Trespass, 1980 Structure: sheet metal, glass, wood, mirrors, asphalt, water Animals: rigid urethane, Portland cement 52 in. x 26 ft. x 38 ft. Detail of installation, Susan Caldwell Gallery, New York
Listen, 1980 Indoor version: wood, cement, galvanized steel, water, rigid urethane 60 x 144 x 168 in. Collection of Martin Margulies, Miami Outdoor version: concrete, galvanized aluminum, water, cast aluminum Collection of Gordon Hanes, Winston-Salem
Who’s Afraid of Red, White and Blue? 2010 Cast urethane and epoxy, dyed ostrich feathers on steel base, 87 x 32 x 68 in. Collection of Whatcom Museum, Bellingham
Love Birds in Therapy, 2009 Aluminum crutches, urethane, poultry feathers, felt hats, 66 x 24 in.
Tillie, All Primped and Ready for Wall Street, 2008 Urethane, poultry feathers, lobster claw, 72 x 34 in.
75% Down and Falling: Where Have All the Song Birds Gone? 1991-92 Dyed domestic fowl feathers, wood, steel, water, 12 x 22 x 26 ft. Detail of installation, Security Pacific Gallery, Seattle
Song Bird Series: 75% Down and Falling, #1, 1991 Wood, domestic fowl feathers, oil, cast metal feet, 50 x 39 x 6 in. Collection of North Dakota Museum of Art, Grand Forks
Curtain Call, 1991 Wood, urethane, plastic, oil, 92 x 55 x 13 in. Collection of North Dakota Museum of Art, Grand Forks
Sinker, 1991 Urethane, paper, oil, resin, lead, wood, 44 x 72 x 84 in. Collection of North Dakota Museum of Art, Grand Forks
Propaganda Blotter: After Monogram, 1991 Wood, urethane, felt, paper, ink, 46 x 23 x 54 in. Collection of North Dakota Museum of Art, Grand Forks
We Leave It Up All Year Long, 1990-91 Wood, oil, urethane, string, 13 x 7 x 53 in. Collection of North Dakota Museum of Art, Grand Forks
Empire, 1985 Zebra: urethane, oil on papier mâché, hair, epoxy resin, sheet metal Luggage: acrylic on cardboard, fishnet 65 x 44 x 90 in. Collection of North Dakota Museum of Art, Grand Forks
Two Birds on a Limb, 1983 Charcoal and chalk on rag paper, 28 x 34 in. Gift of Werner Kramarsky, Collection of Brooklyn Museum of Art, New York
Gargoyles for a New Society: The Listener, 1983 Bronze, life size Commission for Utica Station, Niagara Frontier Transportation Authority, Buffalo
Gargoyles for a New Society: The Portrait Maker, 1983 Bronze, life size Commission for Utica Station, Niagara Frontier Transportation Authority, Buffalo
Gargoyles for a New Society: The Stagehand, 1983 Bronze, life size Commission for Utica Station, Niagara Frontier Transportation Authority, Buffalo
Gargoyles for a New Society: The Chereographer, 1983 Bronze, life size Commission for Utica Station, Niagara Frontier Transportation Authority, Buffalo
Hi-Rise, 1982-83 Wood, metal, rigid urethane, enamel and acrylic paint, bones 79 x 48 x 19 in. Collection of North Dakota Museum of Art, Grand Forks
Civil Disobedience, 1981 Structure: Ponderosa Pine treated with cuprinol wood preservative, 13 gauge expanded galvanized steel, galvanized steel water container Animals: rigid urethane reinforced with 3/8” rods, fiberglass cloth, epoxy surface 125 x 110 x 133 in. Collection of Ruth Siegel, New York
Critical Distance: Cloning for a New Society, 1982 Mixed media, 10 x 30 x 36 ft. Detail of installation for Issues: New Allegory II, Institute of Contemporary Art, Boston
Tao, 1980-81 Structure: galvanized steel water container, wood surface with plexiglass mirrors Animals: rigid urethane, resin coated paper, Portland cement, galvanized steel hat 48 x 83 x 120 in. Collection of Winnipeg Art Gallery, Manitoba
Study for Five Motions in a Dead Run, 1980 Charcoal and chalk on rag paper, 35 x 103.25 in. Purchase, Louis and Bessie Adler Foundation, Gift 1981. Collection of Metropolitan Museum of Art, New York