ROMULUS x THE ARMORY SHOW, SEPTEMBER 24–27, 2026ROMULUS x THE ARMORY SHOW, SEPTEMBER 24–27, 2026
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ROMULUS x THE ARMORY SHOW, SEPTEMBER 24–27, 2026ROMULUS x THE ARMORY SHOW, SEPTEMBER 24–27, 2026
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Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex

Stephen PrinaThe Second Sentence of Everything I Read Is You: Mourning Sex, 2005–07

Acrylic and acrylic enamel on linen, acrylic on plywood, acrylic enamel on wall, 9 Boston Acoustics Dsi265 Speakers, Alesis ADAT-HD24 XR digital hard disk recorder, 5 Samson® Servo 200 power amplifiers, Monster Cable, Furman PL Plus-/E II Power Conditioner, Duratran on EFRA Lichtwerbung, ETC Source 4 Jr. Spotlight, FLOR carpet

700 × 1250 cm

About the artist

(*1954) is a key member of a post-conceptualist movement that emerged in the later 1980s and 1990s, with practices rooted in everyday culture that offered critiques of social and institutional systems. Alongside contemporaries such as Felix Gonzalez-Torres and Mike Kelley, Prina developed a varied body of work that entwines allusions to art, film, music and life, which surface and resurface from one project to the next in a vast network of references. Working between Los Angeles and Cambridge, Massachusetts, Prina has influenced generations of contemporary artists through both his art and his teaching at Harvard University.

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Stephen Prina

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Stephen Prina

English for Foreigners: Three Wood Shavings, 2017

Mediterranean Cypress, Aromatic Cedar, Ponderosa Pine, Mahogany, Birch veneer plywood, metal, fabric

215.5 × 218.5 × 76.5 cm

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Stephen Prina

Push Comes to Love: Yellow, 1999

Photo screenprint with acrylic and acrylic enamel on canvas

150.8 × 121 cm

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Stephen Prina

galesburg, illinois+, John Cage, Knox College, Galesburg, Illinois, April 1983, 2015

Digital C-print on Fuji DpII Gloss Paper, fabric, wood

68.4 × 60.4 cm

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Stephen Prina

As He Remembered It, 2011

Acrylic enamel on PU coating on poplar plywood, linen and metal

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Stephen Prina

A Structural Analysis and Reconstruction of MS7098 as Determined by the Difference Between the Measurements of Duration and Displacement, 1980–90

12 inch Phonograph record with insert poster, 1980; Design program, 1984; Reconstituted arrangement, 1990 (pressed vinyl, offset lithography on paper, gelatin silver print on masonite, gelatin silver print, integrated amplifier, turntable, headphones, table, two chairs, lacquer-rubbed maple)

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Stephen Prina

Sonic Dan, 2002

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Stephen Prina

Vinyl II, 2000

16 mm film, color, with sound

21:30 min

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Stephen Prina

galesburg, illinois+, Ode to Galesburg, 2015

Crate, 4 cushions, 5 Samson SA200 Power Amplifiers, 1 power distributor, 1 playback unit Allan & Heath, 8 Boston Acoustics HSi -270 In-ceiling speakers built in a wooden box, 1 Boston Acoustics HSi-270 In-ceiling speaker built in a wooden box, cables

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Stephen Prina

Blind No. 28, Twenty-five-foot Ceiling or Lower, PANTONE® 7666CP/PANTONE® 7666CP, PANTONE® 7666CP/PANTONE® 5405CP, PANTONE® 625CP/PANTONE® 5757CP, 2015

Acrylic on linen, window blind mechanism, Rookwood Pottery 1920, Festzelgarnitur, fabric

Dimensions variable

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Stephen Prina

Exquisite Corpse: The Complete Paintings of Manet, 246 of 556, Portrait de Marie Lafébure à Cheval (Portrait of Marie Lafébure on Horseback) , 1875, Museu de Arte, Sao Paolo, July 18, 2015, +, PUSH COMES TO LOVE, Untitled, 1999-2015, 2015

Ink wash on rag, barrier paper and offset lithography on paper

Left: 90 × 116.5 cm

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