| Hint | Artwork | % Correct |
|---|---|---|
| Made out of burlap (a rough cloth) and soaked in resin for a shiny finish; made into a rigid surface and fit into molds | Androgyne III | 100%
|
| Medium reflects semi-historical story of it being used to spread information about the Underground Railroad | Dancing at the Louvre | 100%
|
| The borders of the work has text which tells the narrative | Dancing at the Louvre | 100%
|
| Explores African-American stereotypes and caricatures in the historical commentary | Darkytown Rebellion | 100%
|
| Made by Emily Kame Kngwarreye | Earth's Creation | 100%
|
| Artist is self-taught and began their career doing ceremonial painting | Earth's Creation | 100%
|
| Made via the artist sitting down on the middle of the canvas and painting around her | Earth's Creation | 100%
|
| One of the video feeds shows the spectators to themselves, making the audience participate in the work | Electronic Superhighway | 100%
|
| Made by a Korean-born artist who was intrigued by maps, travel, and the interstate highway system | Electronic Superhighway | 100%
|
| Neon symbolizes motel and restaurant signs | Electronic Superhighway | 100%
|
| Built in a neighboorhood building in Hartford, Connecticut, not in a museum | En la Barberia no se Llora | 100%
|
| Built in 1997 as a staple of Deconstructivism | Guggenheim Museum Bilbao | 100%
|
| Made by Jean-Michel Basquiat | Horn Players | 100%
|
| Created this work while engaging in other media (reading, TV), writing words he heard | Horn Players | 100%
|
| Made by Kiki Smith | Lying with the Wolf | 100%
|
| Large, wrinkled drawing pinned to a wall | Lying with the Wolf | 100%
|
| Though complimentary figure typically scene as bad omen, this connotation is not present | Lying with the Wolf | 100%
|
| Located in Rome, Italy | MAXXI National Museum of XXI Century Arts | 100%
|
| Made by El Anatsui | Old Man's Cloth | 100%
|
| Gold color reflects traditional cloth colors and references royalty | Old Man's Cloth | 100%
|
| References alcohol, as rum was an important part of the Transatlantic Slave Trade | Old Man's Cloth | 100%
|
| Made of "high art" porcelain | Pink Panther | 100%
|
| Artist born in Pennsylvania and worked on Wall Street (a "slimeball," according to Ms. Fleet); intended to provoke audience and profit | Pink Panther | 100%
|
| Often engaged in a multimedia performance art called The Challenge | Pisupo Lua Afe | 100%
|
| Has four hidden wheels on the work's bottom | Pisupo Lua Afe | 100%
|
| Artist born in New Zealand and explores aspects of his Polynesian heritage | Pisupo Lua Afe | 100%
|
| Emphasizes the theme of recycling via its medium being a reused food material | Pisupo Lua Afe | 100%
|
| Made by an Ethiopian artist who, along with Julie Mehretu, is a part of "Africa's Out" | Preying Mantra | 100%
|
| Her left earlobe has chicken feet, insect legs, and pinchers | Preying Mantra | 100%
|
| Kichijōten is seen as the essence of beauty, harbringer of prosperity and happiness | Pure Land | 100%
|
| Large crack beginning at a hairline and then widens to two feet deep | Shibboleth | 100%
|
| Made by a Colombian sculptor | Shibboleth | 100%
|
| References Judges 12:6 in which the Ephraimites who mispronounced a word were execute | Shibboleth | 100%
|
| Reflects growing nationalism via its suggested objects and location | Stadia II | 100%
|
| Made by an Ethiopian artist who, along with Wangechi Mutu, is a part of "Africa's Out" | Stadia II | 100%
|
| Features large vertical lines of various thickness | Summer Trees | 100%
|
| Used Korean ink on paper artistic tradition | Summer Trees | 100%
|
| Artist was a leader of the Sumukhwa: new type of ink brush painting | Summer Trees | 100%
|
| Has fuzzy bordering on each of the lines | Summer Trees | 100%
|
| Abstract representation of trees | Summer Trees | 100%
|
| One side shows water falling from above on a figure, beginning as a slow drip and ending by consuming him | The Crossing | 100%
|
| Features 7,503 16-feet-tall free-hanging saffron-colored fabric panels | The Gates | 100%
|
| Mounted in the winter to maximize the color-impact of the work, contrasting with the barren trees | The Gates | 100%
|
| Made by Yinka Shonibare | The Swing (after Fragonard) | 100%
|
| Shows Old Testament figure Judith decapitating Holofernes | Untitled #228 | 100%
|
| Main figure lacks emotional attachment, despite the murder that his been taken place | Untitled #228 | 100%
|
| Main figure holds a masklike, alert, decapitated head | Untitled #228 | 100%
|
| Names start and end in a vortex | Vietnam Veterans Memorial | 100%
|
| Reflects a scar into the earth; reflection of the impact of war | Vietnam Veterans Memorial | 100%
|
| Made by Faith Ringgold | Dancing at the Louvre | 50%
|
| Made by Pepón Osorio | En la Barberia no se Llora | 50%
|
| Made by Frank Gehry | Guggenheim Museum Bilbao | 50%
|
| Has a flattened, darkened background with flat platches of colors, thick lines, and text | Horn Players | 50%
|
| One was allowed to walk on this work (even have picnics), but not allowed after too much harmful ceramic dust was raised | Kui Hua Zi (Sunflower Seeds) | 50%
|
| Influenced by one of Paris' patron's saints, St. Genevieve, due to her profound connection with animals | Lying with the Wolf | 50%
|
| Part of a series called The Banality | Pink Panther | 50%
|
| Medium is a major contributor to obesity and loss of traditional cultural skills i.e. fishing, cooking, agriculture | Pisupo Lua Afe | 50%
|
| Figure is camoflauged in the scene with blotched skin | Preying Mantra | 50%
|
| Contradictorily suggesting "prey" and "preying" simultaneously | Preying Mantra | 50%
|
| Color photograph on glass | Pure Land | 50%
|
| Made of highly-reflective black granite so the viewer can see themselves in the place of the fallen | Vietnam Veterans Memorial | 50%
|
| Made by Xu Bing | A Book from the Sky | 0%
|
| References Chinese art forms: scrolls, screens, books, and paper | A Book from the Sky | 0%
|
| Contains four hundred handmade books placed in rows on the ground | A Book from the Sky | 0%
|
| Books made using Movable Type Printing Press (predates Gutenberg) referencing Chinese history | A Book from the Sky | 0%
|
| Contains seemingly-real Chinese characters that possess no actual meaning | A Book from the Sky | 0%
|
| Originally titled "An Analyzed Reflection of the End of This Century" | A Book from the Sky | 0%
|
| Originally housed in National Museum of Fine Arts in Beijing; relocated after criticism | A Book from the Sky | 0%
|
| Artist trained in propogandistic socialist realist style but loss favor with global Communist governments after making this work | A Book from the Sky | 0%
|
| Criticized as "burgeois liberation:" claimed meaningless and subversive | A Book from the Sky | 0%
|
| Reflects meaningless of political doublespeak | A Book from the Sky | 0%
|
| Reflects the ubiquity of propoganda and the meaningless derived from its omnipresentness | A Book from the Sky | 0%
|
| Made by Magdalena Abaknowicz | Androgyne III | 0%
|
| Subject is limbless and headless | Androgyne III | 0%
|
| Figure sits on low stretcher of wooden legs which substitute for human legs | Androgyne III | 0%
|
| Has a hollowed-out figure seen in the round; a staple of the artist's sculptures | Androgyne III | 0%
|
| Androgynous figure has pose of meditation and/or perseverance | Androgyne III | 0%
|
| Material meant to mimic crinkled human skin in earth tones | Androgyne III | 0%
|
| Made by Polish artist who experienced German invasion and her mother's arms being shot off | Androgyne III | 0%
|
| Artist served as a nurse in WWII witnessing the detatchment of limbs and other horrors | Androgyne III | 0%
|
| Explores the dehumanization of the communist government of the USSR; despite lack of head and limbs, possesses individuality | Androgyne III | 0%
|
| Part of the series The French Collection, Part I | Dancing at the Louvre | 0%
|
| Medium reflects medium used by American slaves in antebellum South | Dancing at the Louvre | 0%
|
| Shows a self-insert fan-fiction set in historical scenes | Dancing at the Louvre | 0%
|
| Stars young black artist Willia Marie Simone who moves to Paris | Dancing at the Louvre | 0%
|
| Contains three paintings by Leonard da Vinci | Dancing at the Louvre | 0%
|
| The artist's works often reflects themes of feminism, racism, and her struggle in an art world dominated by men with European training | Dancing at the Louvre | 0%
|
| Made by Kara Walker | Darkytown Rebellion | 0%
|
| Made via large pieces of black paper drawn with greasy white pencil or soft pastel, then cut with a knife | Darkytown Rebellion | 0%
|
| Adhered to a gallery wall using wax | Darkytown Rebellion | 0%
|
| Made of silhouette forms | Darkytown Rebellion | 0%
|
| Overhead projectors throw colored light onto the walls, ceilings, and floor | Darkytown Rebellion | 0%
|
| Cast shadows created from the viewer create audience participation | Darkytown Rebellion | 0%
|
| Explores conditions of African-Americans in the antebellum South | Darkytown Rebellion | 0%
|
| A teenager holds a flag resembling a colonial ship sail | Darkytown Rebellion | 0%
|
| A man has his leg cut off and a woman is caring for new borns | Darkytown Rebellion | 0%
|
| Uses synthetic polymer paint | Earth's Creation | 0%
|
| Uses the dump-dot technique: pounding paint onto the canvas to create layers with sense of color and movement | Earth's Creation | 0%
|
| Style related to Australian "dream time" painting and influenced by European abstraction | Earth's Creation | 0%
|
| References lushness of "green time" (season after it rains) | Earth's Creation | 0%
|
| Made by an Australian aborigine artist | Earth's Creation | 0%
|
| Branched out from canonized style of typical painting from culture; immediate success when seen by Western audiences | Earth's Creation | 0%
|
| Work derived from museum delivering paint to tribe to raise awareness | Earth's Creation | 0%
|
| Made by Nam June Paik | Electronic Superhighway | 0%
|
| Uses neon lights and television screens | Electronic Superhighway | 0%
|
| Features all 50 states (Hawaii and Alaska on side walls) and the District of Columbia | Electronic Superhighway | 0%
|
| Has seperate video feeds for each section, displaying something symbolic of the section | Electronic Superhighway | 0%
|
| Large installation recreating a room | En la Barberia no se Llora | 0%
|
| Discusses machismo (extreme masculinity in Latino male culture) | En la Barberia no se Llora | 0%
|
| Has photos of Latino men, most of which being strong and stereotypically masculine | En la Barberia no se Llora | 0%
|
| Has video screens depicting men playing, crying, and a baby being circumcised | En la Barberia no se Llora | 0%
|
| Made by a Puerto-Rican artist | En la Barberia no se Llora | 0%
|
| Has a pool table | En la Barberia no se Llora | 0%
|
| Contains stereotypically masculine objects and kitsche such as sport memoribilia | En la Barberia no se Llora | 0%
|
| Contains stereotypically feminine objects, such as lace and flowers | En la Barberia no se Llora | 0%
|
| Has a mural of two roses with three phallic-shaped bullets below | En la Barberia no se Llora | 0%
|
| Located in Bilbao, Spain | Guggenheim Museum Bilbao | 0%
|
| Has swirling forms the contrast with the city's industrial landscape | Guggenheim Museum Bilbao | 0%
|
| Resembles a boat in form, symbolizing its host city's role as a shipping and commercial center | Guggenheim Museum Bilbao | 0%
|
| Designed in a computer software program called Catia | Guggenheim Museum Bilbao | 0%
|
| Made of titanium and limestone with full-scale glass windows | Guggenheim Museum Bilbao | 0%
|
| Produces a shimmering surface that changes due to atmospheric conditions due to its material | Guggenheim Museum Bilbao | 0%
|
| Has an effect named after it referring to the revitalization of an area after a museum is created | Guggenheim Museum Bilbao | 0%
|
| Lacks symmetry and acts as an overlapping mass of curvelinear forms | Guggenheim Museum Bilbao | 0%
|
| Features some traditional forms: a tripytch, canvas, and uses oil paint | Horn Players | 0%
|
| Glorifies African-American musicisans; shows Charlie Parker and Dizzy Gillespie | Horn Players | 0%
|
| "Orninthology" (misspelled) references Charlie "the bird" Parker | Horn Players | 0%
|
| "Soap" and other words critique racism | Horn Players | 0%
|
| Features meaningless words that replicate scat singing | Horn Players | 0%
|
| Artist rebelled against his middle-class upbringing | Horn Players | 0%
|
| Influenced by graffiti art and street poetry | Horn Players | 0%
|
| Hallmark of neo-expressionism | Horn Players | 0%
|
| Made by Ai Weiwei | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Featured in Tate Modern Turbine Hall, also home of Shibboleth | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Represents an ocean of fathomless depth made of millions of objects | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Composed of over 100 million handcrafted pieces of ceramic | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Objects created in Jingdezhen–– city known for porcelain production and where the David Vases were created | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Every one is unique and handpainted but in a collection: symbolizes individualism despite mass of people | Kui Hua Zi (Sunflower Seeds) | 0%
|
| What object represents was a source of food during famine era under Mao Zedong | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Artist's only source of protein during his childhood represented here | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Reflects Chairman Mao's ideology with him as the sun and the Chinese people as the sunflowers | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Artist hated by the Chinese Communist Party: work (and others) intended to subvert aspects of Chinese society | Kui Hua Zi (Sunflower Seeds) | 0%
|
| Features a woman and a wolf | Lying with the Wolf | 0%
|
| Addresses the nude female figure lying down; breasts are shown prominently | Lying with the Wolf | 0%
|
| Emphasizes female strength via the central figures taming of a wild beast | Lying with the Wolf | 0%
|
| Influenced by the story of Little Red Ridinghood | Lying with the Wolf | 0%
|
| Made by Zaha Hadid | MAXXI National Museum of XXI Century Arts | 0%
|
| Iraqi-born artist who won a competition to design this work | MAXXI National Museum of XXI Century Arts | 0%
|
| Built in 2009 as a staple of Deconstructivism | MAXXI National Museum of XXI Century Arts | 0%
|
| Covered with glass windows and dons a glass roof | MAXXI National Museum of XXI Century Arts | 0%
|
| Glass roof and blinds modulate natural light | MAXXI National Museum of XXI Century Arts | 0%
|
| Walls and interior staircases ebb and flow with some symmetry and asymmetry | MAXXI National Museum of XXI Century Arts | 0%
|
| Uses subtle tonal shifts of gray to contrast with shiny black paint | MAXXI National Museum of XXI Century Arts | 0%
|
| Features two museums, a library, an auditorium, and a cafeteria | MAXXI National Museum of XXI Century Arts | 0%
|
| Made of steel and cemenet as well as referencing Roman concrete construction | MAXXI National Museum of XXI Century Arts | 0%
|
| Made by one thousand bottle caps from a Nigerian distillery joined by wire | Old Man's Cloth | 0%
|
| Forms a cloth-like hanging but not made of a soft material and power tools were used to shape | Old Man's Cloth | 0%
|
| Emphasizes the theme of recycling via its medium being a reused material from bottles | Old Man's Cloth | 0%
|
| Meant to be hung like a cloth, with museums getting the freedom to hang however fits best | Old Man's Cloth | 0%
|
| Made by a Ghanian artist in Nigeria; combining native traditions with abstractionist movement | Old Man's Cloth | 0%
|
| Gold color symbolizes Ashanti dominance of African gold trade | Old Man's Cloth | 0%
|
| Made by Jeff Koons | Pink Panther | 0%
|
| Features an artifically idealized female form with overly yellow hair, bright red lips, large breast, and pronounced red fingernails | Pink Panther | 0%
|
| Life-size sculpture of Jayne Mansfield (1933 - 1967), screen star and Playboy playmate | Pink Panther | 0%
|
| Features cartoon Character Pink Panther tenderly and delicately holding the lower back of a woman | Pink Panther | 0%
|
| Staple of kitsch works | Pink Panther | 0%
|
| A "cringe" sculpture arguably endorsing sexist imagery of the 1960s | Pink Panther | 0%
|
| Made by Michel Tuffery | Pisupo Lua Afe | 0%
|
| Translates to "Corned Beef 2000" | Pisupo Lua Afe | 0%
|
| Lifesize sculpture of a bull made from flattened cans of corned beef | Pisupo Lua Afe | 0%
|
| Medium of the work often is given as a gift on special occasions, such as weddings or funeral, in this region | Pisupo Lua Afe | 0%
|
| Made by Wangechi Mutu | Preying Mantra | 0%
|
| Dominated by a collaged female figure | Preying Mantra | 0%
|
| Figure's reclining in a relaxed position intended to allure | Preying Mantra | 0%
|
| Reflects stereotypes towards black women in regards to being a "seductress" and "wild" | Preying Mantra | 0%
|
| Name is a play on words of an insect reflecting the "wild" nature stereotype | Preying Mantra | 0%
|
| References sexual cannibalism and suggesting religious rituals | Preying Mantra | 0%
|
| Has a green snake interlocking with her fingers, connecting to the snake in the Garden of Eden | Preying Mantra | 0%
|
| Related to Afro-Futurism, given artist's Kenyan nativity | Preying Mantra | 0%
|
| Explores hybridity of cultures (African and Western) reflected in hybrid of anthromorphic and insect forms | Preying Mantra | 0%
|
| Made by Mariko Mori | Pure Land | 0%
|
| A photograph that features the artist in the guise of the Heian diety, Kichijōten | Pure Land | 0%
|
| The main figure holds a nyoi hōju, a wish-granting jewel that can deny evil; symbolizes Buddha's universal mind | Pure Land | 0%
|
| Surrounded by alien-like Bodhisattva playing musical instruments | Pure Land | 0%
|
| Features a lotus blossom symbolizing purity and rebirth into paradise and connecting to Buddhist iconography | Pure Land | 0%
|
| Landscape evokes and taken at the high-salinity Dead Sea: salt seen as agent of purification | Pure Land | 0%
|
| Unique interpretation of traditional Japanese art forms by a Japanese artist | Pure Land | 0%
|
| Made by Shirin Neshat | Rebellious Silence | 0%
|
| Black and white photograph; taken by Cynthia Preston | Rebellious Silence | 0%
|
| Work in the Women of Allah series | Rebellious Silence | 0%
|
| Features a poem written in Farsi about piety and the bravery of martyrdom by an Iranian woman | Rebellious Silence | 0%
|
| Composition divided, by a gun, into a lighter and darker side | Rebellious Silence | 0%
|
| Features a woman wearing a chador (feminine outer garment allowing only face and hands to be seen) | Rebellious Silence | 0%
|
| Westerners may view the subject's clothes as expression of female oppresion | Rebellious Silence | 0%
|
| Westerners may view the subject's clothes as a defense of faith and customs plus a sign of right-minded obedience | Rebellious Silence | 0%
|
| Frontal gaze of subject depicts the counteracting of objectification and the Western tradition of exotic female nudes in opulent settings | Rebellious Silence | 0%
|
| Made by Doris Salcedo | Shibboleth | 0%
|
| Featured in Tate Modern Turbine Hall, also home of Sunflower Seeds | Shibboleth | 0%
|
| Name references idea of excluding people from a group: xenophobia, racism, and colonialism | Shibboleth | 0%
|
| Refernces the idea of physical distance between two groups and gaps in relationships | Shibboleth | 0%
|
| Installation now sealed, by a scar (symbolically representing ability to heal, but not ignoring issues) remains present | Shibboleth | 0%
|
| Made by Julie Mehretu | Stadia II | 0%
|
| Stylized rendering of stadium architecture, such as for sports events, at a massively-large scale | Stadia II | 0%
|
| Suggests excitement of competition via chaos of swirling lines in its composition | Stadia II | 0%
|
| Multilayered, sweeping lines create animation and depth | Stadia II | 0%
|
| Geometric shapes and colors suggest country's flags | Stadia II | 0%
|
| References constructivism: divorces from context of history | Stadia II | 0%
|
| Made by Song Su-nam | Summer Trees | 0%
|
| Shows subtle tonal variations in the ink | Summer Trees | 0%
|
| Uses wet-on-wet technique in whcih paper is soaked and then made with large brushstrokes | Summer Trees | 0%
|
| Made by Bill Viola | The Crossing | 0%
|
| Is composed of two video recordings | The Crossing | 0%
|
| Features performer Phil Esposito | The Crossing | 0%
|
| In a large black room with 12-foot-tall screens | The Crossing | 0%
|
| Has four channels of amplified stereo sound from four different speakers | The Crossing | 0%
|
| One side shows flames consuming a figure, beginning at his feet and engulfing him in a roaring fire | The Crossing | 0%
|
| After each is seen, the central figure disappears | The Crossing | 0%
|
| Figures walk in extremely slow motion | The Crossing | 0%
|
| Implies a cycle of purification and destruction given the repetiveness | The Crossing | 0%
|
| Requires the viewer's stillness and concentration; evoking spirtual traditions from Zen Buddhism, Islamic Sufism, and Christian mysticism | The Crossing | 0%
|
| Made by Christo and Jeanne-Claude | The Gates | 0%
|
| Took 30 years to design and 20 million dollars | The Gates | 0%
|
| Happening occuring in Central Park, New York City | The Gates | 0%
|
| A temporary instillation which was recycled after 16 days of being up | The Gates | 0%
|
| Declined offer for purchasing less than 1% of the work for its construction cost | The Gates | 0%
|
| Based on a famed rococo painting | The Swing (after Fragonard) | 0%
|
| Dominated by a life-size headless mannequin | The Swing (after Fragonard) | 0%
|
| Figure lacks a head alluding to the decapitations of the French Revolution | The Swing (after Fragonard) | 0%
|
| Dress made of Dutch wax fabric; sold in Africa and often identified with their culture, but of European origins | The Swing (after Fragonard) | 0%
|
| Has an array of flowering vines but lacks the two men typically present with the audience taking their place | The Swing (after Fragonard) | 0%
|
| Has a shoe being flung into the air, held in motion | The Swing (after Fragonard) | 0%
|
| Comments on xenophobia and colonialism (especially given the artist is Nigerian) via the use of wear and modification of the scene | The Swing (after Fragonard) | 0%
|
| Made by Jaune Quick-to-see Smith | Trade (Gifts for Trading Land with White People) | 0%
|
| Combines collage elements with abstract brushwork | Trade (Gifts for Trading Land with White People) | 0%
|
| Has newspaper clipping and images of Native conquest | Trade (Gifts for Trading Land with White People) | 0%
|
| Dominated by a large canoe painted in oil | Trade (Gifts for Trading Land with White People) | 0%
|
| Its main subject is bereft of mode and body of transport | Trade (Gifts for Trading Land with White People) | 0%
|
| Dominated by red symbolizing shed Indian blood | Trade (Gifts for Trading Land with White People) | 0%
|
| Meant as the "Quincentenary Non-Celebration" of Christopher Columbus' arrival to the Americas | Trade (Gifts for Trading Land with White People) | 0%
|
| Stresses issued caused by European contact such as alcoholism, disease, and unemployment | Trade (Gifts for Trading Land with White People) | 0%
|
| Features objects representing the European view of Indian culture | Trade (Gifts for Trading Land with White People) | 0%
|
| Has sports memorabilia from the Washington Redskins | Trade (Gifts for Trading Land with White People) | 0%
|
| References the Dutch "purchasing" of Manhattan for $24 (likely not seen as buying land but tribute) | Trade (Gifts for Trading Land with White People) | 0%
|
| Made by Cindy Sherman | Untitled #228 | 0%
|
| Photograph from the History Portraits series | Untitled #228 | 0%
|
| Shows Renaissance and Baroque influence: tenebrism, contrapposto, elaborate fabrics, biblical subject matter | Untitled #228 | 0%
|
| Famous scene depicted, has been painted by Caravaggio and others; often adds a maid to the work | Untitled #228 | 0%
|
| Figures hand holds a bloody knife | Untitled #228 | 0%
|
| Red colors denote blood and themes of lust | Untitled #228 | 0%
|
| Backed by a disorganized array of fabrics and drapes | Untitled #228 | 0%
|
| Reflects the figures sexuality which was used to attract and kill the shown victim | Untitled #228 | 0%
|
| The New-Jersey-born artist is the photographer, the subject, consumer, hairdresser, and makeup artist in her works | Untitled #228 | 0%
|
| Made by Maya Lin | Vietnam Veterans Memorial | 0%
|
| A V-shaped war monument cut into the earth inspired by the Minimalist Movement | Vietnam Veterans Memorial | 0%
|
| List the names of 60,000 casulaties in order of when reported killed or missing | Vietnam Veterans Memorial | 0%
|
| Chinese-born artist who won an anonymous competition to design this work | Vietnam Veterans Memorial | 0%
|
| Points to the Lincoln Memorial | Vietnam Veterans Memorial | 0%
|
| Points to the Washington Monument | Vietnam Veterans Memorial | 0%
|
| Strongly criticized monument with a secondary more-traditional monument made nearby | Vietnam Veterans Memorial | 0%
|