Mungo Thomson
National Parks 2019 (November), 2019, double-sided UV-cured print on samba fabric, custom LED lightbox, 96 × 96 × 3 1⁄2 inches
Galerie Frank Elbaz, Dallas, 2019, Installation view, Mungo Thomson: Background Extinction
Wild & Scenic California 2019 (September-December), 2019, double-sided UV-cured print on samba fabric, custom LED lightbox, 96 × 112 × 3 1⁄2 inches
Mail, 2013-2015, Gallery mail accumulates unopened during run of exhibition, Hammer Museum, Los Angeles, Installation view, Stories of Almost Everyone, 2018
Mail, 2013-2015, Gallery mail accumulates unopened during run of exhibition, Contemporary Art Gallery, Vancouver, Installation view, Mungo Thomson: Time, People, Money, Crickets, 2015
Composition for 52 Keys, 2018, custom code, computer components, Yamaha Disklavier piano, duration variable
Composition #7, 2016, embroidery on linen, 29 1⁄4 × 27 1⁄4 inches
April 22, 2013 (Made in the USA), 2014, enamel on low-iron mirror, poplar and anodized aluminum, 74 × 56 × 2 1⁄2 inches
February 5, 1996 (Is Anybody Out There?), 2013, 2013, enamel and printed vinyl on low-iron mirror, poplar and anodized aluminum, 74 × 56 × 2 1⁄2 inches
Crickets, 2012-2013, Performance, Runtime 17:25
Negative Space (STScI-PRC2012-10a), 2012, photographic mural, 180 × 1,116 inches, Walker Art Center, Minneapolis
Negative Space (STScI-PRC2007-41a) and Negative Space (STScI-PRC2003-24), 2008, photographic murals, Hammer Museum, Los Angeles, Installation view, Hammer Projects: Mungo Thomson
Untitled (Margo Leavin Gallery, 1970– ) 2009, super-16mm film, color, silent, runtime 5:11
Untitled (Margo Leavin Gallery, 1970– ) still, 2009, super-16mm film, color, silent, runtime 5:11
Coat Check Chimes, 2008, nickel-plated aluminum and steel, 1,200 pieces overall, Whitney Museum of American Art, New York, Installation View, Whitney Biennial Exhibition
Coat Check Chimes, 2008, nickel-plated aluminum and steel, 1,200 pieces overall, Whitney Museum of American Art, New York, Installation View, Whitney Biennial Exhibition
