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| James V. Lamb After Hours 1989 acrylic on canvas Wright Museum of Art, Beloit, Wisconsin |
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| Rostislav Lebedev Barge-Haulers on the Volga 1989 oil paint on vinyl Nasher Museum of Art, Durham, North Carolina |
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| Marilyn Minter Hands Dumping 1989 screenprint on aluminum Art Institute of Chicago |
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| Keith Haring Exhibition Poster - Tony Shafrazi Gallery, New York 1989 lithograph NSU Art Museum, Fort Lauderdale, Florida |
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| Harold Garde Blue Shadow 1989 acrylic on canvas Farnsworth Art Museum, Rockland, Maine |
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| Tina Barney Jill and the T.V. 1989 C-print Los Angeles County Museum of Art |
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| Daan van Golden Mitsukoshi 1989 oil on canvas Kunstmuseum, The Hague |
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| Barbara Kruger Untitled 1989 gelatin silver print Orange County Museum of Art, Costa Mesa, California |
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| Dennis Leon Moss Rocks 1989 pastel and collage on paper San Jose Museum of Art, California |
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| Magdalena Abakanowicz Sagacious Head 6 and Sagacious Head 7 1989 bronze Walker Art Center, Minneapolis |
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| Michael Kenna Golden Gate Bridge 1989 gelatin silver print San Jose Museum of Art, California |
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| Scott Heiser Synchronized Swimmers 1989 gelatin silver print Delaware Art Museum, Wilmington |
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| William Clift 1763 Farmhouse, Milton, New York 1989 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Jeroen Eisinga Jump 1989 gelatin silver print Kunstmuseum, The Hague |
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| Burhan Cahit Dogançay Versace Man 1989 collage and acrylic paint on canvas Los Angeles County Museum of Art |
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| Joe Andoe Untitled (Strawberry) 1989 oil on canvas Orange County Museum of Art, Costa Mesa, California |
from Ischia
There is a time to admit how much the sword decides,
with flourishing horns to salute the conqueror,
with flourishing horns to salute the conqueror,
impassive, cloaked and great on
horseback under his faffling flag.
Changes of heart should also occasion song, like his
who, turning back from the crusaders' harbor, broke
with our aggressive habit
once and for all and was the first
to see all penniless creatures as our siblings. Then
at all times it is good to praise the shining earth,
dear to us whether we choose our
duty or do something horrible.
Dearest to each his birthplace; but to recall a green
valley where mushrooms fatten in the summer nights
and silvered willows copy
the circumflexions of the stream
is not my gladness today: I am presently moved
by sun-drenched Parthenopea, my thanks are for you,
Ischia, to whom a fair wind has
brought me rejoicing with dear friends
from soiled productive cities. How well you correct
our injured eyes, how gently you train us to see
things and men in perspective
underneath your uniform light.
– W.H. Auden (1948)