Corpse and Mirror II

1. Collection of the artist.

Recorded by Art Institute of Chicago.

• New York, Leo Castelli Gallery, “Jasper Johns,” Jan. 24–Feb. 14, 1976, no cat.
• Art Institute of Chicago, “Seventy-Second American Exhibition,” March 13–May 9, 1976, cat. 19 (ill. p. 24).
• Kassel, Museum Fridericianum, Documenta 6, June 24–Oct. 2, 1977, "Malerei Jasper Johns" cat. 1.
• New York, Whitney Museum of American Art, “Jasper Johns,” Oct. 17, 1977–Jan, 22, 1978, no. 156; Cologne, Museum Ludwig in der Kunsthalle Köln, Feb. 10–Mar. 26, 1978, no. 121; Paris, Centre Georges Pompidou, Musée National d’Art Moderne, Apr. 18–June 4, 1978; London, Hayward Gallery, June 21–July 30, 1978, no. 149; Tokyo, Seibu Museum of Art, Aug. 19–Sept. 26, 1978, no. 163; San Francisco Museum of Modern Art, Oct. 20–Dec. 10, 1978, no. 122.
• New York, Museum of Modern Art, “Jasper Johns: A Retrospective,” October 20, 1996–January 21, 1997, no. 158 (color ill. p. 288). Travelled to Cologne, Museum Ludwig, March 8–June 1, 1997, no. 170 (color ill. p. 300); Tokyo, Museum of Contemporary Art, June 28–August 17, 1997, pp. 275–77, no. 158 (color ill. p. 288).
• Riehen, Fondation Beyeler, “Jasper Johns: Werke aus dem Besitz des Künstler/Loans From The Artist,” Oct. 21, 1997–Feb. 15, 1998 (extended to Mar. 20), no. 11 (color ill. p. 49).
• Richmond, Virginia, Virginia Museum of Fine Arts, Spotlight Loans: Pollock, Johns, LeWitt, June 27-Sept. 21, 2008, no cat.
• Oslo, Munch Museum, Jasper Johns + Edvard Munch, June 18–Sept. 25, 2016, fig. 8; Richmond, Virginia Museum of Fine Arts, as Jasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life, Nov. 19, 2016–Feb. 20, 2017.
• London, Royal Academy, Jasper Johns: Something Resembling Truth, Sept. 23–Dec. 10, 2017, cat. 94; Los Angeles, The Broad, Feb. 10–May 13, 2018.
• New York, Craig F. Starr Gallery, Jasper Johns: Crosshatch, Nov. 8, 2019–Jan. 18, 2020, cat. 8.
• Philadelphia Museum of Art, and concurrently, New York, Whitney Museum of American Art, Jasper Johns: Mind/Mirror, Sept. 29, 2021–Feb. 13, 2022, pl. 2.
• New York, Gagosian Gallery, Jasper Johns: Between the Clock and the Bed, Jan. 22-Mar. 14, 2026 (extended to Apr. 24, 2026; (deinstalled Apr. 13, 2026 for

• Thomas B. Hess, “On the Scent of Jasper Johns,” New York Magazine, Feb. 9, 1976, 65-67.
• Jeff Perone, "Jasper Johns's New Paintings," Artforum, 14, no. 8 (Apr. 1976): 48–51 (color ill. 49, dated 1975).
• Robert Hughes, “Pictures at an Inhibition,” Time , Oct. 31, 1977, 86 (color ill.), as “Corpse and Mirror, 1976.”
• Roni Feinstein, "Jasper Johns' Untitled (1972) adn Marcel Duchamp's Bride, Arts Magazine, 57, no. 1 (Sept. 1982): 86–93 (color ill. fig. 16, 93).
• Richard Francis, Jasper Johns (New York: Abbeville Press, 1984), 86, fig. 92 (color ill.) 88.
• Charles Harrison and Fred Orton, Jasper Johns: ‘Meaning What You See,’ Art History, 7, no. 1 (Mar. 1984): 78, 89, pl. 36 (ill.).
• John Yau, "Target Jasper Johns" Artforum, 24, no. (Dec. 1985): 80-84.
• Jean Louis Schefer, "Jasper Johns, quelle critique?," Artstudio, no. 12, (Spring 1989): 38–46, (color ill., 45).
• Nan Rosenthal and Ruth E. Fine, “The Drawings of Jasper Johns,” exh. cat. (Washington D.C.: National Gallery of Art; London: Thames and Hudson, 1990), 226, 228, 230, 232, fig. 69a (ill.).
• Richard Shiff, “Constructing Physicality,” Art Journal, 50, no. 1 (Spring 1991): 46–47, fig. 4 (ill.).
• Stephen Paul Miller, “‘Self-Portrait in a Convex Mirror,’ the Watergate Affair, and Johns’s Crosshatch Paintings: Surveillance and Reality-Testing in the Mid-Seventies,” Boundary 2: 20, no 2 (Summer 1993), 113.
• Fred Orton, “Figuring Jasper Johns” (Cambridge: Harvard University Press, 1994), 9, 188, 192, 195, fig. 64 (ill.).

Side table

The Metropolitan Museum of Art

White Flag

The Metropolitan Museum of Art

Usuyuki

The Metropolitan Museum of Art

Jasper Johns

The Metropolitan Museum of Art

Ewer

The Metropolitan Museum of Art

Untitled

The Metropolitan Museum of Art

Flag on Orange

The Metropolitan Museum of Art

Untitled

The Metropolitan Museum of Art

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