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| Louise Bourgeois Untitled 1946 drawing Whitney Museum of American Art, New York |
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| Louise Bourgeois Untitled 1949 drawing Art Institute of Chicago |
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| Louise Bourgeois Pillar 1949 painted wood, stainless steel Moderna Museet, Stockholm |
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| Louise Bourgeois One and Others 1955 painted wood Whitney Museum of American Art, New York |
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| Louise Bourgeois The Quartered One 1964-65 bronze Denver Art Museum |
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| Louise Bourgeois End of Softness 1967 gilt bronze Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Louise Bourgeois Avenza 1968-69 (cast in 1992) plaster and latex Tate Modern, London |
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| Louise Bourgeois Nature Study 1984 bronze Denver Art Museum |
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| Louise Bourgeois Spiral Woman 1984 bronze figure, slate disc North Carolina Museum of Art, Raleigh |
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| Louise Bourgeois The Song of the Blacks and the Blues 1989-96 lithograph and woodcut with added gouache and oil-stick National Gallery of Victoria, Melbourne |
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| Louise Bourgeois Décontractée 1990 marble on steel base Brooklyn Museum |
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| Louise Bourgeois Cell II 1991 assemblage of wood and found materials Carnegie Museum of Art, Pittsburgh |
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| Louise Bourgeois Le Défi 1991 painted wood, glass, mirrors, lighting Guggenheim Museum, New York |
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| Louise Bourgeois Saint Sébastienne 1992 drypoint National Gallery of Australia, Canberra |
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| Louise Bourgeois Arched Figure 1993 bronze on fabric-covered platform Art Gallery of New South Wales, Sydney |
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| Louise Bourgeois Cell (Glass Spheres and Hands) 1993 assemblage of iron, glass, wood, linoleum, canvas and marble National Gallery of Victoria, Melbourne |
from October
It is true there is not enough beauty in the world.
It is also true that I am not competent to restore it.
Neither is there candor, and here I may be of some use.
I am
at work, though I am silent.
The bland
misery of the world
bounds us on either side, an alley
lined with trees; we are
companions here, not speaking,
each with his own thoughts;
behind the trees, iron
gates of the private houses,
the shuttered rooms
somehow deserted, abandoned,
as though it were the artist's
duty to create
hope, but out of what? what?
the word itself
false, a device to refute
perception – At the intersection,
ornamental lights of the season.
I was young here. Riding
the subway with my small book
as though to defend myself against
this same world:
you are not alone,
the poem said,
in the dark tunnel.
– Louise Glück (2006)