242. 当我还是个孩子的时候，我爱我的动物同伴，渴望看到、触摸和闻到每一个新的动物，即使是在马戏团，我知道那是一个悲伤的地方。当我骑着大象去那里时，我哭了，同时也为我感到的兴奋而感到内疚（2021年） by Andrea Joyce Heimer 高清作品[25%]

I Loved My Animal Companions As A Child And Was Eager To See, Touch, And Smell Each New One, Even At The Circus, Which I Knew Was A Sad Place, And I Cried When I Rode The Elephant There, All The While Feeling Guilty For The Exhilaration I Felt Too (2021)

材质 :Acrylic and oil stick on panel 尺寸 :101.6 × 152.4 cm Painting

当我还是个孩子的时候，我爱我的动物同伴，渴望看到、触摸和闻到每一个新的动物，即使是在马戏团，我知道那是一个悲伤的地方。当我骑着大象去那里时，我哭了，同时也为我感到的兴奋而感到内疚（2021年）-安德里亚·乔伊斯·海默(American, b. 1981)

英文名称:I Loved My Animal Companions As A Child And Was Eager To See, Touch, And Smell Each New One, Even At The Circus, Which I Knew Was A Sad Place, And I Cried When I Rode The Elephant There, All The While Feeling Guilty For The Exhilaration I Felt Too (2021)-Andrea Joyce Heimer

244. 对于海洛因和女主人公来说，维纳斯间的复活和静脉注射的亲密是沿着方位角进入爱情（总是已经失去）的入口；或者，如何使用符号逻辑在迈克尔湾攻击两栖动物，同时在广场完工时保持坐姿（否则，就去问爱丽丝……当她十英尺高的时候……），2020年 by objet A.D 高清作品[24%]

Of Heroin and Heroines—the Extimacy of the Inter-Venus and the Intimacy of the Intravenous as Entries Into Love (Always Already Lost) Along the Azimuth; or, How to Use Symbolic Logic to Launch an Assault on Amphibians in Michael’s Bay While Remaining Couched in the Completion of the Square (otherwise, Just Go Ask Alice… When She’s Ten Feet Tall…), 2020

材质 :Charcoal, Chalk, Oil-stick, and Oil-pastel on Paper 尺寸 :61 × 45.7 cm Drawing, Collage or other Work on Paper

图片文件尺寸 : 5630 x 4332px

对于海洛因和女主人公来说，维纳斯间的复活和静脉注射的亲密是沿着方位角进入爱情（总是已经失去）的入口；或者，如何使用符号逻辑在迈克尔湾攻击两栖动物，同时在广场完工时保持坐姿（否则，就去问爱丽丝……当她十英尺高的时候……），2020年-目标A.D(b. 1993)

英文名称:Of Heroin and Heroines—the Extimacy of the Inter-Venus and the Intimacy of the Intravenous as Entries Into Love (Always Already Lost) Along the Azimuth; or, How to Use Symbolic Logic to Launch an Assault on Amphibians in Michael’s Bay While Remaining Couched in the Completion of the Square (otherwise, Just Go Ask Alice… When She’s Ten Feet Tall…), 2020-objet A.D

245. 这最蓝的形态，这片海洋，在这无月之夜最黑暗的时刻，被褐色的地球运动和夜间的变化唤醒，最微小的看不见的生物，可见的生物，像信使一样在人们身上翻滚，他们知道更多的是什么，在下面，看不见的 by Rina Banerjee 高清作品[24%]

This bluest of form, this ocean, in the darkest of hour this moonless night, awaked by brown earthly movements, shifts in the night, the tiniest creatures invisible, visible tumble over people as messengers who knew more of what was, in the beneath, invisible, 2018

材质 :Wood panel, acrylic, sequin, marbled and Batik paper, cow horn, thread, copper nails, silver leaf 尺寸 :101.6 × 50.8 × 3.8 cm Painting

图片文件尺寸 : 5630 x 4332px

这最蓝的形态，这片海洋，在这无月之夜最黑暗的时刻，被褐色的地球运动和夜间的变化唤醒，最微小的看不见的生物，可见的生物，像信使一样在人们身上翻滚，他们知道更多的是什么，在下面，看不见的-班尼杰(Indian, b. 1963)

英文名称:This bluest of form, this ocean, in the darkest of hour this moonless night, awaked by brown earthly movements, shifts in the night, the tiniest creatures invisible, visible tumble over people as messengers who knew more of what was, in the beneath, invisible, 2018-Rina Banerjee

246. 不管你的一线工作是什么，这都是你的二线工作。帮帮这片土地` Whatever your front line job, this is your second line job. Lend a hand on the land (between 1939 and 1946) by William Showell 高清作品[24%]

~ Whatever your front line job, this is your second line job. Lend a hand on the land (between 1939 and 1946) -

图片文件尺寸: 2661 x 3300px

不管你的一线工作是什么，这都是你的二线工作。帮帮这片土地-威廉·肖威尔

~ Whatever your front line job, this is your second line job. Lend a hand on the land (between 1939 and 1946) --William Showell

247. 树木繁茂的古典景观，人物休息在前景中，沐浴在河中，远处是一座城镇` A wooded classical landscape with figures resting in the foreground and bathing in the river, a town beyond by John Wootton 高清作品[23%]

~ A wooded classical landscape with figures resting in the foreground and bathing in the river, a town beyond-

图片文件尺寸: 3480 x 1943px

树木繁茂的古典景观，人物休息在前景中，沐浴在河中，远处是一座城镇-约翰·伍顿

~ A wooded classical landscape with figures resting in the foreground and bathing in the river, a town beyond--John Wootton (English, 1686–1765)

248. 这部电影是牛仔汤姆的特技表演。他讲故事的方式，以及他真正做了什么。` The Moving Picture Cowboy Tom Mix doing stunts. The way he told the story, and what he really did. (1914) by Goes Litho. Co. 高清作品[23%]

~ The Moving Picture Cowboy Tom Mix doing stunts. The way he told the story, and what he really did. (1914) -

图片文件尺寸: 5545 x 10519px

这部电影是牛仔汤姆的特技表演。他讲故事的方式，以及他真正做了什么。-去石像馆。有限公司。

~ The Moving Picture Cowboy Tom Mix doing stunts. The way he told the story, and what he really did. (1914) --Goes Litho. Co.

249. 哈姆雷特&;为什么看你！看看它是如何悄悄溜走的——就在门口&; 第三幕，第四场，哈姆雷特` Hamlet; ;Why look you there! look how it steals away – out at the portal! Act III, Scene iv, Hamlet (1902) by Edwin Austin Abbey 高清作品[23%]

~ Hamlet; ;Why look you there! look how it steals away – out at the portal! Act III, Scene iv, Hamlet (1902) -

图片文件尺寸: 2039 x 2776px

哈姆雷特&;为什么看你！看看它是如何悄悄溜走的——就在门口&; 第三幕，第四场，哈姆雷特-埃德温·奥斯汀修道院

~ Hamlet; ;Why look you there! look how it steals away – out at the portal! Act III, Scene iv, Hamlet (1902) --Edwin Austin Abbey (美国艺术家, 1852 - 1911)

250. 哈姆雷特;为什么看你！看看它是如何悄悄溜走的——就在门口; 第三幕，第四场，哈姆雷特` Hamlet; Why look you there! look how it steals away – out at the portal! Act III, Scene iv, Hamlet (1902) by Edwin Austin Abbey 高清作品[23%]

~ Hamlet; Why look you there! look how it steals away – out at the portal! Act III, Scene iv, Hamlet (1902) -

图片文件尺寸: 2039 x 2776px

哈姆雷特;为什么看你！看看它是如何悄悄溜走的——就在门口; 第三幕，第四场，哈姆雷特-埃德温·奥斯汀修道院

~ Hamlet; Why look you there! look how it steals away – out at the portal! Act III, Scene iv, Hamlet (1902) --Edwin Austin Abbey (美国艺术家, 1852 - 1911)

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