document.write('<a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/01_gladwell_ver2.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Shaun Gladwell, In a Station of the Metro, 2006, production still, 2-channel video. Performers: Taka, Yuya, Ai. Videography: Gotaro Uematsu. Courtesy the artist and Anna Schwartz Gallery: Sydney and Melbourne"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/01_gladwell_ver2.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/d_garcia_fahrenheit4511.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Dora García, Fahrenheit 451 (1957), 2002, 2000 mirror-printed books, table, 130 x 230 x 90 cm. Courtesy the artist. Photograph: Fréderic Buisson"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/d_garcia_fahrenheit4511.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/durant_proposal-for-white-and-indian-dead-monument-transpositions.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Sam Durant, Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., 2005 (installation view) MDF, fiberglass, foam, enamel, acrylic, basswood, balsa wood, birch veneer and copper, 30 monuments: dimensions variable, architectural model 121.92 x 381 x 40.64 cm. Courtesy the artist; Blum & Poe, Los Angeles; Paula Cooper Gallery, New York; and Galleria Emi Fontana, Milan"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/durant_proposal-for-white-and-indian-dead-monument-transpositions.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/farmer_apalefire_workstool.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Geoffrey Farmer, A Pale Fire Freedom Machine, 2005 (detail) variable components, variable dimensions. Rennie Collection, Vancouver Courtesy the artist and Catriona Jeffries Gallery, Vancouver. Photograph: Rafael Goldchain"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/farmer_apalefire_workstool.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/m_rakowitz_invisibleinstallation4.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Michael Rakowitz, The Invisible Enemy Should Not Exist, (Recovered, Missing, Stolen Series), 2007 (installation view) middle eastern packaging and newspapers, glue, dimensions variable. Courtesy of the artist and Lombard-Freid Projects, New York"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/m_rakowitz_invisibleinstallation4.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/moffatt_mariecurie.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Tracey Moffatt, Marie Curie, 2005, from Under the Sign of Scorpio, a series of 40 images, archival pigment ink on acid-free rag paper, 43.2 x 58.4 cm, edition of 21. Courtesy the artist and Roslyn Oxley9 Gallery, Sydney"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/moffatt_mariecurie.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/penone_rov_gli_occhi_basso_particolare.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Giuseppe Penone, Rovesciare i propri occhi (To reverse one\'s eyes), 1970, documentation of performance. Courtesy the artist and Marian Goodman Gallery, New York/Paris. Photograph: Paolo Mussat Sartor"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/penone_rov_gli_occhi_basso_particolare.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/pfeiffer_2004_four-horsemen-of-the-apocalypse.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Paul Pfeiffer, Four Horsemen of the Apocalypse (9), 2004, digital fugiflex, 175.26 x 144.78 x 7.62 cm. Courtesy the artist and The Project, New York."><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/pfeiffer_2004_four-horsemen-of-the-apocalypse.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <a class="lightbox" href="/auto/thumbnail/auto/sb-plugin-gopix/home/philipsz_the-lost-reflection1.jpg?maxheight=360&amp;maxwidth=480&amp;style=normal&amp;type=png" title="Susan Philipsz, The Lost Reflection, 2007, sound installation. Courtesy of the artist and Isabella Bortolozzi Galerie, Berlin. Photograph: Eoghan McTigue"><img src="/auto/thumbnail/auto/sb-plugin-gopix/home/philipsz_the-lost-reflection1.jpg?maxwidth=67&amp;maxheight=67&amp;type=png&amp;style=cropped" alt="" /></a> <p><a href="/page/photo_gallery.html" class="more">View More Biennale Photos</a></p>');