The exhibition consists of new pipe bomb paintings in which Horndeski deals with the issue of suicide. The metal pipe bomb structures are attached to landscape paintings with textual borders describing specific problems that can be solved by setting off the bombs. -- Source of annotation: Marvin or Ruth Sackner.

The card is a reproduction of Horndeski's advertisement for Absolut vodka. -- Source of annotation: Marvin or Ruth Sackner.

This work was commissioned by the Sackner Archive to include a sampler of Horndeski's work. The theme is a couple who appear on the top of the box reading in their library with the sky outside their windows reminiscent of Van Gough's Starry Night. The top of the box depicts a fragment of a music score by Vivaldi and the sides calligraphic text and diagrams on Michaelson's theory of light and distance; all paintings are landscapes that relate to the couple's activities near their house. -- Source of annotation: Marvin or Ruth Sackner.

This presentation of Horndeski's paintings consists of gallery statements, artist statements, gallery opening invitation, press exhibition reviews and colored reproductions of 19 paintings. -- Source of annotation: Marvin or Ruth Sackner.

Commissioned for "The Beauty In Breathing" exhibition. Horndeski paints a bold colored, central image and surrounds it with a black wooden frame onto which he writes a narrative in white paint. The entire frame is utilized for text including mirror writing on the top and bottom. In this work, a boy is playing classical music with a French horn but around him nature is polluted by black smoke from industry. The narrative relates to music and lung anatomy. -- Source of annotation: Marvin or Ruth Sackner.

The painted drawing expressing "Happy 2000" on an abstract blue background is collaged to the inside cover of the commercial Hallmark card. -- Source of annotation: Marvin or Ruth Sackner.

This work shows a balcony with books, very much like the Sackner Archive. The artist confirmed that he had no idea of this when he did the work. In the bottom center, a child is seated at a round table. Through two large windows are a day time and a night time scene. The frame is covered with dense hand-lettered text on topology. The top and bottom edges are written backwards and can be read with a small mirror provided by the artist. -- Source of annotation: Marvin or Ruth Sackner.

Wade Wilson contributes an incisive essay on the technical, socio-political and artistic background of Horndeski's paintings. "The artist paints on a horizontal canvas, like Pollack, with a knife and uses fluid acrylic paints which permit him to "achieve some remarkable effects as the paints mix on the canvas." -- Source of annotation: Marvin or Ruth Sackner.