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The 6 Most Famous Marina Abramović Paintings, a Gallery Selection
Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 6 works by Marina Abramović in our catalogue
In short
Of all the originals Marina Abramović left, the most famous is Rhythm 5 (1974), in the collection of the Solomon R. Guggenheim Museum, New York. Close behind it come The Hero (2001) and The Communicator. Our catalog holds 6 works by Marina Abramović; the gallery has kept the 6 the world admires most, each shown with its date, its museum and its story.
born 1946, Belgrade
Most works: Modern Art Oxford
Marina Abramović's top 10 paintings: the gallery's choice
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The Hero
Marina Abramović’s “The Hero,” created in 2001, is not merely a depiction of a woman on horseback; it's a distilled essence of her core artistic philosophy—a raw exploration of vulnerability, power, and the very limits of human endurance. The photograph itself presents a striking image: a figure atop a pristine white horse, holding aloft a flag – an emblem of leadership, perhaps, or defiance – against a backdrop of indistinct…
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The museums that keep Marina Abramović's originals
The 5 museums that hold the most of the paintings on this page.
| Museum | City | Works by Marina Abramović | Paintings from this list |
|---|---|---|---|
 Modern Art Oxford |
Oxford | 2 | Black Dragon, Green Dragon Lying |
 Solomon R. Guggenheim Museum |
New York | 1 | Rhythm 5 |
 National Museum of Women in the Arts |
Washington, D.C. | 1 | The Hero |
 Fondazione per l'Arte Moderna e Contemporanea CRT |
Turin | 1 | The Communicator |
 Northwest Museum of Arts and Culture |
Spokane | 1 | Chair for Man and His Spirit |
Marina Abramović decade by decade: the original that defines each
Works per decade
Pick a decade to see the original that defines it.
2000s
The Hero
Age 54 – 63
1 work this decade
Marina Abramović’s “The Hero,” created in 2001, is not merely a depiction of a woman on horseback; it's a distilled essence of her core artistic philosophy—a raw exploration of vulnerability, power, and the very limits of human endurance. The photograph itself presents a striking image: a figure atop a pristine white horse, holding aloft a flag – an emblem of leadership, perhaps, or defiance – against a backdrop of indistinct…
Collectors' questions about Marina Abramović's paintings
Which work is Marina Abramović most famous for?Reveal the answer
Rhythm 5 (1974), Solomon R. Guggenheim Museum, New York. The Hero (2001) and The Communicator come next.
What age was Marina Abramović when Rhythm 5 was made?Reveal the answer
28 years old: Rhythm 5 dates from 1974, and Marina Abramović was born in 1946.
How many paintings did Marina Abramović leave?Reveal the answer
Our catalog holds 6 works by Marina Abramović, dated from 1974 to 2001.
In which museums do Marina Abramović's masterpieces hang?Reveal the answer
Mostly in Modern Art Oxford (Oxford), Solomon R. Guggenheim Museum (New York) and National Museum of Women in the Arts (Washington, D.C.). The museum table above lists them all.
What are the first and the last famous originals of Marina Abramović?Reveal the answer
On this page, the earliest is Rhythm 5 (1974) and the latest The Hero (2001).
Which Marina Abramović works hang at the Modern Art Oxford?Reveal the answer
Black Dragon and Green Dragon Lying: the Modern Art Oxford, Oxford holds 2 of the works on this page.
Marina Abramović: life and work
Marina Abramović: The Architect of Pain and Perception
Marina Abramović, a name synonymous with radical performance art, is more than just an artist; she’s a provocateur, a philosopher, and a relentless explorer of the human condition. Born in Belgrade, Serbia, in 1946, her journey has been one of confronting physical and psychological limits, challenging audience expectations, and ultimately redefining what it means to be present within art itself. From her early years steeped in the complexities of post-war Yugoslavia to her current status as a globally recognized icon, Abramović’s work is a testament to the power of vulnerability and the enduring human need to question boundaries.
Her childhood, marked by strict discipline and emotional distance within her family – a complex dynamic involving her devout grandmother and a critical mother – profoundly shaped her artistic approach. This early environment fostered a deep-seated desire to break free from constraints, both internal and external, which would later become central themes in her performances. The influence of the Yugoslav Partisan legacy, coupled with the rigid social structures of the time, instilled within her a rebellious spirit and a willingness to push against established norms – qualities that would prove crucial to her artistic development.
Early Artistic Development & The Rise of Performance
Abramović’s formal art education at the Belgrade Academy of Fine Arts laid the groundwork for her later explorations, but it was through independent experimentation and collaboration that she truly forged her unique path. Her early work involved a gradual shift from traditional painting towards increasingly immersive and participatory experiences. A pivotal moment arrived in 1973 with *Rhythm* 0, a series of performances utilizing knives and tape recorders – an act of self-inflicted pain and meticulous documentation that established her as a pioneer of body art. This marked the beginning of a sustained investigation into the relationship between performer, audience, and the very nature of sensation.
Her collaboration with Ulay, a fellow Serbian artist, from 1976 to 1988, proved particularly transformative. Their performances, often intensely physical and emotionally charged, explored themes of duality, love, and loss through ritualistic gestures and shared vulnerability. Works like *Lovers*, a grueling endurance performance involving the continuous walking of the Great Wall of China, demonstrated Abramović’s willingness to push her own body to its absolute limits – a strategy that would become a defining characteristic of her practice.
The Exploration of Limits & Institutional Recognition
Throughout the 1990s and early 2000s, Abramović's work intensified, delving deeper into themes of pain, endurance, and the boundaries of human perception. Performances like *Balkan Baroque* (1997), a series of ritualistic acts performed in a remote Serbian village, and *The Artist is Present* (2010), where she sat silently facing an audience at the MoMA in New York for eight hours a day, garnered international attention and cemented her reputation as a fearless innovator. These works weren’t merely displays of physical prowess; they were profound meditations on vulnerability, empathy, and the shared human experience.
*The Artist is Present* stands out not only for its scale but also for its quiet intensity. The simple act of sitting in silence, offering a moment of direct connection with viewers, challenged conventional notions of art-making and audience engagement. It demonstrated Abramović’s ability to transform the most ordinary actions into powerful statements about human connection and the importance of presence.
The Marina Abramović Institute & Legacy
In 2007, recognizing the need for a dedicated space to preserve and promote performance art, Abramović founded the Marina Abramović Institute (MAI). This non-profit foundation serves as a vital resource for artists working in the field, providing funding, research support, and exhibition opportunities. The MAI also houses a unique archive of Abramović’s performances, ensuring that her work will continue to inspire and challenge future generations.
Marina Abramović's influence extends far beyond the realm of performance art. She has fundamentally altered our understanding of what constitutes an artistic experience, demonstrating the power of vulnerability, risk-taking, and direct engagement with the audience. Her legacy is one of radical honesty, unwavering commitment to her vision, and a profound belief in the transformative potential of art – a testament to a life dedicated to pushing the boundaries of human expression.