Bruce Nauman - Mapping the Studio II (Fat Chance John Cage), 2001. Video, 7 projections, colour and sound (mono)

From the Tate Gallery, London:

What triggered this piece were the mice. We had a big influx of field mice that summer in the house and in the studio … They were so plentiful even the cat was getting bored with them … I was sitting around the studio being frustrated because I didn’t have any new ideas, and I decided that you just have to work with what you’ve got. What I had was this cat and the mice, and I happened to have a video camera in the studio that had infrared capability. So I set it up and turned it on at night and let it run when I wasn’t there, just to see what I’d get … I thought to myself why not make a map of the studio and its leftovers … it might be interesting to let the animals, the cat and the mice, make the map of the studio. So I set the camera up in different locations around the studio where the mice tended to travel just to see what they would do amongst the remnants of the work. Read more here

Source: artpedia

Joseph Beuys - The End of the Twentieth Century, 1983-5. Basalt, clay and felt From the Tate Gallery, London: A major theme in Beuys’s work was renewal. This sculpture developed out of his environmental concerns, particularly a plan to plant 7,000 oaks in the city of Kassel, Germany. Next to each newly planted tree would be placed blocks of basalt rock. Here, the basalt itself becomes a symbol of potential growth. A cone has been cut out of each rock, allowing the cavity to be lined with clay and felt. Embedded in dead matter, these materials suggest the possibility of new life emerging at the end of a dark century.
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Joseph Beuys - The End of the Twentieth Century, 1983-5. Basalt, clay and felt

From the Tate Gallery, London:

A major theme in Beuys’s work was renewal. This sculpture developed out of his environmental concerns, particularly a plan to plant 7,000 oaks in the city of Kassel, Germany. Next to each newly planted tree would be placed blocks of basalt rock. Here, the basalt itself becomes a symbol of potential growth. A cone has been cut out of each rock, allowing the cavity to be lined with clay and felt. Embedded in dead matter, these materials suggest the possibility of new life emerging at the end of a dark century.

Source: artpedia

Kara Walker - Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), 2000. Cut-paper silhouettes and light projections, dimensions variable. From the Guggenheim:  Kara Walker provocatively engages American slavery in nearly life-size silhouettes that hijack racial stereotypes and exaggerated physiognomies drawn from blackface entertainment. Amid nightmarish revivals of the antebellum South, hyperactive shadow forms expose and reverse a fundamental operation of minstrelsy: the projection of white audiences’ illicit desires and irrational fears onto black bodies. Pushing derogatory caricatures to absurd limits, Walker overturns the diffusion of violence through comedy. Jokes are rerouted, punch lines go astray, and heroes and villains switch places. Walker herself inhabits these scenes as the Negress. Mischievously subverting any “straight” story, these theaters of horror thrive on the proximity between attraction and revulsion, drawing together love and hate, violence and tenderness, for a more complex approach to an unsettled historical problem. In Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), Walker applied colored projections to her silhouette tableaux for the first time. The additional layer disallows passive voyeurism. As viewers step into the environment, their shadows join the sinister scene. Here a woman flees with a noose still hanging from her neck; there in the Big House, another woman’s rag-wrapped head tilts over a body that she disembowels with a ladle; outside, another young girl straddles a gentleman whose head she lifts off effortlessly. Walker dissects conditions of desperation, subjugation, and the decadence of power, staging fantastical confrontations with the illogic of human bondage.
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Kara Walker - Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), 2000. Cut-paper silhouettes and light projections, dimensions variable.

From the Guggenheim: 

Kara Walker provocatively engages American slavery in nearly life-size silhouettes that hijack racial stereotypes and exaggerated physiognomies drawn from blackface entertainment. Amid nightmarish revivals of the antebellum South, hyperactive shadow forms expose and reverse a fundamental operation of minstrelsy: the projection of white audiences’ illicit desires and irrational fears onto black bodies. Pushing derogatory caricatures to absurd limits, Walker overturns the diffusion of violence through comedy. Jokes are rerouted, punch lines go astray, and heroes and villains switch places. Walker herself inhabits these scenes as the Negress. Mischievously subverting any “straight” story, these theaters of horror thrive on the proximity between attraction and revulsion, drawing together love and hate, violence and tenderness, for a more complex approach to an unsettled historical problem.

In Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), Walker applied colored projections to her silhouette tableaux for the first time. The additional layer disallows passive voyeurism. As viewers step into the environment, their shadows join the sinister scene. Here a woman flees with a noose still hanging from her neck; there in the Big House, another woman’s rag-wrapped head tilts over a body that she disembowels with a ladle; outside, another young girl straddles a gentleman whose head she lifts off effortlessly. Walker dissects conditions of desperation, subjugation, and the decadence of power, staging fantastical confrontations with the illogic of human bondage.

Source: artpedia

Robert Therrien - No Title (Table and Four Chairs), 2003. Mixed media 

From the Tate Gallery, London:

No Title (Table and Four Chairs) invites the viewer to walk around and underneath it, experiencing the sculpture physically and additionally transforming the viewer’s perception of the exhibition space. Despite their physical quality, however, the roots of Therrien’s table and chair works lie in photography. Intrigued by the view beneath his kitchen table, the artist took a series of black and white photographs from the perspective of his floor. No Title (Table and Four Chairs), as well as the preceding sculptures, is an attempt to create the same dramatic viewpoint as in the photographs.

Source: artpedia