Lids and Straws animates 60 photographs of discarded plastic straws to mimic the passing hand of a clock, one second for each image. Christian Marclay took the photographs on his daily walks around London with the idea to control how single-use plastics provide mere seconds of enjoyment yet take an eternity to biodegrade.

A 24-hour compendium of time-themed film clips, all synched to the time that appears on the clocks and watches within.

For this video shot in Texas, Christian Marclay connected an electric guitar to an amplifier and dragged it behind a pick-up truck. The resulting cacophonic sound evokes noise music and the destruction of instruments at rock concerts and in Fluxus performances. The work refers more precisely to a racist murder committed in 1998 not far from the film location - James Byrd Jr. an African American, was dragged by a truck for several kilometers.

Cleverly conceived and artfully edited, Christian Marclay's 7 1/2-minute video, Telephones, comprises a succession of brief film clips that creates a humorous narrative of its own in which the characters, in progression, dial, hear the phone ring, pick it up, converse, react, say goodbye and hang up. In doing so, they express a multitude of emotions--surprise, desire, anger, disbelief, excitement, boredom--ultimately leaving the impression that they are all part of one big conversation.

In this perfomance Christian Marclay straps a turntable with the Jimi Hendrix album Are You Experienced onto his body, spinning the record. The artist channels the legendary rock guitarist by recreating Hendrix's body movements in the way he plays the LP, also creating moments of audio feedback the way Hendrix often did with his electric guitar.

Video Quartet brings together more than 700 film clips linked by their focus on music or sound. The work consists of four synchronised videos which are projected onto four contiguous screens.

For ten years, Christian Marclay collected film excerpts featuring a door opening or closing. He edited these sequences so that we see the actors going through the door to enter another space. Going through the door marks the edit point, thus the passage from one film to another and from one soundscape to another. Both audio and visual, this editing suggests a labyrinthine wandering, a mental architecture in which the characters get lost and find themselves again.

A group of assistants “play” vinyl records by hand, scratching, rubbing, breaking and finally crushing them with their feet.

Gestures captures Christian Marclay's hand scratching, crossing out, and counteracting the speed of rotation of records placed on turntables. His gestures alter the analog nature of the recording and transform the vinyls into real musical instruments. The black vinyls are cut, glued, "prepared" in the sense that John Cage's pianos were, and compose a multicolored patchwork, the backdrop of this visual and sound quartet.

Fire, 2020, is a video animation made from paper cutouts from comic book illustrations of fire. More than 1,500 photographs shown in rapid succession suggest a flip book, creating the illusion of a flickering fire. This animated collage transforms the representations of all manner of war, catastrophe, explosion, and arson into abstracted yellows, oranges, and reds.