Friends of Modern
& Contemporary Art

Donald Sultan: Oranges on a Branch March 14, 1992

Available for Purchase

Freight Train - Yoko Ono

Freight Train

Artist: Yoko Ono
Date: 2005
Medium: The Freight Train multiple is constructed of mixed media, with an internal lighting system and detachable electric cord.
Size: 7.5” high x 16” wide x 4.75” deep including base

Edition: A Signed and Numbered Multiple. Edition of 60 Plus 10 Artist Proofs.

Price: $3000

Yoko Ono and Gilbert and Lila Silverman donated this special edition to the Detroit Institute of Arts. 100% of the proceeds from sales of the multiple will be used by the Friends of Modern and Contemporary Art Acquisitions Fund for the purchase of contemporary art to enrich the DIA’s collections.

This multiple is based on Yoko Ono’s Freight Train, 1999, that was installed in front of the DIA from September 2003 through September 2005. In 2000 Freight Train was installed in the center of Berlin at Schlossplatz, moved to the Yokohama Triennale in 2001-2002, and then to P.S 1 in New York prior to coming to Detroit.

Freight Train was inspired by a brutal act of inhumanity, when a locked freight train carrying Mexican workers to the United States was abandoned in the American desert and all perished. The metaphoric power of the artwork allows it to be viewed in numerous contexts.

Freight Train

A work of atonement
for the injustice
we’ve experienced
in this century,
expressing resistance,
healing and hope
for the future.

autumn, 1999 y.o.

The artist’s statement, written in four languages as it appears on the original Freight Train, is printed in black on aluminum photosensitive plates. The edition includes Yoko Ono’s sound work for Freight Train in the form of an audio CD. Each work is individually numbered, and signed by the artist.

To purchase contact: Tarya Stanford at the Detroit Institute of Arts at 313.833.4020 or

Research, Consultation, Development and Fabrication directed by Ted Lee Hadfield and Artpack Services Inc. & A. I. R.

Untitled - Gordon Newton


Artist: Gordon Newton
Date: 1972
Medium: Frontispiece and six lithographs printed on wove paper.
Size: Each 35 5/8 x 24 5/8 in.

Price: $1500, price for FMCA members at Patron Level ($250) or above is $1150

A portfolio of six hand-printed lithographs (printed by Aris Koutroulis) and a hand-printed lithograph frontispiece (printed by Patrick Surgalski) in an edition of 50.

This multiple was created in 1972 and represents a period of Newton’s work now rarely available. The portfolio was made possible through a generous gift to the Friends of Modern Art by Sam Wagstaff, former Detroit Institute of Arts curator of Contemporary Art.

To purchase contact: Tarya Stanford at the Detroit Institute of Arts at 313.833.4020 or

Untitled - Robert Morris


Artist: Robert Morris
Date: 1969
Medium: Hand-printed from aluminum plates, title page and ten lithographs printed in color on wove paper.
Size: Title page: 30 x 22 1/4 in., Lithographs: 20 x 28 in.

Edition: The edition is numbered 1 to 125, with 10 to 15 artist proofs for each print.

Price: $3000, price for FMCA members at Patron Level ($250) or above is $2500

This portfolio was hand-printed from aluminum plates on a scraper-bar Schofield press by Aris Koutroulis and Theo Wujcik. The prints were pulled in the Detroit Workshop at the Common Ground of the Arts in Detroit in the Summer and Fall of 1969. The edition is numbered 1 to 125, with 10 to 15 artist proofs for each print. All plates have been effaced.

The ten projects presented in lithographic form tie together strands of concerns I’ve had for some time. They are organized around certain phenomena that can best be experienced outside … dust storms, earthquakes, plowed fields, sudden changes of temperature, Indian mounds, concrete dams, formal gardens, steam rising from city streets, natural disasters and aftermath, suburban hedges and gravel paths, burning industrial wastes, storage dumps of vast quantities of materials … My experience of all these things somehow entered into the ten projects. One fairly constant concern was for a vastness of scale realized in other than monumental, commemorative terms. That is, most of the projects would, if built, be of such a scale that the whole of the work could not be seen. This would allow the body [to explore the work] through walking rather than through an instantaneous visual impression.

Another concern was to make something other than an object [...] Some of the other projects are more discontinuous, but generally the scale of the works would allow them to stretch away from the viewer’s vision to the degree that he could not take the whole of the work in […] They have no enclosing boundary. One could be outside the work as well as in it or on it.

While any of the projects, if constructed, would become part of the earth itself, most involve separate and distinct modes of making and existing. Some assume changes due to the environment. Other projects simply mold the earth itself. Some assist the changes in nature. Some deal with matter in its various states, and these generally involve consumption of energy and changes over such short periods of time that they take on aspects of performance. All projects assume changes due to seasonal cycles. Some would exist in an invisible but sensate realm.

The ten projects are rather arbitrarily situated within the state of Missouri. Some [...] probably derive from my early experiences in that state. But most are related to a specific terrain rather than to a definite geographic location. That is, they could all be made elsewhere. The terrain of Missouri is both varied and not extreme. I think of all the projects being situated within a not overly dramatic setting. None of the projects has been realized but presumably all could be, given sufficient fund[ing].

Robert Morris, 1969

To purchase contact: Tarya Stanford at the Detroit Institute of Arts at 313.833.4020 or