Two Ball 50/50 Tank (Spalding Dr. J Silver Series, Spalding Dr. J 241 Series), 1985

glass, steel, distilled water, and two basketballs 
62 3/4 x 36 3/4 x 13 1/4 inches 
159.4 x 93.3 x 33.7 cm 
Edition of 2
© Jeff Koons

Two Ball 50/50 Tank (Spalding Dr. J Silver Series, Spalding Dr. J 241 Series)


Two Ball 50/50 Tank (Spalding Dr. J Silver Series, Spalding Dr. J 241 Series), 1985

glass, steel, distilled water, and two basketballs 
62 3/4 x 36 3/4 x 13 1/4 inches 
159.4 x 93.3 x 33.7 cm 
Edition of 2
© Jeff Koons


Jeff Koons: A Retrospective. Guggenheim Museum Bilbao, Bilbao, Spain [June 9 - September 27, 2015]

Analysis of Flight Data: Art of the 80s - A Dusseldorf Perspective. Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany [September 11, 2010 - January 30, 2011] 

Jeff Koons. Museum of Contemporary Art Chicago, Chicago, Illinois [May 31 - September 21, 2008] (Edition 2)

NY Art Now: The Saatchi Collection. Saatchi Gallery, London, England [1987]

Equilibrium. International With Monument Gallery, New York, New York [May 4 - June 2, 1985]


Alan Jones, "The Art of the Slam Dunk," NY Talk, May 1985, (ill. p. 47).

David Joselit, "Modern Leisure," Endgame, Reference and Simulation in Recent Painting and Sculpture, exh. cat. (Cambridge: MIT Press, 1986), pp. 71-89 (ill. p. 85.

Dan Cameron, "Pretty as a Product," Arts Magazine 60, no. 9 (May 1986), pp. 4, 22-24 (color ill. p. 23).

Peter Nagy, "From Criticism to Complicity,” Flash Art, May 1986 (ill. p. 46).

Daniela Salvioni, "Interview with McCollum and Koons," Flash Art, December 1986 / January 1987, pp. 67.

Dan Cameron, NY Art Now: The Saatchi Collection, exh. cat. (Milan: Giancarlo Politi, 1987), pp. 7 (color ill. p. 131), 237.

Eleanor Heartney, “The Hot New Cool Art: Simulationism," ARTnews, January 1987, (color ill. p. 137).

Art and Its Double: A New York Perspective, exh. cat. (Madrid, Spain: Fundación Caja De Pensiones, 1987) (ill. p. 69).

Mary Ann Marger, "A Glimpse at the State of American Arts," St. Petersburg Times, June 7, 1987, p. E-3.

Jane Addams Allen, "Chilly Cynicism a Portent of Trouble," Insight Magazine, June 15, 1987, 59.

Grace Glueck, "New Art Trend's Name: 'Neo-Geo'...Maybe," The New York Times, July 6, 1987, p. 14. (color ill. p. 14.
Robert Pincus-Whitten, "Electrostatic Cling: Or the Massacre of Innocence," Artscribe, no. 64 (Summer 1987), pp. 36-41 (color ill. p. 37, Art and Its Double installation).

Tricia Collins and Richard Milazzo, "Radical Consumption and the New Poverty," New Observations Issue 51 (October 1987), p. 15.  (ill. p. 9.

Jean-Michel Foray, Jean-Pierre Criqui, L'Objet de l'Exposition, exh. cat. (Paris: Centre National des Arts Plastiques, 1988. To confirm

Michael Danoff, Jeff Koons, exh. cat. (Chicago: Museum of Contemporary Art Chicago, 1988) (ill. p.18.

Alan G. Artner, "Market Valued What Jeff Koons' Work Says About the Art World," The Chicago Tribune, July 31,1988, (ill. p.16).

James Hall, "Neo-Geo's Bachelor Artists," Art International 9, (Winter 1989), pp. 4, 30-35 (color ill., p. 32, installation view, photo credit to Saatchi Collection).

Encontros Luso-Americanos de Arte Contemporanea/Portuguese-American Meetings on Contemporary Art: Contemporary American Sculpture, Signs of Life, Fernando de Azevedo and Judith Russi Krishner, eds. (Lisbon: Fundacao Calouste Gulbekian, 1989) (color ill. p. 56).

Jean-Christophe Ammann, "Der Fall Jeff Koons," Parkett no. 19 (Zurich 1989), (color ill. p. 55.

Arthur C. Danto, "Art: The 1989 Whitney Biennial," The Nation, June 1989, p. 790.

Michael Compton, "Pop Art II -- Jeff Koons & Co," Art & Design, July 1989, (color ill. p. 44).check

Silvia Robertazzi, "Jeff Koons: NY Art Business," (text in English and Italian), 1990, (ill., captioned Two Ball 50/50 Container). check

"An Evening with Jeff Koons," The Smithsonian 18, no. 7, March 1990, p. 12 (ill. p. 12, detail).

Jenny Attiyeh, "Artrepreneurs," Culture Concrete, Summer 1991, pp. 11, 15 (ill. p. 15).

Angelika Muthesius, ed., Jeff Koons, (Cologne: Taschen, 1992), p. 165. p. 52-53 (detail).

Jeff Koons: 30 Postcards. Cologne: Taschen, 1992. [Text by Burkhard Riemschneider]

Hamburger Bahnhof Museum fur Gegenwart, exh. cat. (Prestel-Verlag: Munich, 1996), p. 133 (ill. p. 133).

Frank Motz, Play's the Thing: Critical and Transgressive Practices in Contemporary Art, exh. cat. (New York: Whitney Museum of American Art, 2001), p. 11. check

Amy Dempsey, Styles, Schools and Movements: An Encyclopaedic Guide to Modern Art (London: 2002) (color ill. p. 281).

Hans Werner Holzwarth, ed., Jeff Koons, (Cologne: Taschen 2008), pp. 146, (ill. 146, another 50/50 tank), 148, 152, 156, 585.

Jeff Koons. Chicago: MCA Chicago and Yale University Press, 2008, [Text by Francesco Bonami; Interview with Lynne Warren], (color ill. p. 41).

Michael Archer, One Ball Total Equilibrium Tank (London: Afterall Books, 2011), pp. 6, 7, 22, 89.

Ca' Corner Della Regina (Milan: Progetto Prada Arte, 2011), pp. 99, (color ill. p. 99), 389.

Artprice Contemporary Art Market: The Artprice Annual Report 2007/2008, (color ill. p. 35), (color ill. p. 137.

"Jeff Koons’ Philosophy of Perfection," Reflections. NOWNESS, June 26, 2014. (film)

Pilar Ordovas, ed., Self: Bacon, Hirst, Koons, Picasso, exh. cat. (Ordovas Uckfield, England: Ordovas, 2014), pp. 16-17 (ill.).

Michaël Amy, "A Supreme Trouble-Maker in Crowd-Pleasing," Sculpture 34, no. 2 (March 2015), p. 58.

Udo Kittlemann, Sammlung Marx: 40 Werke, exh. cat. (Berlin: Edition Cantz, 2019), pp. 110-111 (color ill. p.110, image flipped).

Peter Nagy, "Time Machine: From Criticism to Complicity," Flash Art (Milan) 53, no. 329 (February-March 2020), pp. 46-53 (color ill. p. 46, caption incorrectly lists Wilson Supershot).