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| Al Held Untitled 1957 oil on linen Whitney Museum of American Art, New York |
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| Al Held Untitled (Life Magazine) 1959 oil paint and collage on magazine Whitney Museum of American Art, New York |
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| Al Held Untitled (Life Magazine) 1959 oil paint and collage on magazine Whitney Museum of American Art, New York |
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| Al Held Untitled (E-60-12) 1959 gouache on paper Whitney Museum of American Art, New York |
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| Al Held Untitled Y 1960 acrylic on canvas Guggenheim Museum, New York |
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| Al Held Hidden Fortress 1961 acrylic on canvas Walker Art Center, Minneapolis |
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| Al Held Untitled 1965 acrylic on linen Whitney Museum of American Art, New York |
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| Al Held The Dowager Empress 1965 acrylic on canvas Whitney Museum of American Art, New York |
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| Andre Emmerich Al Held in the Studio 1966 gelatin silver print Archives of American Art, Smithsonian Institution, Washington DC |
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| Al Held Untitled 1974 screenprint Hirshhorn Museum, Washington DC |
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| Al Held Study for Order, Disorder, Ascension, Descension 1975 graphite and ink on paper Smithsonian American Art Museum, Washington DC |
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| Al Held 76-C-7 1976 graphite, felt pen, colored pencil and crayon on paper Whitney Museum of American, Art, New York |
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| Al Held D C 1979 acrylic on canvas Dallas Museum of Art |
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| Al Held Pan North V 1985 acrylic on canvas Phillips Collection, Washington DC |
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| Al Held Straits of Malacca 1987 etching Smithsonian American Art Museum, Washington DC |
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| Al Held Almost There 1989 color aquatint and etching Smithsonian American Art Museum, Washington DC |
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| Al Held Prime Moments I 1999 hand-colored screenprint Walker Art Center, Minneapolis |
from Matinées
The fallen cake, the risen price of meat,
Staircase run ten times up and down like scales
(Greek proverb: He who has no brain has feet) –
One's household opera never palls or fails.
The pipes' aubade. Recitatives. – Come back!
– I'm out of pills! – We'd love to! – What? – Nothing.
Let me be! – No, no, I'll drink it black . . .
The neighbors' chorus. The quick darkening
In which a prostrate figure must inquire
With every earmark of its being meant
Why God in Heaven harries him/her so.
The love scene (often cut). The potion. The tableau:
Sleepers folded in a magic fire,
Tongues flickering up from humdrum incident.
– James Merrill (1969)