[16] That same year, 2006, Alanna Heiss, Director and Chief Curator of PS1, commissioned Sandrow to create the installation, Godt Tegn Open Air Studio Shinnecock Hills spacetime.
As a response to The Equal Rights Amendment passed by Congress on March 22, 1972, Sandrow photographed primarily near Wall Street, the World Trade Center and in downtown Los Angeles investigating the parameters of "the personal" in relationship to the universal.
Employing role reversal, i.e., challenging the notion of a woman walking alone on city streets, playing the "bad" girl, Sandrow propositioned male strangers to pose for portraits (not sex), for them to be looked at rather than being the looker.
The portraits were of East Village and Los Angeles artist friends posed outdoors amidst the moneyed corridors of Wall Street and LA Business District (1982–85).
The collection of shells revived childhood memories of Marcel Duchamp's (1935) Rotoreliefs (Optical Disc) prints at the Philadelphia Museum of Art; science and planetarium exhibits down the street at the Franklin Institute.
In the waters off of Komodo (Indonesia), where conservation work focuses on preserving the threatened marine environment of its coral reefs, Sandrow produced a series of panoramas constructed from pictures taken with the lens of her camera halfway under-water.
Since each camera image is a single exposure, the composite panorama embeds time as well; the variations of color, horizon line, and point of view indicate that chance also plays a large role in the artist’s activity.
The boxes are in the proportion of the Golden Rectangle, a form based in nature and revered by classical civilizations, and the chalk they hold is the ground remains of coral, the essential component of the reefs now being devastated by fishing techniques using dynamite and cyanide.
At a time when the American "right" was blaming Gay men for AIDS; artists as the cause of ill in our culture; women for their own rape; the poor for losing their homes.
This project reaches out to include people from, diverse racial, class and cultural backgrounds, living and working in universities, prisons, homes, streets, institutions et al. During the solicitation of testimonies on-site presentations, participants select and write on the color-coded index card that relates to the age they were at the time they were sexually abused.
A mixed media work composed of color polaroids, staples and a worn American flag that Sandrow was given by the Dept of Veteran Affairs marking her great Uncle Bill’s Zucker grave in Arlington Cemetery.
Sandrow selected colleagues to sit for portraits realized as color polaroids; then peeled from the film’s base and stapled together juxtaposed to the worn red, white and blue fabric.
The work includes images of Will Guy, Thelma Golden, Komar & Melamid, Candida Alvarez, Patrick O’Connell, Ida Panicelli, Billie Tsien, Lucy Lippard, Adal Maldonado, Maria Elena Gonzalez, Louise Bourgeois, Vito Acconci, Sur Rodney Sur, Martha Wilson, Maura Sheehan, Sam Reveles, Kay Walkingstick, Thomas Sokolowski, and Fred Wilson.
[citation needed] Material Matters was an invitational project conceived of and organized by Hope Sandrow at the Brooklyn Anchorage (Creative Time, director Anne Pasternak) that included artists: Terry Adkins; Jane Dickson; Robin Kahn; Susan Leopold; Christian Marclay; Matthew McCaslin; Sara Pasti & Artist / Neighbors; Hope Sandrow;[33] Glenn Seator, and John Yau.
[13] Untitled observations spacetime is a series created from 2001–2007 is an investigation into the nuances of seeing and knowing through the process of collecting images, thoughts, and experiences in the wake of "911" and follow Sandrow’s recovery from sexual assault.
Exhibited in the form of panoramas and singularly focused still and video works at multiple sites on Eastern Long Island where the landscape reflects that of Manhattan a century ago.
The series represents the natural history of everyday life in which notions of beauty, art, science, and myth are investigated, such as how images produced by technology (the camera and telescope) are mirroring our world and evoking profoundly different ideas than pictorial representations made by hand and from memory.
Viewing primary elements of the visible world places observations and beliefs in specific cultural (matriarchy or patriarchy) and science-based contexts; time frames of lunar or solar calendars.
"Mapping" has a new meaning when applied to global technology as this information revolution profoundly affects the world in all dimensions Explores conflicting issues of preservation and development in the mediums of photography, video, mixed media, and social practice (2006 - 2008).
Two exhibits, "Godt Tegn" MoMA - PS1[17] and Southampton Historical Museum (at The Rogers Mansion formerly Samuel L. Parrish's home at the time he owned the 13 acres) were mounted to engage the community in the ultimately successful preservation effort.
[3] Since that time Sandrow has grown the project into a muti-tiered unfolding of Padovana flocks amid her research engaged in multiple studies ranging from astronomy to pre-history.
The coops were modeled on LeWitt's India ink drawings from his 1982 series Forms Derived from a Cube and were (re)constructed into four dimensions (the fourth being,Time) to shelter the Padovana Rooster Shinnecock and his family flock.
They were inspired by chance encounters, beginning with the white Padovana cockerel Shinnecock, who crossed the road to follow Sandrow home to a spider on a LeWitt wall drawing at Dia Beacon.
The look of a display case characterizes the Cube: like contemporary artists, Padovana's are now considered mainly for "exhibition purposes"; prior to the industrialization of farm practices, they were renowned[according to whom?]
Also known as “Luncheon On The Grass” it is “testimony to Manet's refusal to conform to convention and his initiation of a new freedom from traditional subjects and modes of representation – can perhaps be considered as the departure point for Modern Art.
Genius Loci Observational Findings was Sandrow's inaugural work of the Parrish Art Museum's Platform[22] program, an experimental series of artist-driven projects.
Sandrow, whose practice often involves intensive historical research into site and place, presents works that evoke symbols of the past, new life, and good fortune, corresponding to the many cultures that have enlivened the history of the East End of Long Island.
A collaborative work by Hope Sandrow and fellow artist, Brianna L. Hernández, exploring concerns on climate justice, rewilding, and restoration amidst declining natural environments necessary for sustaining biodiversity and how the arts play a role in generating constructive conversation and engagement on these topics.
Vernon Park commissioned by Contemporary Museum curated by Thom Collins[37] and Cira Pascual Marquina (2005); open air studio Shinnecock Hills spacetime, (Re)collecting An American's Dream (READ, 2006–2008), On the Road Free Advice with Sur Rodney Sur (2008),[36][23] On the Road Headstand with Geoff Hendricks (2008), On the Road Enigma of a Litmus Test - coop d’etat with Caterina Verde and Pasha Radetzki (2010); Genius Loci,[22] commissioned by Parrish Art Museum, Curator Andrea Grover (2012–2013); (Self)Contained with Jane Iselin (2012);[38] Gallus Gallus with Ulf Skogsbergh (2015 ongoing); Women’s Study Room (2020 ongoing); Nourishing Reciprocity with Kelly, Jeremy and Denise Silva Dennis, Brianna Hernandez (2022 ongoing); I won’t carry your water I’m not your Succulent with Brianna Hernandez (2023).