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| Brice Marden Untitled 1971 etching and aquatint Tate Modern, London |
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| Brice Marden Rodeo 1971 oil and wax on canvas (two panels) Art Institute of Chicago |
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| Brice Marden Summer Table 1972-73 oil and wax on canvas (three panels) Whitney Museum of American Art, New York |
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| Brice Marden Suicide Note 1972-73 drawing Whitney Museum of American Art, New York |
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| Robert Mapplethorpe Brice Marden 1976 gelatin silver print Tate Modern, London |
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| Brice Marden Untitled (Five Threes) 1976-77 aquatint Hirshhorn Museum, Washington DC |
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| Brice Marden Hydra Group X 1979-81 oil and graphite on paper Whitney Museum of American Art, New York |
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| Brice Marden I 1986 watercolor on paper Tate Modern, London |
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| Robert Mapplethorpe Brice Marden 1986 gelatin silver print Tate Modern, London |
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| Brice Marden Hydra 1987 gouache and ink on paper Art Institute of Chicago |
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| Brice Marden Couplet III 1988-89 oil on canvas Tate Modern, London |
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| Brice Marden Cold Mountain 2 1989-91 oil on linen Hirshhorn Museum, Washington DC |
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| Brice Marden Aphrodite (Negril) with Green 1991-94 gouache and ink on paper Art Institute of Chicago |
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| Brice Marden Attendant 2 1995-99 oil on linen Art Institute of Chicago |
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| Brice Marden Untitled 1996 color etching Whitney Museum of American Art, New York |
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| Brice Marden 2 Red Rocks 3 2000-2002 colored inks on prepared paper Art Institute of Chicago |
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| Brice Marden Three Hydra Rocks 2001-2004 oil on linen Whitney Museum of American Art, New York |
Arclight
By day unlit, the magic helmet keeping
Its lord invisible, now at dusk leaps forth,
Air darkens round, less after all (despite
Ambit and atomies magnesium-bright)
A person than a presence of sheer mind
Which, in itself however genial,
Brought once more to bear upon the scene –
Glassglint, palmetto, crabgrass between cracks,
And, glowering feebly at its pale, five shacks –
Arrays our dim old crossroads in a dread
Exceeding dark's own. This discourager
Alike of stealth and star has come to do
By night. The dog it dusts asleep or dead.
Wings battering the naught it makes to shine.
– James Merrill (1985)