From entryway, clockwise:

First vitrine
Left to right: F Magazine issue 1: Mechanical Reproduction, June 2014; F Magazine issue 2: Truth and Lie, January 2015; F Magazine issue 3: The Advertising Issue, September 2015; F Magazine issue 4: LANGUAGE, April 2016; F Magazine 5: LANDSCAPE, January 2017; F Magazine issue 6: SEX, April 2018; F Magazine issue 7: PARANOIA, September 2018; F Magazine issue 8: CELEBRITY, April 2019; F Magazine issue 9: THE SPIRIT, September 2029; F Magazine issue 10: REAL ESTATE, April 2020

Second vitrine
Left to right: F signage produced by Rebecca Matalon for the exterior of 4225 Gibson Street, in gold gift wrapping; the framed element from the collaborative artwork Nearer to Man by Christopher K. Ho, John Magee, Cynthia Talmadge, and Kevin Zucker for the exhibition Sylvia Bataille, JOAN, Los Angeles (2015), organized by Marnie and Matalon; Dawn Cerny, Tuomas Korpijjaakko, Adam Marnie, SH T (2011) and SH T II with hand colored poster insert (2013); Alex Roth Voice to Skull Technology (2019); Ann Weathersby Reliquaries (2021); F. Richard Coldwell Lies From the Flies on the Wall (2024); F Mag “Mail Art” Auction Catalog (F/Kingsboro Press: 2020); Adam Marnie The Origin of Mark Flood (Karma: 2022); John Klonos business card (n. d.); Just Another Asshole #6 (Primary Information: 2018); Esko Korpijaakko and Tuomas Korpijaakko U.S. Bodies sticker (2019); Adam Marnie All of the CVs of the artists in the exhibition The Garden of Forking Paths printed on one piece of paper (2017); Rene Ricard 1978-1982; Jen Fisher Rene Ricard 1978-1982; M. Elizabeth Scott Blue Dahlia and Twelve Other Poems (2021); Pamela Sneed If The Capitol Rioters Had Been Black (2021); Richard Hell Chronicle(2021); Aura Rosenberg Berlin to Houston (2022); Jae Yeun Choi Honesty/ Ethan Swan Compley (2022); Cauleen Smith Volcano Manifesto (2022); Roxy Farman Who Does Not Deserve Death? (2022); Haley Mellin Biodiversity and Beta Diversity (2022); Barbara Ess Fragments (2023); Shadow Cabinet A Loyal Opposition Response (2024); Jen Fisher Going Home is Leaving It (2024); Going Home is Leaving It cassette (ZAP/F: 2024); NOWORK Catalog 2010-2014 (2014); NOWORK Photo Service (2014); NOWORK Ham Sandwich and Masonite (2017); NOWORK toi l’interprète (2021); F Magazine issue 11: INTIMACY (back and front cover), May 2022

Scott Covert, Ladylike Composition, 2017
Wax oil crayon and acrylic on muslin, 31 x 31 inches (78.74 x 78.74 cm)

Scott Covert, The Composers, 2019
Wax oil crayon on acrylic on muslin, 30 x 30 inches (76.2 x 76.2 cm)

Jamie Fletcher, My Omen to Move to West Texas, 2020
Inkjet print, glass, antique mirror brackets, 9.75 x 10 inches

Justin Lieberman, Mariah Robertson, and Stephanie Weber, Stephanie's title: A former curatorial assistant from The Museum of Modern Art relieving herself of all real substance so that the artist, and you, his sycophantic followers, may speak of her in the most crude terms. However, the inhuman monstrosity called forth by this voiding does not belong to you. Rather it bears the seed of your eventual destruction. Mariah's title: Justin Lieberman, you are my friend and I trust you. I trust that your intentions are honorable and your ideas worthy of exploration. And you have been there for me when I very much needed a friend. So for these reasons I have endeavored to fulfill your request by making a piece which is outside my zone of interest and possibly a violation of my adult life project. But having an interest in critical analysis of systems, I am willing to invert or violate those of my own in the spirit of open experimentation. Justin's title: A photograph taken in the gallery by the artist Mariah Robertson documenting a curatorial assistant from The Museum of Modern Art’s department of media and performance art enacting a scene from the opening chapter of Georges Bataille's 1928 novel The Story of the Eye. The props from the performance: A 1994 stainless steel Alessi reproduction of Marianne Brandt's 1928 Bauhaus work, Shallow Bowl, filled with organic milk from a local farm, 2012/2015
C-print on metallic paper, stainless steel bowl, local organic milk and bottle, and three titles. Dimensions variable

John Klonos, Untitled test painting, n. d.
Acrylic on canvas, 35 x 24 inches

Mark Flood, John Klonos Bio, 1992
Acrylic on canvas, 46 x 36 inches

Adam Marnie, Painting Object (after Miró), 2016
Acrylic on wood with rag, string, and ripped packing cardboard thumbtacked or nailed to the wood, 12 x 11.5 x 5 inches

Liz Deschenes and Alan Ruiz, Prototype, 2020
Silver gelatin photogram mounted on Dibond, aluminum; steel, hardware, existing architecture, 117 x 6.25 x 4 inches

Third vitrine
Supportgroup123, Grab Bag Group Show, 2020
Each edition includes artworks by most of the following: Trudy Benson, Alex Bag, Ben Dowell, Bobbi Woods, Nolan Bibb, Matt Tully Dugan, Thatcher Keats, Zemer Williams, Kevin Stahl, Robert Goldman, Nickolaus Typaldos, Andrea Merkx, Chris Rice, Teresa Logan, Charles Benton, Bozidar Brazda, Adam Revington, Zoltogg99, Adam Marnie, Nathan Gwynne, Jen Fisher. Edition of 10 + 4 AP

Fourth vitrine
Brandon Jerrod, My Joy, My Pleasure, My Resurgence, 2024
Photographic self-portraits, family photographs, Jerrod’s oil and acrylic painting In a Sentimental Mood (2022), fabric, shells, heart-shaped stones, floral headdress, eviction letter, black tealight candles, written statement, copy of F Magazine issue 11 (2022) open to pages 12-13 showing the collaborative spread by Jerrod and Bria Lauren. Dimensions variable

Skylar Haskard and Devin T. Mays, Untitled, 2024
Plastic bins, Haskard’s Jungle Buzzard remnants, 15 x 92 x 28.5

Matt Wycoff and Unknown, Untitled (for Lindsey), 2015
Silver gelatin print and archival pigment print

Stephanie Boone and Will Boone, Mister Natural, 2024
Wood, clay, glass, ink and acrylic on canvas, 42.5 x 32 inches

Matt Kenny, Manet’s The Ham, 1875–1878, 2022
Oil on linen, 12.75 x 16.50 inches

Nancy Shaver, Spacer #3 with Steel Stillman, 2021
Photographs, canvas panels, dress fabric, Afghani sleeve, picture frame, wood, Flashe paint, 29 x 34 inches (73.7 x 86.4 cm)

Christopher K. Ho and Kevin Zucker, Perfect Heir X, 2014-2024
Dye-based print on metallic photo paper, 60 x 12 inches. Edition of 3

Dawn Cerny, Carnations in June, never not a ghost, 2021-2022
Wood, apoxie sculpt, wire, paper, paint, found ephemera, archival pigment proof by Steel Stillman: "Silhouette" 2017, 16.5 x 20.5 x 8 inches (41.9 x 52.1 x 20.3 cm)

Adam Marnie and Aura Rosenberg, A Photo A Day, October 9, 2016 – October 10, 2017, 2021
HD video, looped. Edition of 5

Fifth vitrine
Barbara Ess and Megan Plunkett, Ess’s collaged printouts, staples, and ballpoint pen mock-up for East Meets West, Ess and Plunkett’s collaborative section in F Magazine issue 4 (2016); copy of F issue 4 open to pages 28-29; copy of F Magazine issue 3 (2015) open to pages 54-55 showing Ess’s ID card photographs; an untitled Ess ID photograph of the letter F (2017); returned postcards; Plunkett’s photograph of Adam Marnie’s hand holding a returned postcard addressed to Plunkett (2020); Ess’s note included with her contribution to the F Mag Mail Art Auction (2020); returned letter addressed to Ess (2021)

Various Contributors, A Portrait of Barbara Ess, 2021 –
An ongoing collection of framed artworks inspired by or of Barbara Ess, in memoriam. Dimensions variable
Peggy Ahwesh, Heather Bursch, Jeri Coppola, Daniella Dooling, Tara Fracalossi, Kirby Gookin, Michelle Handelman, Shirley Irons, Robin Kahn, Judith Kakon, Thomas Lail, Les Leveque, Jeanne Liotta, Adam Marnie, Virginia Piersol, Megan Plunkett, David Procuniar, Lee Renaldo, Keith Sanborn, Heidi Schlatter, Peter Scott, Steel Stillman, and Yoni Zonszein

NOWORK, We Move Thank God, 2017/2024
Purchased elephant sculpture with padlock and metal chain, roll of adhesive packing tape, 54.5 x 44 x 21 inches

Installation photography of Collaborations and Bootlegs: 10 Years of F Magazine © Paul Hester

F
4225 Gibson Street
Houston, TX 77007

For more information, please contact Adam Marnie at office@fmagazine.info