NO LONGER ART : SALVAGE ART INSTITUTE

ELKA KRAJEWSKA AND MARK WASIUTA CURATED BY

ADAM BANDLER, ELKA KRAJEWSKA AND MARK WASIUTADESIGNED BY

FROM NOVEMBER 30TH OF 2018 TO MARCH 24TH OF 2019

WE NOW ENCLOSE HEREWITHPROOF OF LOSS.

MUSEUM HOURS:TUESDAY - FRIDAY: 10 to 18 HTHURSDAY: 10 TO 22 HMAZINFO@ZAPOPAN.GOB.MX+52 (33) 3818 25 75

WWW.MAZMUSEO.COM

ANDADOR 20 DE NOVIEMBRE NO. 166CENTRO HISTÓRICO 45100ZAPOPAN, JALISCO. MÉXICO

NO LONGER ART:SALVAGE ART INSTITUTE

DRAWN FROM THE ART INSURANCE LEXICON, THE TERM “SALVAGE ART” REFERS TO WORKS REMOVED FROM ART CIRCULATION DUE TO ACCIDENTAL DAMAGE. SALVAGE PIECES ARE SUBJECT TO A PECULIAR AND TRANSFORMATIVE ACTUARIAL LOGIC. ONCE “TOTAL LOSS” STATUS HAS BEEN DECLARED AND INDEMNIFICATION HAS BEEN PAID, SALVAGE ART IS CONSIDERED OFFICIALLY DEVOID OF VALUE. ITS OBJECTS ARE CAST INTO ART’S NETHER WORLD, NO LONGER ALIVE FOR THE MARKET, GALLERY OR MUSEUM SYSTEM, BUT OFTEN STILL RELATIVELY INTACT. SALVAGE ART IS LIBERATED FROM THE BURDEN OF CONSTANT VALUATION AND THE OBLIGATION OF EXCHANGE, YET ABANDONED TO THE INVISIBILITY OF PERPETUAL STORAGE.

FOUNDED BY ELKA KRAJEWSKA, THE SALVAGE ART INSTITUTE (SAI) SUPPLIES A REFUGE FOR SALVAGED ART PIECES. THE SURVIVAL OF SALVAGE ART EVEN PAST ITS TOTAL DEVALUATION CONFRONTS OUR COMMON UNDERSTANDING OF WHERE ART ENDS, DISTURBING THE DISTINCTION, ORGANIZATION, AND SEPARATION OF ART FROM NON-ART. THE SALVAGE ART INSTITUTE OFFERS A PLATFORM FOR EXPOSING, VIEWING AND ENCOUNTERING THE CONDITION OF SALVAGE ART AND PROVIDES A FORUM FOR ENGAGING THE REGULATION OF ITS FINANCIAL, AESTHETIC AND SOCIAL VALUE.

IN SPRING 2012 THE SALVAGE ART INSTITUTE ACCEPTED A GIFT OF ITS FIRST SALVAGE ART INVENTORY, WHICH COMPRISES THE CORE OF THE EXHIBITION. THE SALVAGED WORKS IN NO LONGER ART: SALVAGE ART INSTITUTE ARE IDENTIFIED BY THEIR SAI ACQUISITION NUMBERS. A NUMERICAL INDEX RELATES EACH PIECE TO ITS INSURANCE CLAIM, AND TO THE PROCESS OF EVALUATION AND JUDGMENT THROUGH WHICH IT HAS BEEN MADE SALVAGE AND TRANSMUTED INTO “NO LONGER ART.” WHERE AVAILABLE DOCUMENTATION DESCRIBING THE DAMAGE AND THE STEPS TOWARD TOTAL LOSS DESIGNATION IS DISPLAYED.

THE SALVAGE ART INSTITUTE’S MAN-DATE IS TO MAINTAIN THE SEPARA-TION OF VALUE FROM ITS NOLONGER ART INVENTORY. NO LONGERART: SALVAGE ART INSTITUTE, THE FIRST PUBLIC APPEARANCE OF THE SAI, FOLLOWS THIS OBJECTIVE, SIMULTANEOUSLY OPENING THE INVENTORY TO SCRUTINY WHILE ATTEMPTING TO MOMENTARILY SUSPEND THE FORCE OF ATTRACTIONBETWEEN ITS OBJECTS AND VALUE.

SALVAGE ART INSTITUTE

1. SAI IS A HAVEN FOR ALL ART OFFICIALLY DECLARED AS TOTAL LOSS, REMOVED FROM ART MARKET CIRCULATION AND LIBERATED FROM THE OBLIGATION OF PERPETUAL VALUATION AND EXCHANGEABILITY.

2. SAI CLAIMS STEWARDSHIP OVER ALL TOTAL LOSS INVENTORIES AS THEY ARE DECLARED, WHEREVER AND WHENEVER, WITH OR WITHOUT PHYSICAL TRANSFER.

3. SAI CONSIDERS THE FORMAL DECLARATION OF TOTAL LOSS AN ACT OF TRANSFORMATION AND SUBSEQUENTLY REFERS TO THE TRANSFORMED PROPERTY AS “NO LONGER ART.”

4. SAI SEEKS TO MAINTAIN THE ZERO-VALUE OF NO LONGER ART AND RECOGNIZES ITS RIGHT TO REMAIN INDEPENDENT AND DIVORCED FROM THE DEMANDS OF FUTURE MARKETABILITY.

5. SAI ASPIRES TO MAKE THE NO LONGER ART INVENTORY ACCESSIBLE TO PUBLIC VIEW. SAI PROVIDES AN AUTONOMOUS YET ACCESSIBLE SPACE FOR NO LONGER ART TO REVEAL ITS QUALITIES VIA INTER-DISCIPLINARY DEBATE.

6. SAI APPROACHES THE NO LONGER ART INVENTORY THROUGH A NON-HIERARCHICAL SYSTEM AND AIMS AT DEMOCRATIC PRINCIPLES. EACH ITEM OF SAI INVENTORY CAN

POTENTIALLY DELIVER EQUALLY VALID REVELATIONS. 7. SAI CONCEIVES THE DECLARATION THAT AN OBJECT IS NO LONGER ART AS THE SYMMETRICAL INVERSION OF THE SUBJECTIVE DECLARATION THAT ANY OBJECT MAY BE ART. THE SIGNATURE OF THE ADJUSTER MEETS AND CANCELS THE SIGNATURE OF THE ARTIST.

8. SAI ESCHEWS THE AESTHETICSAND THE SENSATIONALISM OF DAMAGE. RATHER, IT IS DEVOTED TO EXAMINING THE STRUCTURAL IMPLICATIONS OF TOTAL LOSS ACROSS ART’S CONCEPTUAL, MATERIAL, LEGAL, ACTUARIAL AND FINANCIAL IDENTITIES.

9. SAI IS CENTERED ON THE TACTILE OBJECTHOOD OF NO LONGER ART, ON ITS OBDURATE SURVIVAL, AND ON ITS TRANSFORMED PHYSICALITY. SAI CONFRONTS VIEWERS WITH THE MATERIAL SIGNS OF ALTERATION AND THE LEGIBLE TRACES OF EACH PIECE’S HISTORY.

EMPLOYEES HEREBY AGREES TO INDEMNIFY AND HOLD FREE AND HARMLESS AXA ART, ITS OFFICERS, DIRECTORS, AGENTS AND EMPLOYEES, FROM ALL THIRD PARTY CLAIMS, INCLUDING, BUT NOT LIMITED TO ANY AND ALL CLAIMS FOR PROPERTY DAMAGE AND/OR PERSONAL INJURIES, AND THE LOSSES, DAMAGES, LIABILITIES, JUDGEMENTS OR SETTLEMENTS IN CONNECTION THEREWITH, INCLUDING ATTORNEYS’ FEES, COSTS AND EXPENSES, ARISING FROM, RELATING TO, OR IN ANY WAY CONNECTED WITH THE SALVAGE ART INSTITUTE’S USE OF THE SALVAGE DONATED BY AXA ART. THIS HOLD HARMLESS AND INDEMNIFICATION OBLIGATION SHALL SURVIVE INDEFINITELY.

IN THE EVENT AXA ART MAY, FROM TIME TO TIME, HEREAFTER GIVE, DONATE, AND CONVEY TO THE SALVAGE ART INSTITUTE ADDITIONAL SALVAGE, TITLE TO SUCH SALVAGE SHALL PASS TO THE SALVAGE ART INSTITUTE UPON THEIR DELIVERY, AND ALL THE PROVISIONS OF THIS INSTRUMENT OF GIFT SHALL BE APPLICABLE TO SUCH ADDITIONAL SALVAGE. A DESCRIPTION OF THE ADDITIONAL SALVAGE SO DONATED AND DELIVERED SHALL BE PREPARED AND ATTACHED HERETO AND INCORPORATED HEREIN AS ADDITIONAL EXHIBITS.

IN WITNESS WHEREOF, THE PARTIES HAVE EXECUTIVE THIS DEED OF GIFT AS OF THE APRIL 11, 2012.

AXA ART INSURANCECORPORATION(SIGNATURE)CHRISTIANE FISCHERPRESIDENT & CEO

SALVAGE ART INSTITUTEPROGRAM(SIGNATURE)ELKA KRAJEWSKAPRESIDENT AND FOUNDER

DEED OF GIFT

AXA ART INSURANCE CORPORATION LOCATED AT 3 WEST 35TH STREET, 11TH FLOOR, NEW YORK, NY 10001, (“AXA ART”), HEREBY DONATES THE ITEMS DESCRIBED IN THE ATTACHED EXHIBIT A WHICH AXA ART HAS DEEMED TO BE TOTAL-LOSS OBJECTS WITHOUT ANY VALUE (THE “SALVAGE”) TO THE SALVAGE ART INSTITUTE PROGRAM AT THE ARTHUR ROSS ARCHITECTURE GALLERY AT THE GRADUATE SCHOOL OF ARCHITECTURE PLANNING AND PRESERVATION, COLUMBIA UNIVERSITY LOCATED AT 1172 AMSTERDAM AVENUE, NEW YORK, NY 10027 (THE “SALVAGE ART INSTITUTE”).

WHEREAS, BY EXECUTION OF THIS DEED OF GIFT, AXA ART EXPRESSLY REPRESENTS AND WARRANTS TO THE SALVAGE ART INSTITUTE THAT IT IS THE SOLE LAWFUL OWNER OF TITLE TO THE PROPERTY AND IT HAS THE RIGHT TO TRANSFER THE SALVAGE.

AXA ART FURTHER REPRESENTS AND WARRANTS THAT THERE ARE NO CLAIMS, JUDGEMENTS, LIENS OR OTHER ENCUMBRANCES OF ANY KIND WHATSOEVER AGAINST THE SALVAGE, ANY PORTION OF THE SALVAGE, OR TITLE TO IT.

THEREFORE, AXA ART BEING THE SOLE AND ABSOLUTE OWNER OF THE SALVAGE DESCRIBED IN EXHIBIT A ATTACHED HERETO DOES HEREBY GIVE, ASSIGN, AND TRANSFER OVER TO THE SALVAGE ART INSTITUTE ALL RIGHTS,

TITLE, AND INTERESTS IN AND TO SAID ITEMS, INCLUDING ANY AND ALL RIGHTS TO COPYRIGHT, AND USE INTEREST THEREIN, IF ANY, ABSOLUTELY AND FOREVER.

WHENEVER POSSIBLE, THE SALVAGEWILL BE DELIVERED WITH ACCESSORY DOCUMENTS WHICH MAY INCLUDE, BUT ARE NOT LIMITED TO, CONDITION REPORTS, DAMAGE RECORDS AND HISTORICAL INFORMATION ON THE VARIOUS PIECES. HOWEVER, NOT ALL SALVAGE GIFTED HAS SUCH ACCESSORY DOCUMENT-ATION AND IN ALL INSTANCES SENSITIVE CLIENT INFORMATION WILL BE REDACTED PRIOR TO DELIVERY TO THE SALVAGE ART INSTITUTE SO AS TO PROTECT CLIENT INFORMATION.

AXA ART ACKNOWLEDGES THAT UPON EXECUTION OF THIS DEED OF GIFT AND DELIVERY OF THE SALVAGE, THE SALVAGE IRREVOCABLY BECOMES THE PROPERTY OF THE SALVAGE ART INSTITUTE. THE SALVAGE SHALL BE ORGANIZED, AND MADE AVAILABLE FOR EDUCATION AND RESEARCH IN ACCORDANCE WITH THE SALVAGE ART INSTITUTE’S INTERNAL POLICIES. THIS DONATION IS MADE WITHOUT RESTRICTION, INCLUDING DISPLAY; PRESERVATION, RETENTION, OR DISPOSITION OF THE SALVAGE BY THE SALVAGE ART INSTITUTE EITHER NOW OR IN THE FUTURE.

THE SALVAGE ART INSTITUTE, ITS OFFICERS, DIRECTORS, AGENTS AND

CURATORS: ELKA KRAJEWSKA AND MARK WASIUTAEXHIBITION DESIGN: ADAM BANDLER, ELKA KRAJEWSKA AND MARK WASIUTA

CONCEIVED BY ELKA KRAJEWSKA AND MARK WASIUTA AND PRODUCED BY GSAPP EXHIBITIONS (COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE PLANNING AND PRESERVATION) AND SAI (SALVAGE ART INSTITUTE), THE EXHIBITION NO LONGER ART: SALVAGE ART INSTITUTE WAS FIRST SHOWN AT THE ARTHUR ROSS ARCHITECTURE GALLERY IN NEW YORK IN 2012.

EMPLOYEES HEREBY AGREES TO INDEMNIFY AND HOLD FREE AND HARMLESS AXA ART, ITS OFFICERS, DIRECTORS, AGENTS AND EMPLOYEES, FROM ALL THIRD PARTY CLAIMS, INCLUDING, BUT NOT LIMITED TO ANY AND ALL CLAIMS FOR PROPERTY DAMAGE AND/OR PERSONAL INJURIES, AND THE LOSSES, DAMAGES, LIABILITIES, JUDGEMENTS OR SETTLEMENTS IN CONNECTION THEREWITH, INCLUDING ATTORNEYS’ FEES, COSTS AND EXPENSES, ARISING FROM, RELATING TO, OR IN ANY WAY CONNECTED WITH THE SALVAGE ART INSTITUTE’S USE OF THE SALVAGE DONATED BY AXA ART. THIS HOLD HARMLESS AND INDEMNIFICATION OBLIGATION SHALL SURVIVE INDEFINITELY.

IN THE EVENT AXA ART MAY, FROM TIME TO TIME, HEREAFTER GIVE, DONATE, AND CONVEY TO THE SALVAGE ART INSTITUTE ADDITIONAL SALVAGE, TITLE TO SUCH SALVAGE SHALL PASS TO THE SALVAGE ART INSTITUTE UPON THEIR DELIVERY, AND ALL THE PROVISIONS OF THIS INSTRUMENT OF GIFT SHALL BE APPLICABLE TO SUCH ADDITIONAL SALVAGE. A DESCRIPTION OF THE ADDITIONAL SALVAGE SO DONATED AND DELIVERED SHALL BE PREPARED AND ATTACHED HERETO AND INCORPORATED HEREIN AS ADDITIONAL EXHIBITS.

IN WITNESS WHEREOF, THE PARTIES HAVE EXECUTIVE THIS DEED OF GIFT AS OF THE APRIL 11, 2012.

AXA ART INSURANCECORPORATION(SIGNATURE)CHRISTIANE FISCHERPRESIDENT & CEO

SALVAGE ART INSTITUTEPROGRAM(SIGNATURE)ELKA KRAJEWSKAPRESIDENT AND FOUNDER

ITEM

SAI 0010TORN IN TRANSIT

SAI 0011CUT IN TRANSIT

SAI 0012 GUNPOWDER, GRAPHITE, PAPER, WATER STAIN

60”x60” each WATER STAINED, SMEARED BY HAND

PUNCTURED IN TRANSITSAI 0013 PAPER, INK 27”x18” 07/03/2007

SAI 0014 OIL, LACQUER, WOOD, CANVAS

6/23/2009ONE ELEMENT OF TRIPTYCH LOST IN TRANSIT

SAI 0015 ALUMINUM, PORCELAIN 10”x10”x 3” 12/24/2008SHATTERED IN FALL

SAI 0016 OIL, CANVAS, WOOD 52”x35” 3/16/2010

SAI 0017 WOOD 15”x15”x38” 12/13/2006BROKEN IN TRANSIT

SAI 0018 GLASS 22”x15”x5”22”x15”x6”

5/16/2008CHIPPED, BROKEN

SAI 0019 3 COLOR DYE, PHOTO PAPER (4)

11”x16” CADA UNO

6/9/2009DENTED IN TRANSIT;

SAI 0020 POTTERY, CHINA, GLASS, GLAZING

VARIAS DIMENSIONES

UNKNOWN

SAI 0021 STONE OR EBONIZED WOOD

33”x6”x2”, 16”x6”x3” SHATTERED IN TRANSIT

12/19/2006

SAI 0022 14”x18”WATERCOLOR, GRAPHITE, PAPER

RIPPED

SAI 0023 18”x24” 04/30/2008SCRATCHED IN TRANSIT

SAI 0024 BRASS, LEAF PATTERN, CRYSTALS

17”x14”

SAI 0025

SAI 0026 PAINT, WOOD 96”x48” 1/28/2010FRACTURED BY IMPACT IN TRANSIT

1/29/2010 3/02/2010 2007 PIPO BROCKMAN FAMILY PORTRAIT

14”x 35½”x2 DESCONOCIDO DESCONOCIDO 1992 DUANE SLICK A TALE OF TWO TREESOIL, WOOD, WRAPPING UNKNOWNWRAPPING STUCK TO PAINTING WHEN WET

RECLAMACIÓN

8/20/2009 10/2009 2008 ANTON HENNING

7/10/2009 8/18/2009 2007 MIGUEL FLORIDO SOLO TU RECUERDO SIGUE AQUÍ

3/6/2009 3/17/2009 2007 LINDA BOND SIN TÍTULO (PRAYER)

7/31/2007 8/09/2007 1984 DONALD VANN ALMOST HOME II

10/29/2009 10/29/2009 1992 HELMUT DORNER DCL

5/11/2009 5/20/2009 1995 JEFF KOONS RED BALLOON DOG ED. 51/66

3/23/2010 3/2010 1850 ALEXANDRE DUBUISSON

LA MOISSON

4/30/2007 5/11/2007 DESCONOCIDO AT THE RIVER’S EDGE

9/25/2008 11/5/2008 2004 VLADIMIRAKLUMPAR

BLUE MARQUISE, RED MARQUISE

7/10/2009 7/10/2009 2008 ANNE MORGANSTERN

DRY RUN 10, 11, 12,13

DESCONOCIDO DESCONOCIDO DESCONOCIDO DESCONOCIDO ROBIN’S EGGS SCHOLAR’S DESK VESSELS, OTHER

01/12/2007 02/07/2007 2002 DESCONOCIDOPETER AMBROSE (POSIBLEMENTE)

DESCONOCIDO DESCONOCIDO 1870 JACOB SPIN GEORGE E. THACHER OF BOSTON

04/30/2008 05/21/2008 2007 THE NATIONS INKEEPERMCDERMOTT & MCGOUGH

2009 2009 DESCONOCIDO DESCONOCIDO LUSTRES

11/4/2007, 12/16/2007, 11/15/2008

07/06/200984”x97”OIL, LINEN, WOOD

MATERIALS SIZE DAMAGE

OIL, CANVAS 57”x70” 07/06/2009

PÉRDIDA TOTAL PRODUCCIÓN ARTISTA TÍTULO

INTERIOR NO. 391

(DIPTYCH)

(DIPTYCH)

12”x14“52”x43”

TORN IN TRANSIT

CHESTER J. ARMSTRONG

BICHROMATED GELATIN, PHOTO PAPER

6/23/2009SHATTERED BY FALLEN MIRROR

SAI 0027 3 COLOR DYE, PHOTO PAPER (6)

21”x16” EACH

10/29/2010SCRATCHED IN TRANSIT

11/5/2010 11/22/2010 1969, 1959, 1967, 1966, 1971, 1972

JIM MARSHALL ROCK AND ROLL PHOTOGRAPHS

SAI 0029 OIL, CANVAS, FRAME 30”x36” 03/05/2007TORN AT EXHIBITION

3/06/2007 3/22/2007 DESCONOCIDO SUNNY BOUQUETEVGENY Y LYDIA BARANOV

SAI 0032 INK, PAPER (3) 30”x22”EACH

UNKNOWNWATER STAINED

DESCONOCIDO DESCONOCIDO DESCONOCIDO ROBERT ARTHUR GOODNOUGH

LITHOGRAPHS

SAI 0033 SEWN PHOTOGRAPHS, PAPER, GRAPHITE, THREAD

47”x37½” UNKNOWN DESCONOCIDO DESCONOCIDO DESCONOCIDO DESCONOCIDO (FIRMADO)CHARLIE HEWITT

DEED OF GIFT

AXA ART INSURANCE CORPORATION LOCATED AT 3 WEST 35TH STREET, 11TH FLOOR, NEW YORK, NY 10001, (“AXA ART”), HEREBY DONATES THE ITEMS DESCRIBED IN THE ATTACHED EXHIBIT A WHICH AXA ART HAS DEEMED TO BE TOTAL-LOSS OBJECTS WITHOUT ANY VALUE (THE “SALVAGE”) TO THE SALVAGE ART INSTITUTE PROGRAM AT THE ARTHUR ROSS ARCHITECTURE GALLERY AT THE GRADUATE SCHOOL OF ARCHITECTURE PLANNING AND PRESERVATION, COLUMBIA UNIVERSITY LOCATED AT 1172 AMSTERDAM AVENUE, NEW YORK, NY 10027 (THE “SALVAGE ART INSTITUTE”).

WHEREAS, BY EXECUTION OF THIS DEED OF GIFT, AXA ART EXPRESSLY REPRESENTS AND WARRANTS TO THE SALVAGE ART INSTITUTE THAT IT IS THE SOLE LAWFUL OWNER OF TITLE TO THE PROPERTY AND IT HAS THE RIGHT TO TRANSFER THE SALVAGE.

AXA ART FURTHER REPRESENTS AND WARRANTS THAT THERE ARE NO CLAIMS, JUDGEMENTS, LIENS OR OTHER ENCUMBRANCES OF ANY KIND WHATSOEVER AGAINST THE SALVAGE, ANY PORTION OF THE SALVAGE, OR TITLE TO IT.

THEREFORE, AXA ART BEING THE SOLE AND ABSOLUTE OWNER OF THE SALVAGE DESCRIBED IN EXHIBIT A ATTACHED HERETO DOES HEREBY GIVE, ASSIGN, AND TRANSFER OVER TO THE SALVAGE ART INSTITUTE ALL RIGHTS,

TITLE, AND INTERESTS IN AND TO SAID ITEMS, INCLUDING ANY AND ALL RIGHTS TO COPYRIGHT, AND USE INTEREST THEREIN, IF ANY, ABSOLUTELY AND FOREVER.

WHENEVER POSSIBLE, THE SALVAGEWILL BE DELIVERED WITH ACCESSORY DOCUMENTS WHICH MAY INCLUDE, BUT ARE NOT LIMITED TO, CONDITION REPORTS, DAMAGE RECORDS AND HISTORICAL INFORMATION ON THE VARIOUS PIECES. HOWEVER, NOT ALL SALVAGE GIFTED HAS SUCH ACCESSORY DOCUMENT-ATION AND IN ALL INSTANCES SENSITIVE CLIENT INFORMATION WILL BE REDACTED PRIOR TO DELIVERY TO THE SALVAGE ART INSTITUTE SO AS TO PROTECT CLIENT INFORMATION.

AXA ART ACKNOWLEDGES THAT UPON EXECUTION OF THIS DEED OF GIFT AND DELIVERY OF THE SALVAGE, THE SALVAGE IRREVOCABLY BECOMES THE PROPERTY OF THE SALVAGE ART INSTITUTE. THE SALVAGE SHALL BE ORGANIZED, AND MADE AVAILABLE FOR EDUCATION AND RESEARCH IN ACCORDANCE WITH THE SALVAGE ART INSTITUTE’S INTERNAL POLICIES. THIS DONATION IS MADE WITHOUT RESTRICTION, INCLUDING DISPLAY; PRESERVATION, RETENTION, OR DISPOSITION OF THE SALVAGE BY THE SALVAGE ART INSTITUTE EITHER NOW OR IN THE FUTURE.

THE SALVAGE ART INSTITUTE, ITS OFFICERS, DIRECTORS, AGENTS AND

ARTÍCULO

SAI 0010RASGADO EN TRÁNSITO

SAI 0011ROTO EN TRÁNSITO

SAI 0012 PÓLVORA, GRAFITO, PAPEL,MANCHA DE AGUA

60”x60” CADA UNO MANCHADO POR AGUA, EMBORRONADO A MANO

PERFORADO EN TRÁNSITOSAI 0013 PAPEL, TINTA 27”x18” 07/03/2007

SAI 0014 ÓLEO, MADERA, LIENZO

6/23/2009UN ELEMENTO DEL TRÍPTICO FUE PERDIDO EN TRÁNSITO

SAI 0015 ALUMINIO, PORCELANA 10”x10”x 3” 12/24/2008HECHO AÑICOS POR CAÍDA

SAI 0016 ÓLEO, LIENZO 52”x35” 3/16/2010

SAI 0017 MADERA 15”x15”x38” 12/13/2006ROTO EN TRÁNSITO

SAI 0018 VIDRIO 22”x15”x5”22”x15”x6”

5/16/2008DESPOSTILLADO, ROTO

SAI 0019 TINTE DE 3 COLORES, PAPEL FOTOGRÁFICO (4)

11”x16” CADA UNO

6/9/2009ABOLLADO EN TRÁNSITO

SAI 0020 CERÁMICA, PORCELANA, VIDRIO, ESMALTE

VARIAS DIMENSIONES

DESCONOCIDO

SAI 0021 PIEDRA 33”x6”x2”, 16”x6”x3” ROTO EN TRÁNSITO

12/19/2006

SAI 0022 14”x18”ACUARELA, GRAFITO, PAPEL

RASGADO

SAI 0023 18”x24” 04/30/2008RASPADO EN TRÁNSITO

SAI 0024 LATÓN, PATRÓN DE HOJAS, CRISTALES

17”x14” Y PARTES

SAI 0025

SAI 0026 PINTURA, PANEL DE MADERA

96”x48” 1/28/2010FRACTURADA POR IMPACTO EN TRÁNSITO

1/29/2010 3/02/2010 2007 PIPO BROCKMAN FAMILY PORTRAIT

14”x 35½”x2 UNKNOWN UNKNOWN 1992 DUANE SLICK A TALE OF TWO TREESÓLEO, MADERA,ENVOLTURA

DESCONOCIDOENVOLTURA ADHERIDA A LA PINTURA MIENTRAS SEGUÍA HÚMEDA

CLAIM

8/20/2009 10/2009 2008 ANTON HENNING

7/10/2009 8/18/2009 2007 MIGUEL FLORIDO SOLO TU RECUERDO SIGUE AQUÍ

3/6/2009 3/17/2009 2007 LINDA BOND UNTITLED (PRAYER)

7/31/2007 8/09/2007 1984 DONALD VANN ALMOST HOME II

10/29/2009 10/29/2009 1992 HELMUT DORNER DCL

5/11/2009 5/20/2009 1995 JEFF KOONS RED BALLOON DOG ED. 51/66

3/23/2010 3/2010 1850 ALEXANDRE DUBUISSON

LA MOISSON

4/30/2007 5/11/2007 UNKNOWN AT THE RIVER’S EDGE

9/25/2008 11/5/2008 2004 VLADIMIRAKLUMPAR

BLUE MARQUISE, RED MARQUISE

7/10/2009 7/10/2009 2008 ANNE MORGANSTERN

DRY RUN 10, 11, 12,13

UNKNOWN UNKNOWN UNKNOWN N/A ROBIN’S EGGS SCHOLAR’S DESK VESSELS, OTHER

01/12/2007 02/07/2007 2002 DESCONOCIDOPETER AMBROSE (POSIBLEMENTE)

UNKNOWN UNKNOWN 1870 JACOB SPIN GEORGE E. THACHER OF BOSTON

04/30/2008 05/21/2008 2007 THE NATIONS INKEEPERMCDERMOTT & MCGOUGH

2009 2009 UNKNOWN UNKNOWN LUSTRES

11/4/2007, 12/16/2007, 11/15/2008

07/06/200984”x97”ÓLEO, LINO, MADERA

MATERIALES TAMAÑO DAÑO

ÓLEO, LIENZO 57”x70” 07/06/2009

TOTAL LOSS PRODUCTION ARTIST TITLE

INTERIOR NO. 391

(DÍPTICO)

(DÍPTICO)

12”x14“52”x43”

TORN IN TRANSIT

CHESTER J. ARMSTRONG

GOMA BICROMATADA, PAPEL FOTOGRÁFICO, MARCO

6/23/2009ROTO POR ESPEJO CAÍDO

SAI 0027 TINTE DE 3 COLORES, PAPEL FOTOGRÁFICO (6)

21”x16” CADA UNO

10/29/2010RASPADO EN TRÁNSITO

11/5/2010 11/22/2010 1969, 1959, 1967, 1966, 1971, 1972

JIM MARSHALL ROCK AND ROLL PHOTOGRAPHS

SAI 0029 ÓLEO, LIENZO, MARCO 30”x36” 03/05/2007ROTO DURANTE EXPOSICIÓN

3/06/2007 3/22/2007 UNKNOWN SUNNY BOUQUETEVGENY Y LYDIA BARANOV

SAI 0032 TINTA, PAPEL (3) 30”x22”CADA UNO

DESCONOCIDOMANCHA DE AGUA

UNKNOWN UNKNOWN UNKNOWN ROBERT ARTHUR GOODNOUGH

LITHOGRAPHS

SAI 0033 FOTOGRAFÍAS COSIDAS, PAPEL, GRAFITO, HILO

47”x37½” DESCONOCIDO UNKNOWN UNKNOWN UNKNOWN UNKNOWN (SIGNED)CHARLIE HEWITT

ITEM

SAI 0034BENT IN TRANSIT;

SAI 0036 VINTAGE PRINT 40"x 271/4” RIPPED

WATER DAMAGESAI 0038 COLOR INK, PARCHMENT,

WATER STAIN35½”x 33” UNKNOWN

SAI 0039 SEVENTEEN COLOR INKS,HANDMADE SEKISHU KOZO PAPER, FRAME

UNKNOWNFRAMED WITH NO PROTECTION, SHARDS IN FRAME

SAI 0040 PRINT ON ALUMINUM; PAPER

UNKNOWN UNKNOWN

SAI 0041 PINE, PAINT UNKNOWN UNKNOWN

SAI 0044L(DIPTYCH)

OIL, CANVAS, WOOD, MOLD

48” x 48”EACH

3/12/2010MOLD CONTAMINATION

SAI 0046L INK, PAPER 88”x53” 10/6/2010SCRATCHED IN TRANSIT

SAI 0047L INK, PAPER 88”x53”WATER DAMAGE4/16/2007

SAI 0050 24”x24”FLUID ACRYLIC, WOOD PANEL, MOLD

10/22/2012 WATER DAMAGE, MOLD

SAI 0062 90”x 60” UNKNOWN

CLAIM

3/13/2008 3/13/2008 1982, 1989 RODNEY SMITH

UNKNOWN UNKNOWN UNKNOWN GIUSEPPE VASI GRAND VIEW OF S. MARIA MAGGIORE FROM QUATTRO FONTANTE

UNKNOWN UNKNOWN UNKNOWN UNKNOWN KETUBAH

UNKNOWN UNKNOWN 1982 MASAMI TERAOKA AIDS SERIES / GEISHA AND GHOST CAT

UNKNOWN UNKNOWN UNKNOWN (FEMALE UNICORN)

UNKNOWN UNKNOWN 1989 WILLIAM KING PRIMAVERA

3/09/2011 3/09/2011 2001 WILHELM SASNAL EXPLOSION I&II

11/13/2010 1/10/2011 1988-1991 ROBERT RAUSCHENBERG

SOVIET AMERICAN ARRAY VII, 12/55

3/17/2009 6/09/2009 1996, 2000 RED/SITTING WITH ME, SUN’S NIGHTS GLOW

JIM DINE

2012 2009 2009 ED COHEN DAPHNE WOULD RECITE FOR OUR PLEASURE

UNKNOWN UNKNOWN 2006 TRANSIT VISTAS (1 PANEL)MARIAM GHANI

03/11/200822”x26”, 28”x32”, 22”x26”, 28”x32”, 32”x36”

SILVER, GELATIN, PAPER

MATERIALS SIZE DAMAGE TOTAL LOSS PRODUCTION ARTIST TITLE

CHICKEN LA VALLE, SHIRLEY IN THE GRANDSTAND, BALLET, AMERICAN FLAG, WOMAN IN FIELD

293/4”x 22”

UNKNOWN

INK, GEORGETTE SHEER