Julie Mehretu

Dissident Score, 2019–21
Ink and acrylic on canvas
108 x 120 in. (274.3 x 304.8 cm)


Dissident Score represents a rare opportunity to acquire a museum scale, A calibre work from Julie Mehretu’s most important contemporary body of work. At nine by ten feet, the painting sits at the upper end of scale for the blur series and embodies the full ambition of this pivotal phase in her practice.

Art historically, the work belongs to Mehretu’s blur paintings, introduced around 2016 and widely regarded as a decisive evolution in her career. In this series, digitally altered source imagery drawn from global political and social crises is translated onto canvas through airbrush and gestural mark making, pushing representation toward abstraction while retaining emotional and intellectual force. This body of work has become central to her critical reputation and institutional relevance.

From a market perspective, works of this calibre are exceptionally scarce. For the past decade, primary works have been subject to long resale restrictions, resulting in no direct secondary private sale comparables for Dissident Score. Only twenty paintings from this series have been released in total. Nine were shown in London in 2018, ten in London in 2023, and a single work was presented for the opening of White Cube New York. The majority are materially smaller, and only a very small number approach the scale and quality of Dissident Score.

Demand at this level has been clearly demonstrated. At the most recent London exhibition at White Cube Bermondsey in September 2023, ten paintings from the series were placed at approximately three point five to seven million US dollars under strict conditions, including long resale restrictions and highly selective placement with top tier collectors possessing public or institutional facing spaces. This disciplined release strategy reinforces both scarcity and long term market stability.

Strategically, Dissident Score combines scale, institutional relevance, and philanthropic context, strengthening its long term significance within Mehretu’s oeuvre. Given the limited supply, restricted circulation, and sustained demand for this body of work, opportunities to acquire a painting of this calibre are likely to remain extremely rare.
 







Dissident Score is a seminal work from Julie Mehretu’s blur paintings, which she first introduced in 2016. Mehretu’s technique shifts noticeably from the densely layered, architectural linework that defined much of her earlier career toward a more expansive, atmospheric, and painterly approach. 

While her early works are built through accumulations of precise vector-like marks, mapped architectural fragments, and linear compositions that evoke systems of urban planning and globalization, the later paintings often begin with digitally manipulated photographic sources that are blurred, enlarged, and transferred onto the canvas. Over these abstracted grounds, Mehretu applies sweeping gestures, eruptions of color, and partially obscured marks that feel less descriptive and more expressionistic. The line, once the primary structural device, becomes intermittent or submerged, allowing scale, motion, and painterly force to dominate. This technical evolution reflects a shift from mapping external systems to engaging states of rupture, uncertainty, and collective trauma, using opacity, erasure, and atmospheric depth as central components of her visual language.
‘Abstraction is a vehicle that I became constantly drawn to and immersed in without really understanding why. I think a big part of being an artist is to make sense of oneself, and I was reluctant to work within the language of representation and figuration. It was only through years of working that it became clear: the space and possibility and opacity that abstraction affords is one of the reasons it interests me. It is a potent space for the radical imagination.’

Julie Mehretu quoted in ‘Julie Mehretu: “A potent space for the radical imagination”’, The Berliner, 25 October 2021







DETAILS




PRIVATE SALE COMPARIBLES


Charioteer, 2007
Ink and acrylic on canvas
60 x 84 in. | 152.4 x 213.4 cm
USD 11,500,000
Sold October 2025 during Art Basel Paris
This work is less than half the size of Dissident Score.
Excerpt (Molotov Cocktail), 2003
Ink and acrylic on canvas
32 x 54 in. | 81.3 x 137.2 cm
USD 4,000,000
Sold November 2023
Dissident Score is 5x times larger than this work.
Insile, 2013
Ink and acrylic on linen
108 x 144 in. | 274.3 x 365.8 cm
USD 9,500,000
Sold October 2024 during Art Basel Paris
This work is smaller in scale than Dissident Score.
Mumbaphilia (J.E.), 2018
acrylic and ink on canvas
96 x 72 in. (243.8 x 182.9 cm.)
Being offered privately for 8,000,000 USD

Sold privately by Whitecube Gallery for $7M with a requirement to gift a second  work to a museum (cost minimum an additional $3.5M)
Work to be made potentially available in spring 2026 for $12M


TOP AUCTION RESULTS

Walkers With the Dawn and Morning, 2008
Ink and acrylic on canvas
95.6 x 142.1 in. (242.9 x 361 cm)
The Now Evening Auction, Sotheby's New York: Wednesday, November 15, 2023 [Lot 7]
Estimate: 7,000,000 - 10,000,000 USD
Result: 10,737,500 USD Premium
Untitled, 2001
Ink, acrylic, and graphite on canvas
72 x 96 in. (182.8 x 243.8 cm)
Contemporary Evening Auction, Sotheby's Hong Kong: Thursday, October 5, 2023 [Lot 1206]
Estimate: 60,000,000 - 80,000,000 HKD (7,661,759 - 10,215,679 USD)
Result: 72,979,000 HKD Premium (9,319,125 USD)
Mumbaphilia (J.E.), 2018
acrylic and ink on canvas
96 x 72 in. (243.8 x 182.9 cm.)
21st Century Evening Sale
Christie's New York: Tuesday, May 14, 2024 [Lot 032 A]
Estimate: 5,000,000 - 7,000,000 USD
Result: 5,858,000 USD Premium

Black Ground (Deep Light), 2006
acrylic and ink on canvas laid down on board
72 x 96 in. (182.9 x 243.8 cm.)
Contemporary Art Evening Sale
Sotheby's Hong Kong: Monday, April 1, 2019 [Lot 01161]
Estimate: 14,000,000 - 20,000,000 HKD (1,783,530 - 2,547,900 USD)
Result: 44,209,000 HKD Premium (5,632,006 USD)






PLACEMENTS FROM MEHRETU'S LAST WHITE CUBE EXHIBITION (AUTUMN 2023)


Everywhen, 2021-23
Ink and acrylic on canvas
120 x 120 in. (304.8 x 304.8 cm)
Museum of Modern Art, New York
Your hands are like two shovels, digging in me (sphinx),
2021-22
Ink and acrylic on canvas
96 x 120 in. (243.8 x 304.8 cm)
Tate, London
Panoptes, 2022
Ink and acrylic on canvas
108 x 120 in. (274.3 x 304.8 cm)
The Albertina, Vienna
Desire was our breastplate, 2022-23
Ink and acrylic on canvas
96 x 120 in. (243.8 x 304.8 cm)
Pinault Collection, Paris
Revenant Maroons, 2022
Ink and acrylic on canvas
108 x 120 in. (274.3 x 304.8 cm)
George Economou Collection, Athens
Femenine in nine, part 3, 2022-23
Ink and acrylic on canvas
84 x 96 in. (213.4 x 243.8 cm)
Art Gallery of New South Wales, Australia
Femenine in nine, part 4, 2022-23
Ink and acrylic on canvas
84 x 96 in. (213.4 x 243.8 cm)
Museo Nacional Centro de Arte Reina Sofía, Madrid
Femenine in nine, part 6, 2022-23
Ink and acrylic on canvas
84 x 96 in. (213.4 x 243.8 cm)
Zeitz MOCAA, Cape Town
Femenine in nine, part 7, 2022-23
Ink and acrylic on canvas
84 x 96 in. (213.4 x 243.8 cm)
MCA Australia, Sydney
They departed for their own country another way, 2023
Ink and acrylic on canvas
144 x 192 in. (365.8 x 487.7 cm)
Yageo Foundation, Taiwan
TRANSpaintings (seat), 2023
Ink and acrylic on monofilament polyester mesh
108 x 84 in. (274.3 x 213.4 cm)
Stedelijk Museum, Amsterdam
TRANSpaintings (cross), 2023
Ink and acrylic on monofilament polyester mesh
108 x 84 in. (274.3 x 213.4 cm)
Moderna Museet, Stockholm
TRANSpaintings (bare), 2023
Ink and acrylic on monofilament polyester mesh
72 x 60 in. (182.9 x 152.4 cm)
K11, Hong Kong
TRANSpaintings (crutch), 2023
Ink and acrylic on monofilament polyester mesh
72 x 60 in. (182.9 x 152.4 cm)
Kunstmuseum, Basel
TRANSpaintings (recurrence), 2023
Ink and acrylic on monofilament polyester mesh
96 x 120 in. (243.8 x 304.8 cm)
Pinault Collection, Paris



RECENT PAINTINGS IN PUBLIC COLLECTIONS


Of other Planes of There (S.R.), 2018–2019
Ink and acrylic on canvas
108 3/16 × 120 in. (274.8 × 304.8 cm)
Whitney Museum of American Art, New York
Hineni (E. 3:4), 2018
Ink and acrylic on canvas 96 x 120 in. (243.8 x 304.8 cm)
Centre Pompidou, Paris
Conversion (S.M. del Popolo/after C.), 2019-2020
Ink and acrylic on canvas
96 x 120 in. (243.8 × 304.9 cm)
Metropolitan Museum of Art, New York
Sun Ship (J.C.), 2018
Ink and acrylic on canvas
108 x 120 in. (274.3 x 304.8 cm)
Pinault Collection, Paris
Among the Multitude VIII, 2020-2022
Ink and acrylic on canvas
48 x 60 in. (121.9 x 152.4 cm)
Detroit Institute of Arts, Michigan
Haka (and Riot), 2019
Ink and acrylic on canvas
144 × 180 in. (365.76 × 457.2 cm)
Los Angeles County Museum of Art, California
Conjured Parts (eye), Ferguson 2016
Ink and acrylic on canvas
84 x 96 in. (213.36 x 243.84 cm)
Collection of The Broad, Los Angeles
A Love Supreme, 2014–2018
Ink and acrylic on canvas
228.6 × 457.2 cm (90 × 180 in.)
Art Institute of Chicago, Illinois
Iridium over Aleppo, 2018
Ink and acrylic on canvas
108 × 144 in. (274.3 × 365.8 cm)
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire


VIDEO

See portion 14:28 to 19:27