In Between by Marina Abramović and Ulay (Uwe Laysiepen)

This is a large-format photographic print on weighted paper, depicting a scene from the 'In Between' series by the renowned performance artist Marina Abramović and her collaborator Ulay. The image features a symmetrical architectural composition with two silhouetted figures performing a backbend, creating a sense of mirroring within a minimalist, sepia-toned spatial environment. The color palette focuses on deep ochres, shadows, and reflective floor surfaces that catch the light from vertical openings in the background. The print is displayed on a textured, white interleaving or backing paper, possibly rice paper, which is shown unframed on a wooden floor with a roll of brown protective paper visible to the left. The condition shows some rippling and moderate undulation across the paper surface, likely due to storage in a rolled state or environmental moisture. There are no visible signatures or edition numbers on the front image area in this view, suggesting they may be on the reverse or in the margin. The work represents the high-concept performance art aesthetic of the late 20th century, specifically the collaborative period between 1976 and 1988, known for its exploration of physical limits and relational dynamics. The craftsmanship is evident in the sharp contrast of the silhouettes against the warm, atmospheric lighting of the interior.

I have examined the digital representation of this large-format photograph from the 'In Between' series by Marina Abramović and Ulay. Visually, the work exhibits the hallmarks of the duo's Relation Works period, characterized by rigorous symmetry and the physical endurance of the human form. The sepia-toned palette and sharp silhouettes demonstrate the high-quality lithographic or C-print development typical of their studio output. However, the condition is a concern; the visible rippling and undulation suggest long-term storage in a rolled state or exposure to humidity, which requires professional conservation to stabilize the weighted paper. Market demand for Abramović/Ulay collaborations is currently at a historic high, with major retrospectives driving institutional and private interest. Comparable works from this series have achieved significant results at auction houses such as Sotheby's and Christie's. The primary limitation to this appraisal is the absence of visible signatures, edition numbers, or a certificate of authenticity in the provided views. Authentication cannot be finalized without an in-person inspection to verify the paper's watermark, examine the reverse for the artists' signatures or 'Ulay/Abramović' stamps, and review provenance documentation tracing the work to a reputable gallery like Sean Kelly or Lisson Gallery. Due to the high volume of unauthorized reproductions in the conceptual art market, scientific testing of the paper and ink chemistry would be recommended to confirm the work was produced during the lifetime of the collaboration (1976–1988) or as a later authorized edition supervised by the artists. The current value reflects an assumed authentic status but is discounted for the observed physical condition issues.