signed, titled, numbered and dated 'Atlanta '96 2/6 A. Gursky' (on the reverse)
Cibachrome print
73 x 101 in. (186 x 256 cm.)
Executed in 1996. This work is number two from an edition of six.
Galerie Monika Sprüth, Cologne
Anon. sale; Phillips de Pury & Luxembourg, New York, 13 November 2003, lot 54
Acquired at the above sale by the present owner
R. Durand, "Distance and Emptiness," Art Press, vol. no. 226, July August 1997, p. 20 (another example illustrated in color).
G. Hilty, Young German Artists 2 at the Saatchi Gallery, London,
Saatchi Gallery 1997, n.p. (another example illustrated in color).
C. Ratcliff, "The Seeing Game," Art in America, vol. no. 7, July
1998, p. 86 (another example illustrated in color).
Tema Celeste, vol. no. 69-70, August/September 1998, p. 60
(another example illustrated in color).
M.L. Syring, ed., Andreas Gursky: Photographs from 1984 to the Present, New York, 1998, p. 103, no. 95 (another example illustrated).
U. Grosenick, ed., Andreas Gursky: Fotografien 1994-1998, Ostfildern-Ruit, 1998, p. 9 (another example illustrated in color).
P. Ellis, Eurovision, London, 1998, n.p. (another example illustrated in color).
M. Steinhauser and L. Derenthal, Ansicht Aussicht Einsicht: Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth Architektur Photographie, Düsseldorf, 2000, p. 38 (another example illustrated in color).
P. Galassi, Andreas Gursky, New York, 2001, p. 116 (another example illustrated in color).
A. Pacquement, Andreas Gursky Paris, 2002, p. 25 (another example illustrated in color).
Madrid, Galeria Javier Lopez, Andreas Gursky, April-May 1997.
London, Saatchi Gallery, Young German Artists 2,
September-November 1997 (another example exhibited).
New York, Matthew Marks Gallery, Andreas Gursky, November 1997-
January 1998 (another example exhibited).
Milwaukee Art Museum; Seattle, Henry Art Gallery; Houston, Contemporary Arts Museum; and Columbus Museum of Art, Andreas Gursky, February 1998-March 1999, no. 5 (another example exhibited and illustrated in color).
Wolfsburg, Kunstmuseum; Winterthur, Fotomuseum; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Turin, Castello di Rivoli, Museo d'Arte Contemporanea; and Lisbon, Centro Cultural de Belém, Andreas Gursky-Fotografien 1994-1998, May 1998-December 1999, pp. 8-9 (another example exhibited and illustrated in color).
Düsseldorf, Kunsthalle, Andreas Gursky-Photographs from 1984 to the Present, August-October 1998, p. 95 (another example exhibited and illustrated in color).
Houston, Contemporary Arts Museum, Andreas Gursky, November 1998-January 1999, n.p. (another example exhibited and illustrated in color).
New York, Museum of Modern Art; Paris, Centre Pompidou and Chicago, Museum of Contemporary Art, Andreas Gursky, March-September 2002, p. 95 (another example exhibited and illustrated in color).
Donaueschingen, Füstenberg Sammlungen, Ahead of the 21st Century: The Pisces Collection, June 2002-October 2003, p. 63 (another example exhibited and illustrated in color).


Saara Pritchard
Saara Pritchard


"Gursky's image of the contemporary is familiar, even banal. 'Globalization'-our umbrella term for the relentless process that has created this well-lit world of easy travel, abundant goods, international markets, inescapable brand names, regimented grids and sparkling surfaces, all of it smelling of money-is itself by now a cliché. Few of us have traveled as widely as Gursky and still fewer have observed the internal workings of the stock exchange at Hong Kong or the Siemens plant at Karlsruhe. But our omnivorous, well-oiled professional image-industry has processed, packaged, and delivered all of this and more. Gursky's originality lies in the vividness with which he has distilled compelling images from the plenitude of this commercialized image-world."

-Peter Galassi, Andreas Gursky, New York, 2001, p. 39