the decommissioned gold mine. Made on-site with soil from the pit, the sculpture is shaped as a perfect cube that is 70 x 70 x 70 cms. This sculpture represents in volume the amount of gold that was extracted illegally from the mine and would have a value of approximately 436 million dollars. 


If added, the 125 cubes of this edition comprise the 236,709 ounces of gold that were mined, for which 10,833,527 tons of stone had to be blown up and moved. The 125 cubes, each representing 1893 ounces of gold, are all unique, made of compressed soil from the mine in the Sonoran desert by the artist.


Miguel Fernández de Castro (b. 1986, Sonora, Mexico) is a visual artist based in the Sonora-Arizona borderlands. Through photography, video, sculpture, and writing, his work examines how extractive and criminal economies materially transform a territory while looking at the historical ties between environmental catastrophe, smuggling routes, and forced disappearance. In Mexico, his work has been shown at Museo Jumex, Casa del Lago, and Museo de Arte Moderno. Internationally he’s presented work at Frac Centre-Val de Loire (France), Spazio Veda (Italy), Wren Library (UK), Museo Artium (Spain), Ashkal Alwan (Lebanon), among others. His film Grammar of Gates was selected by Ballroom Marfa to be for the Artists’ Film International program at Whitechapel Gallery in London. Since 2018 he has collaborated with multiple search groups documenting mass graves on both sides of the Mexico-US border.


The work of artist Miguel Fernández de Castro is rooted in the Sonoran Desert located in Mexico’s northwest. Based in the town of Altar, Sonora, he makes work that responds to the social, political, and economic forces at play in this complex region that borders with Arizona in the United States.


Altar Omen (1908 | 2022), 2022

Framed photo dipych

29 1/2″ x 20 1/2″
(75 cm x 52 cm)

Edition of 5 + 2 APs

1893 Ounces of Gold, 2022

Compressed soil from mine, sealed

5 1/2″ x 5 1/2″ x 5 1/2″
(14 cm x 14 cm x 14 cm)

Edition of 125 


Both works are commissioned by Storefront for Art and Architecture in conjunction with the exhibition The Absolute Restoration of All Things. All proceeds of the sale of these two new works support Archivos de la erosión, a space for situated research in the Altar Desert by Miguel Fernández de Castro and Natalia Mendoza, and Storefront for Art and Architecture in New York. 


For more information about Altar Omen (1908 | 2022) or 1893 Ounces of Gold, including direct purchase, price, and shipping, please contact or call 212.431.5795. 



Javier Bosques — Extensión Familiar




Extensión familiar by Javier Bosques is a series of model-scale ceramic houses drawn from memory and made in collaboration with the artist’s mother, Elba Meléndez. The edition pays homage to single-family housing with unfinished construction, a common sight in the Puerto Rican landscape. Typically built upon over time due to constrained resources, the cinder blocks stacked over the roof signal aspirations to expand and grow. This construction process goes very slowly, as if permanently on pause, leaving each house as a humble facade of hope.


The edition continues the artist’s exploration of architectural demarcations and their social role within a larger context. This project is expanded upon through Bosques’s collaboration with his mother, who took on ceramics after her son moved to the United States as a student. Meléndez constructed and painted each house with a unique design, created in a manner that reflects the improvisational building techniques of the island.


Javier Bosques + Elba Meléndez

Javier Bosques (b. 1985 San Juan, Puerto Rico) is an artist with a visual language that explores the plurality and subjective nature of experiences. He studied arts at The Cooper Union in New York City, 2008, and holds a masters in film directing from UCLA in Los Angeles, 2015. Recent presentations include: Museo de Arte de Puerto Rico, San Juan, 2019; Palais de Tokyo, Paris, 2018; LAXART, Los Angeles, 2017; Ukrainian Institute of Modern Art, Chicago, 2017; Centro de Desarrollo de las Artes Visuales, Havana, 2017.


Elba Meléndez (b. 1949 Guaynabo, Puerto Rico) is a ceramicist who found her creative talents more recently in life. She studied Business Administration, 1970 and received an M.A. in Environmental Planning, 1977, from the University of Puerto Rico. In 1993, she completed her Doctorate in Education from the Interamerican University. Over the last decade, Meléndez has honed her practice in ceramics and has begun to exhibit her work internationally.


Extensión familiar 2009-2012, a series of ceramics and photographs by Bosques and Meléndez, is part of the permanent collection of the Museo de Arte de Puerto Rico.


Extensión familiar, 2019
Dimensions variable
Edition of 50 + 5 APs
Signed by the artists


Each house is unique and comes packaged in a custom carrying case designed by Estudio Herrerra. 


Extensión familiar is presented in conjunction with Aquí vive gente, Storefront for Art and Architecture’s first exhibition in its new year-long public program, Building Cycles.


For more information about Extensión familiar, including price, available works, and shipping, please contact or call 212.431.5795. For images of remaining works for sale, see here.




Lebbeus Woods — Untitled (Sarajevo Wall Segment, 1993–1994)




Untitled (Sarajevo Wall Segment, 1993-1994) is a limited edition silkscreen print of a drawing by Lebbeus Woods from the “War and Architecture” series, which was originally shown at Storefront for Art and Architecture in 1994 as part of Lebbeus Woods: Freescape Projects. “Architecture must learn to transform the violence,” Woods would write later in War and Architecture (1997), “even as violence knows how to transform the architecture.”


The silkscreen is accompanied by an original copy of the newsprint that was disseminated publicly at the time of the exhibition opening. This edition is printed by Lower East Side Printshop, and is available for sale to benefit Storefront for Art and Architecture. It was made in collaboration with the Estate of Lebbeus Woods. Storefront is grateful to Aleksandra Wagner, the Executor of the Estate, for initiating the project.


Lebbeus Woods (1940–2012) dedicated his career to probing architecture’s potential to transform the individual and the collective. A trained architect and engineer, Woods reimagined modern environments by making drawings that ask us to renew our spatial imaginations. His eponymous constructions are jarring in their depiction of the violence and fragmentation that define today’s social, political, and geographical landscapes. 


Rendered through intricate ink, color pencil and pastel drawings, as well as digital renderings and models, his works are in private and public collections, including the Museum of Modern Art, the Whitney Museum of American Art, the Cooper-Hewitt National Design Museum, the Carnegie Museum of Art, San Francisco Museum of Modern Art, MAK, Vienna, and the Getty Research Institute for the Arts and Humanities, among others. For over two decades, Woods taught at the Irwin S. Chanin School of Architecture at The Cooper Union. He received the Progressive Architecture Award for Design Research, Institute Honor of the American Academy of Architects, Daimler-Chrysler Award for Innovation in Design, and the Arts and Letters Award from the American Academy of Arts and Letters. In 2013, a retrospective, Lebbeus Woods, Architect, was curated by SF MoMA, and subsequently traveled to Eli and Edythe Broad Art Museum, East Lansing, and to Drawing Center, New York City.


Untitled (Sarajevo Wall Segment, 1993-1994)

Silkscreen Print on Rives BFK 
Paper size: 30 x 22 inches
Edition of 20 (6 APs)
For more information about Untitled (Sarajevo Wall Segment, 1993-1994), including price and shipping, please contact or call 212.431.5795.
Agnieszka Kurant – Apocalypse Now



Apocalypse Now subversively and playfully addresses human caused climate change and seeks to dynamically describe its long term impacts while blurring the boundary between nature and culture. The piece makes a reference to Kurant’s earlier work, Political Weather (2007), which was inspired by the act of attempting to influence the weather. This practice was once common in the USSR through the use of cloud busters to ensure sunshine for the communist parades, and has also been practiced more recently in contemporary China, when the Olympic Games Committee sought to clear the sky over Beijing from pollution, resulting in artificial rains and snowfall which was often black in color. In 2010, this piece acquired additional and almost prophetic meaning when the volcanic cloud over Iceland caused the world economy a $5 billion loss – an example of the influence of the weather on economy and politics, and of the agency of nature.


Currently the discussions around the climate change in the Anthropocene prompted Kurant to revisit this form and idea and create a portable “conversation piece” version of this problem. Apocalypse Now is a snow globe for the times of climate change.


The snow inside the globe is replaced by black snow – or ash. When snowing, it gradually covers the outline of the cityscape / datascape / geological formation that resembles the Giant’s Causeway in Northern Ireland. The Giant’s Causeway is a rare example of a geological formation based on emergence where, in an extremely rare event, lava froze into regular basalt columns that resemble a cityscape, a data scape, or the virtual landscape of the video game Minecraft.


Apocalypse Now also references the Black Swan theory, developed by complexity scientists. It holds that crucial changes in complex systems (social, economic, ecological, etc.) occur through sudden and unexpected Extremely Rare Events that, by de nition, cannot be repeated. For this reason, this concept postulates moving away from science’s current prevailing emphasis on the study of average and mean values, and instead including all kinds of unique, unpredictable, and seemingly insignia cant pieces of noise, outliers, errors, and extremely rare events. This theory was developed to explain the disproportionate role of high-impact, hard-to-predict, and rare events of large magnitude that are beyond the realm of normal expectations in history, science, and technology, and the psychological biases that make people individually and collectively blind to uncertainty.


Agnieszka Kurant (born 1978 in Lodz, Poland) is an interdisciplinary conceptual artist who examines how complex social, economic and cultural systems can operate in ways that confuse distinctions between fiction and reality or nature and culture. She investigates “the economy of the invisible,” in which immaterial and imaginary entities, fictions, phantoms and emergent processes influence political and economic systems. Her recent exhibitions include a solo show at SCAD MoA in Savannah and at the CCA in Tel Aviv (2017), commissions for Guggenheim Bilbao, for La Panacee, Montpelier, for SFMOMA Open Space (2018) and for Bonner Kunstverein (2017). In 2015 she did a commission for the façade of the Guggenheim Museum in New York. In 2013-2014, she presented a major solo exhibition at the Sculpture Center, New York. Her work has been also exhibited at Palais de Tokyo, Paris (2013), Witte de With, Rotterdam (2011), Moderna Museet (2014), MUMOK, Vienna (2009), Tate Modern, London (2006), The Kitchen, New York (2016), Grazer Kunstverein (2015), Stroom Den Haag (2014) and Performa Biennial, New York (2013). In 2010 she co-represented Poland at the Venice Biennale of Architecture (with Aleksandra Wasilkowska). In 2008 she did a commission for Frieze Projects in London. Kurant is currently an artist in residence at MIT Center for Art Science and Technology in Boston and a Smithsonian Institute fellow. Her work has been reviewed in major publications such as The New York Times, Frieze, Artforum, Mousse, Art in America. She is represented by Tanya Bonakdar Gallery in New York, where she lives and works, and by Fortes d’Aloia and Gabriel Gallery in Sao Paulo and Rio.


Apocalypse Now
Colored resin, glass globe, glitter
4.5” H x 4” L x 4” W
Edition of 10 + 3AP


Commissioned for LIT, Storefront’s 2018 Spring Benefit on May 7th at New York Public Library. 


For more information about Apocalypse Now, including price and shipping, please contact or call 212.431.5795.




Maurizio Cattelan – Museum League: Storefront Edition




Museum League is a scarf collection by Maurizio Cattelan dedicated to major museums and cultural institutions around the world, based on the consideration that museums and cultural spaces are becoming places where a sense of community and a process of identi cation, passion, and faith take place. Everyone has his/her favorite place, the one where he/she feels at home, the one he/she wants to support and share with others – often close to a sense of belonging that the sports fans feel at stadium.


Museum gift shops are places crossed by the same art audience as the cultural space of the museum itself, but, in most cases, they have nothing to do with the museum and its contents. Visitors are forced to pass through as if they were in a gas station shop, without a link with the experiences they have just had in front of the artworks. Why shouldn’t the shops be part of the aesthetic experience? Why leave the artists and works outside the last room of the building? Museum League poses a heretical question: that in a museum art should stay right up to the exit door to the road.


Maurizio Cattelan was born in Padua, Italy, in 1960. Cattelan, who has no formal training and considers himself an “art worker” rather than an artist, has often been characterized as the court jester of the art world. This label speaks not only to his taste for irreverence and the absurd, but also his profound interrogation of socially ingrained norms and hierarchies, subjects historically only available to the court fool.


Solo exhibitions of Cattelan’s work have been organized by The Museum of Modern Art, New York (1998); Centre Georges Pompidou, Paris (2000); Museum Boijmans Van Beuningen, Rotterdam (2001); Museum of Contemporary Art, Chicago (2002–03); P.S. 1 Contemporary Art Center, now MoMA PS1, New York (2002); Museum of Contemporary Art Los Angeles (2003); Musée du Louvre, Paris (2004); Museum für Moderne Kunst, Frankfurt (2008); The Menil Collection, Houston (2010); and Fondation Beyeler, Basel (2013). His work has also been featured in the Venice Biennale (1993, 1997, 1999, 2002, 2003, and 2011), L’hiver de l’amour at the Musée d’art moderne de la Ville de Paris (1994), SITE Santa Fe (1997), Manifesta 2 (1998), Istanbul Biennial (1998), Kunsthalle Basel (1999), Whitney Biennial (2004), Traces du Sacré at Centre Georges Pompidou in Paris (2008), and theanyspacewhatever at the Solomon R. Guggenheim Museum in New York (2008). A retrospective of Cattelan’s work opened in the fall of 2011 at the Guggenheim Museum, New York. Cattelan also founded The Wrong Gallery in 2002, a store window in New York City that allowed for greater freedom in art interventions, which he found lacking in the city’s commercial galleries. Cattelan lives and works in New York and Milan, though he declared himself retired in 2011. He is currently devoting his practice to Catteland, his line of products and accessories that focuses on the democratization of the artistic idea making art accessible to all.


Museum League: Storefront Edition

Acrylic fiber
8″ H x 72″ L

Edition of 100


Commissioned for LIT, Storefront’s 2018 Spring Benefit on May 7th at New York Public Library.  


For more information about Museum League: Storefront Edition, including price and shipping, please contact or call 212.431.5795.



Mary Ellen Carroll – WATCH THE WATCHERS © 2001 (FEDERAL)



WATCH THE WATCHERS is the tagline for FEDERAL, a body of work executed by Mary Ellen Carroll in 2003 while documenting all of the federal buildings in the US until 9/11. FEDERAL became a series of 24 photographs of the north facing façade of the Federal Building on Wilshire Boulevard in Los Angeles (the western headquarters of many federal agencies). Carroll created a 24-hour movie of the north and south facade of the building, with the complicity of its management and staff in the process. The two-theater movie was subsequently exhibited at Storefront and screened at Cinema Village in 2005.


WATCH THE WATCHERS, informed by FEDERAL, is a work of art that Carroll envisioned in neon and that is being realized for the first time for LIT, Storefront’s 2018 Spring Benefit. The neon edition is produced in conjunction with Lite Brite Neon, and is available in an edition of 10 either in Safety Black or Safety Pink. The four original drawings as studies for the neon are also available in Safety Black, Safety Pink, as and two versions in Red, White and Blue. The drawings simultaneously function as the plan for the neon works, as well as being distinct works of art.


Mary Ellen Carroll‘s prolific career as a conceptual artist spans more than twenty years and primarily occupies the disciplines of architecture/design and public policy, writing, performance and film. The foundation of the work is the investigation of a single, fundamental question: what do we consider a work of art?


MEC is the recipient of numerous grants and honors, including the 2018 IASPIS Award by the Swedish Arts Grants Committee, the Guna S. Mundheim Fellowship in the Visual Arts at the American Academy in Berlin in 2016, and a Graham Foundation Fellowship for prototype 180. She has received a Guggenheim Fellowship, two Pollock/Krasner Awards, a Rockefeller Foundation Fellowship, a Rauschenberg Fellowship, and a MacDowell Colony Fellowship, among others.


Her work has been exhibited at international institutions including the Perez Art Museum (Miami), Whitney Museum (New York), Generali Foundation (Vienna), Jacobs Museum (Zurich), Smart Museum (Chicago), ICA (Philadelphia), Arthur Ross Architecture Gallery at Columbia University (New York), Renaissance Society (Chicago), Busan Biennial (South Korea) ICA (London), Museum für Völkerkunde (Munich), MOMUK (Vienna), and at Storefront’s gallery space. The work is in numerous public and private collections.



Neon tubes, transformers, dead frame
14″ H x 34″ L x  5″ W
Edition of 10 + 3AP









Safety Black Gouache on Arches Watercolor Paper

18″ x 24″,

Framed: 19″ x 25″ x .75″





Safety Pink Gouache on Arches Watercolor Paper

18″ x 24″,

Framed: 19″ x 25″ x .75″





Red, White and Blue Pencil on Arches Watercolor Paper

18″ x 24″,

Framed: 19″ x 25″ x .75″





Safety Black Gouache and Red, White and Blue Pencil on Arches Watercolor Paper

18″ x 24″,

Framed: 19″ x 25″ x .75″


Commissioned for LIT, Storefront’s 2018 Spring Benefit on May 7th at New York Public Library. 


For more information about WATCH THE WATCHERS, including price and shipping, please contact or call 212.431.5795.




Adam McEwen – L-Ruler


Preferred Ruler Adam McEwen 1 WEB

L-Ruler is an edition consisting of a representation of a 12-inch L-ruler machined in graphite, a signature material of McEwen’s practice. The ruler exists at the intersection of drawing, art, and architecture. The context of Storefront’s role and position, grounded in architecture and experimentation, suggests the right angle of an L-ruler, as opposed to a plain straight edge.


In theory, the edition is a technically accurate ruler and could be used as such. But the soft materiality of graphite and its willingness to roll off of itself means that with use, the ruler would soon grow distorted—dented, imperceptibly curved, worn down, made out-of-true—rendering it increasingly unreliable, deceptive, and ultimately useless.





12” x 7” x 3/32

Edition: 10, signed and numbered on boxes (2 APs)


Commissioned for ARTIFACT, Storefront’s 2017 Spring Benefit on May 23 at Federal Hall. 


For more information about L-Ruler, including price and shipping, please contact or call 212.431.5795.







LITE-SCAPES SF is an edition of lighting fixtures. One liter of clear colorized latex rubber is cast and threaded through with a 20” tube of LED flexible neon. The topology of each fixture derives from the packaging insert that mediates between an electric toothbrush and its shipping box. These inserts are transfer mold castings of fibrous recycled paper slurry, sprayed from a pulp pool against a metal mesh mold, to which it is adhered by a vacuum.


This recycling of recycling, a casting of a casting, represents LOT-EK’s interest in upstream/downstream vectors of material culture, and in the radically adaptive reuse—or upcycling—of our manufactured second nature. Castings of latex, a material beloved by both epidemiologists and fetishists, have some of the resilience and warmth of flesh.




 Cast clear colored rubber, LED neon strip, transformer, electric cord, switch and plug

7” x 11” x 5”

Edition: 20 in 5 colors (5 APs)


Commissioned for ARTIFACT, Storefront’s 2017 Spring Benefit on May 23 at Federal Hall. 


For more information about LITE-SCAPES SF, including price and shipping, please contact or call 212.431.5795.





Murray Moss + Lobmeyr – Marilyn


Marilyn is a boxed set of four crystal water/wine tumblers produced by the renowned Viennese crystal maker Lobmeyr, established 1823. Each glass in the set is hand engraved by Lobmeyr’s master engraver with a different pattern of a “crack.”


These faux fractures illustrate the extreme fragility of the glass—they are the thinnest possible barrier between the liquid and our lips. Lobmeyr’s “muslin” glasses are so thin that they have the ability to modify our behavior when using them, requiring us to be more delicate in order to avoid the very “cracks” which are in this case celebrated on each glass.


Far from rendering the objects damaged, these engraved flaws make the objects even more precious, much like a beauty mark. Marilyn gracefully demonstrates our fears and trepidation concerning vulnerability. Any fear of damage is pre-empted; the crack is an embellishment that becomes the decoration.


Imperfection is beauty, madness is genius, and it’s better to be absolutely ridiculous than absolutely boring.” -Marilyn Monroe 




Clear crystal, hand engraved

3.25” (Dia) x 3.5” (H)

Edition: 24 sets of 4 glasses, each with a different “crack” (1 AP)


Commissioned for ARTIFACT, Storefront’s 2017 Spring Benefit on May 23 at Federal Hall.


For more information about Marilyn, including price and shipping, please contact or call 212.431.5795.