Iñigo Manglano-Ovalle: Robert, Kelly, and Lydia (from The Garden of Delights), C-print of DNA analyses, edition of 3, 1.52×1.88 m, 1998; image courtesy of the artist

Joseph Beuys: Eurasia Siberian Symphony, 1963, panel with chalk drawing, felt and fat, hare and blue painted poles, 1.83×2.31×0.51 m, 1966 (New York, Museum of Modern Art); © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo © Museum of Modern Art/Licensed by SCALA/Art Resource, NY

Alan Sonfist: Time Landscape, Greenwich Village, New York City, 1965–present, 13.75×60.95 m; image courtsy of the artist, <http://www.alansonfist.com>

Eduardo Kac: GFP Bunny, transgenic rabbit, 2000; image courtesy of the artist

Mary Miss: Connect the Dots: Mapping the High Water, Hazards and History of Boulder Creek, site-specific installation created for Weather Report: Art and Climate Change, Boulder Museum of Contemporary Art, Boulder, metal paint can lids painted blue mounted at heights representing the predicted height of flood water, 2007; image courtesy of the artist

Critical Art Ensemble in collaboration with Beatriz da Costa: GenTerra, photo of performance, St. Norbert Art and Culture Center, Winnipeg, Canada, audience member streaks out a sample of transgenic E. coli, 2001–03

Marta de Menezes: Functional Portrait: Self-portrait while drawing, photography and functional magnetic resonance scans printed on canvas, 650×1300 mm, 2002; image courtesy of the artist

Frank Moore: Wizard, oil on canvas over wood with pharmaceuticals cast in lucite in an aluminium frame, 1.73×2.5 m, 1994; image © Gesso Foundation/Estate of Frank Moore; courtesy of Sperone Westwater, New York

Mark Dion: The Department of Marine Animal Identification of the City of New York (Chinatown Division), marine animals collected in Chinatown, door, metal cabinet and blue lab coat, dimensions variable, 1992; image courtesy of the artist and Tanya Bonakdar Gallery, New York

Matthew Ritchie: The Four Forces (The Light Force), oil and marker on linen, 2.23×1.95 m, 2008; image © Matthew Ritchie, courtesy of Gerhardsen Gerner, Berlin, and Andrea Rosen Gallery, New York

Suzanne Anker: Zoosemiotics: Primate, Frog, Gazelle, Fish (detail), glass vessel, water, steel, hydrocal and metallic pigment, dimensions variable, 1993; image courtesy of the artist

Alexis Rockman: The Farm, oil and acrylic on wood panel, 2.43×3.05 m, 2000; image courtesy of the artist

Patricia Piccinini: detail from The Young Family, silicone, polyurethane, leather, human hair and plywood, dimensions variable, 2002 (Bendigo, Bendigo Art Gallery); photo courtesy of the artist, photographed by Graham Baring

Marta de Menezes: Nature?, live B. anynana butterfly with modified wing pattern, 2000; image courtesy of the artist

Mary Miss: Connect the Dots: Mapping the High Water, Hazards and History of Boulder Creek, alternate view of site-specific installation created for Weather Report: Art and Climate Change, Boulder Museum of Contemporary Art, Boulder, metal paint can lids painted blue mounted at heights representing the predicted height of flood water, 2007; image courtesy of the artist

Lee Bul: Cyborg W1–W4, view of work in production, 1998 (Seoul, Artsonje Center); photo by Yoon Hyung–moon, courtesy of the Kukje Gallery in Seoul and the artist For more information: www.leebul.com