Collection: Sturtevant

Elaine Sturtevant (1924–2014) built a practice around the exact repetition of other artists' works — Warhol's flowers, Beuys's felt suits, Duchamp's Nude Descending a Staircase — executed with such precision that the question of what constitutes an original became genuinely unstable. Working from the early 1960s onward, she was largely dismissed, then rediscovered, then recognised as one of the most rigorous conceptual artists of the twentieth century. The work was never about copying. It was about the conditions under which authorship, ownership, and meaning are produced and reproduced.

The materials gathered here — publications, ephemera, and documents that engage with Sturtevant's practice directly or through critical proximity — record the slow institutional reckoning with a body of work that had always been ahead of the conversation. Each object is a printed trace of that reckoning: a point at which repetition was forced to account for itself.