Colette, “Real Dream” at the Clocktower, 1975, published with permission, Gallery 98
Colette, “Justine and the Victorian Punks at P.S. 1,” January 1978., published with permission, Gallery 98
Colette, “Kitsch Colettesized,” 1978, published with permission, Gallery 98
Colette, “Beautiful Dreamer,” 33rpm Vinyl Record & Cover, 1978, published with permission, Gallery 98
Colette, “Beautiful Dreamer, Justine for the Colette is Dead, Co.” 1978, Offset print on paper, 24 x 20 1/2 in. Signed by the artist, published with permission, Gallery 98
Colette, Postcards From the Story of my Life, “Ancorra-tu, Living in a Space for Six Days with All My Personal Belongings”. 1977, Photo and ink on paper. 7 x 10 in., published with permission, Gallery 98
Colette, Postcards From the Story of my Life, “Ancorra-tu, Living in a Space for Six Days with All My Personal Belongings”. 1977, Photo and ink on paper. 10 x 7 in., published with permission, Gallery 98
Colette, Postcards From the Story of my Life, “The Ear, Street Piece I #8”, 1973, Photo and ink on paper. 10 x 7 in., published with permission, Gallery 98
Colette, “Fiorucci Presents Justine and the Victorian Punks,” 1978. Vintage poster, 24 x 20 in., published with permission, Gallery 98
Colette, “Street Work I Series, West Broadway Soho, Being Taken Away by Police,” circa 1973. Mixed media on foamcore, 12 1/4 x 12 1/4 in., published with permission, Gallery 98
Colette, Colette Mannequin in “Beautiful Dreamer” Gown at Guggenheim boutique. 1997. Mixed media on foamcore, 12 1/4 x 12 1/4 in., published with permission, Gallery 98
Colette, Set of 4 over-sized, photographic postcards: Ragdoll, 1975, signed by the artist on front. Let Them Eat Cake, 1977, signed by the artist on back. Clearance Sale, 1977, signed by the artist on back. Justine and the Victorian Punks, 1978, signed by the artist on back. Archival offset prints, 12 x 10 in. (each)., published with permission, Gallery 98
Colette, “Justine Joins LaRocka, Armageddon Club,” 1982. Mixed media on foamcore, 12 1/4 x 12 1/4 in., published with permission, Gallery 98