An institutional critique of a major donor, governor of New York, and board member at MoMA, Nelson Rockefeller. Each visitor was given a ballot, with colors differing according to their status, and they would cast their votes on the particular question posed. Every evening the ballots were tallied and the number of boxes was entered on a chart next to them.

Was a part of Haacke’s solo show at the Guggenheim and takes on the real-estate holdings of one of New York City’s biggest slum landlords, who was connected to Solomon R. Guggenheim. The work exposed, through meticulous documentation and photographs, the questionable transactions of Harry Shapolsky’s real-estate business between 1951 and 1971. His show was cancelled on the grounds of artistic impropriety by the museum’s director six weeks before the opening.

A sociological study, collecting data from gallery visitors, done by Haacke. He requested that the visitors would fill out a questionnaire with 20 questions, ranging from their personal demographic background information to opinions on social and political issues.

An index of the Guggenheim Museum’s corporate sponsors and board of trustees. An institutional critique on Solomon R. Guggenheim and his affiliation with various big businesses, such as the Kennecott Copper Corporation and its oversees affairs.

Is made up of plaques exhibiting quotes from business executives and important art world figures. These plaques display their opinions on the system of exchange between museums and businesses, speaking directly to the importance of the arts in business practices.

Critiques oil companies, in this work Mobil, sponsoring art. It highlights Mobil’s self interest in seeking to change its image by associating itself with the arts.

Exposes the history of ownership of Seurat’s “Le Poseuses.” The work showed the increase of the value of the work as it passed from one patron to another, from a sketch in Seurat’s studio to inside a bank vault.

A large, black cube on which Haacke has documented in black letters the scope of Charles Saatchi’s business involvements in South Africa. It targets Saatchi, who was a powerful collector of contemporary art and trustee of the Tate Gallery in London who recently opened his own museum in that city.

Takes Picasso’s “Man with a Hat” (1912-13), collages it with Phillip Morris company documents, and turns it into a cigarette advertisement. He critiques Phillip Morris’ support of the Museum’s exhibition “Picasso and Braque: Pioneering Cubism.”

Haacke’s contribution to the 1993 for the German Pavillion at the Venice Biennale. Made explicit reference to the German Pavilion’s roots in the politics of Nazi Germany; “Germania” was Hitler’s name for Nazi Berlin.