Félix González-Torres

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re-photographed newspaper/magazine clippings. Most consist of one individual puzzle, although four works consist of multiple components. Most puzzle works are made in editions of three with one AP (55 puzzles). There are three unique puzzle works. Those puzzles that were made in an edition may not have been produced at the same time or by the same commercial photo lab; which resulted in variations in cropping and color tone within the same edition. This body of work illustrates Gonzalez-Torres’s interest in varying modes of photographic reproduction, the effects of commercial production processes on the form of the works, and his utilization of commonplace consumer products in his practice. The puzzles were received from the photo lab fully assembled with a piece of cardboard backing and sealed inside a fitted plastic bag. For the majority of the puzzle works (56 puzzles), the artist considered the plastic bags to be an important part of the works and he described a specific method of installation using map pins (originally pushed through and eventually positioned against the plastic bags). For owner’s who requested to frame these works, the artist provided a separate methodology for framing.

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to cultural phenomena or world events, many of which had political and cultural historical significance. In the body of photostat works, the events/dates are printed in white type on black sheets of photographic paper presented in basic frames with reflective glazing. The viewer’s reflection was visible when reading the line of text. These lists of seeming non sequiturs prompted viewers to consider the relationships and gaps between the diverse references as well the construction of individual and collective identities and memories. González-Torres also employed this strategy for the portraits, as in "Untitled" (Portrait of Jennifer Flay) (1993), which includes, "A New Dress 1971 Vote for Women, NZ 1893 JFK 1963" as well as for the billboards, as in “Untitled” (1989), which includes, “People With AIDS Coalition 1985 Police Harassment 1969 Oscar Wilde 1895.”

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floor, strung across a doorway, etc. The body of light strings includes fifteen physically identical light strings, each has 42 light bulbs in white porcelain light sockets, the works are differentiated only by their parenthetical titles and the types of display/installation chosen by each work's owner on an ongoing basis, as well as the display/installation that authorized borrowers chose in the context of loans. Each sculpture can be arranged in any way a particular installer wishes, and thus holds the potential for unlimited variations. Over the course of any given installation, some of the bulbs may burn out but the parameters of the work specify that they have to be replaced.

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design, image, and/or paper color that is integral to the work. There are 45 individual paper stack works; three of the paper stack works are static (the sheets are not intended to be replenished) and four of the paper stack works have additional installation elements. The sheets used to manifest a paper stack work may or may not be replenished at any time. Manifestable paper stack works can exist in more than one place at a time and can vary from installation to installation based on the owner’s or authorized borrower’s interpretations. There are 42 unique paper stack works; four were made in an edition.

216:; the role and subversiveness of beauty; the rewards and consequences of generosity; arbitrary delineations between private and public selves/places; social, political, and personal dimensions of the AIDS epidemic; questions of established economic and political structures; occupation of the margins and infiltration of centers of power; the instability of language and what is connoted vs. denoted; somatic responses/forms of knowledge; etc. At the core of so many of the artist’s works is the physical experience of the works and their capacity to be manifest in perpetually changing circumstances. 295:

three may correlate to a combined average body weight of two adult men.) The medium for each candy work includes “endless supply” as well as “dimensions vary with installation.” When candies are present in a manifestation of a candy work, it is integral that viewers must be permitted to choose to take individual pieces of candy from the work. The candies may or may not be replenished at any time. Candy works can exist in more than one place at a time and can vary from installation to installation based on the owner’s or authorized borrower’s interpretations. Each of the candy works are unique.

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works that are also made of commonplace materials. The dimensions of a light string work vary with each installation; the exhibitor’s choice of configuration for each installation completes the work. There are 24 individual light string works; 22 are unique and two are editioned works. The light strings works are intended to be displayed either with all the bulbs on or all the bulbs off; light bulbs are replaced promptly as necessary. The relative brightness of the lightbulbs for each light string work is specified but the actual brightness may vary from one installation to the next.

227:. This is a theory that means an audience member is primed to have an individualized response to a performance that leads them to effect change in the world. Gonzalez-Torres maintained that his work should always remain open to new and changing interpretations. While Gonzalez-Torres’s work is conceptual, the formal qualities of the work are especially powerful in their ability to elicit individualized emotional responses from each viewer. “My work is about the daily dealing with events, and objects that form, transform, and affect my positioning.” 646:

some way and offers ongoing guidance and support for these exhibitions. The Foundation maintains extensive exhibition and image archives and makes them accessible to anyone interested in learning about Gonzalez-Torres's work. The Foundation also facilitates publication projects and licenses copyright in Gonzalez-Torres's work.

171:. González-Torres’s practice incorporates a minimalist visual vocabulary and certain artworks that are composed of everyday materials such as strings of light bulbs, paired wall clocks, stacks of paper, and individually wrapped candies. González-Torres is known for having made significant contributions to the field of 676:

titled "The Uses of Disorder" that took a darker look at the soft power and neoliberal economics at play in González-Torres's work. In 2017 there was public outcry over the fact that David Zwirner Gallery mounted an extensive exhibition of González-Torres's work but made no mention of the role that

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In May 2002, the Felix Gonzalez-Torres Foundation was created. The Foundation "maintains, builds, and facilitates knowledge and understanding around the work of Gonzalez-Torres." The Foundation fields exhibition requests that include Felix Gonzalez-Torres's work or respond to the artist's practice in

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works in this way to allow for open-ended interpretations to unfold over time. In a 1991 interview with Robert Nickas, González-Torres reflected on the titles of his artworks: “things are suggested or alluded to discreetly. The work is untitled because “meaning” is always shifting in time and place.”

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was installed at the Museum of Modern Art in two large rectangles divided by a walkway for visitors. A borrower/exhibitor may choose to install the work in any configuration and can also choose to use amounts of candies that differ from the "ideal weight". Like other candy pieces in his oeuvre, this

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Across several bodies of work, starting as early as 1987, González-Torres employed a strategy, described by some as a “dateline,” wherein he included lists of various events/dates in a purposeful but non-chronological order. The lists included the names of social and political figures and references

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The 59 puzzle works date from 1987 to 1992. In the process of making these works, Gonzalez-Torres sent snapshots to commercial photo labs that produced novelty items, such as puzzles, from personal photos. The imagery for the puzzle works ranges from photographs of Gonzalez-Torres’s personal life to

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The ‘curtain’ works date from 1989 to 1995. The fabric curtain work is intended to be installed on existing windows as standard curtains would typically appear. There are five beaded curtain works, each with a specific bead pattern, and one fabric curtain work. Beaded curtain works must be installed

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in the organization of the Felix González-Torres Community Art Project, a three-year initiative that sponsors visits of internationally renowned contemporary artists to the campus of the school. The Foundation initiated and funded the California Institute of the Arts (CalArts) Felix González-Torres

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in 1994. Following a slide show of various artworks and exhibitions in which his work was included, Gonzalez-Torres proceeded to read a prepared statement reflecting on the current national deficit, government budget allocations for public housing versus military spending, incarceration and poverty

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The portrait works date from 1989 to 1994. The portrait works consist of a horizontal line (or lines) of textual entries installed directly on the wall just below the point where the wall meets the ceiling. It is essential to the portrait works that the owner has the right to change the content of

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The ‘paintings’ date from 1992 to 1994. There are 15 individual paintings, and each of the works is unique. Five of the works are circular canvases painted black with circular newspaper/magazine clippings of crowd imagery adhered to the canvases. Seven of the paintings are graph works. Nine of the

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The category of multiples represents those works made in edition sizes ranging from six to unlimited. There are 18 individual multiples in various mediums, dating from 1987 to 1995. Many of the works in this category purposefully resemble unique works, questioning notions of value and the power of

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The ‘graph’ works date from 1988 to 1994. With the exception of one photograph, the ‘graph’ works are the only works that have hand drawn elements. The ‘graph’ works consist of both painting and drawings. While some of these works have been contextualized as representations of individuals’ medical

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Over time the work has been interpreted through varying critical lenses, including: the subjective construction of histories, questions of monumentality and attachment to permanency; the profoundness of love and partnership, codes and resilience of queer love; the role of ownership; perceptions of

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All of González-Torres's works, with few exceptions, are titled "Untitled" in quotation marks, sometimes followed by a parenthetical portion of the title. This was an intentional titling scheme by the artist. Rather than limiting the artworks by ascribing any singular title, the artist titled his

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The ‘light string’ works date from 1992 to 1994. The light strings were produced by an electrician in conversation with the artist and consist of commonplace electrical components. Each light string work can only exist in one place at a time; which is in contrast to Gonzalez-Torres’s manifestable

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González-Torres was trained as a photographer and his oeuvre incorporates this medium in varying ways. He is well known for works that transform commonplace materials into installations that foster meaningful responses from audiences, as well as works with which audiences can choose to physically

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The ‘photostats’ date from 1987 to 1992. The photostats were made in small edition sizes ranging from one to four, typically with a single artist’s proof. The photostats consist of lines of white text reproduced on a solid black background. Each of the photostats are framed in simple black metal

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The ‘paper stacks’ date from 1988 to 1993. The paper stack works consist of a stack (or stacks) of paper. It is integral to the manifestable paper stack works that individuals must be permitted to choose to take individual sheets of paper from the work. Each paper stack work has a specific text,

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Imagery sourced from ‘newspaper and magazine clippings’ features across many bodies of work in Gonzalez-Torres’s practice including paper stacks, puzzles, framed works and paintings. These works include images and texts that pertain to politics, violence, consumerism, mass culture, and religion.

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The ‘candy works’ date from 1990 to 1993. The dimensions for the majority of the candy works include an “ideal weight.” (In total there are 20 candy works. Fifteen of the candy works have ideal ‘weights’, four of these ‘ideal weights’ may correlate to an average body weight of an adult male, and

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The billboard works date from 1989 to 1995. The billboard works consist of specific images or texts that are installed at billboard scale. It is essential to 14 of the 17 billboard works that they must be installed in multiple, diverse, public/outdoor sets of locations (ideally 24 locations at a

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The artist met his long-term partner Ross Laycock in 1983 in New York. González-Torres and Laycock were in a relationship from 1983 – 1991; for the majority of their relationship they lived in different cities except for a period when they lived together in Los Angeles in 1990. In January 1991,

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In addition to his manifestable “candy works” and “paper stacks”, González-Torres created other malleable works referred to as "light strings", which consist of generally lower-wattage/dimmer light bulbs on extension cords, installed however the exhibitor chooses; eg. hung on the wall, piled on

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Gonzalez-Torres’s practice includes a platform. Two works consist of platforms, one work that includes an optional performer and one of the mirror works. Strategies that identify and question the significance of modes of presentation for artworks can be traced throughout the artist’s practice.

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The ‘pedestals/platforms’ date from 1987 to 1992. There are seven individual pedestal/platform works, and each is unique. Two early sculpture works were presented on platforms, the first of the paper stack works includes a platform, one puzzle is presented on a platform, the one video work in

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The framed photographic works date from 1986 to 1995. The artist considered the frame to be an essential element of these works. This is one of many bodies of Gonzalez-Torres’s works that incorporate photographic methodologies. Many of the artist’s framed photographs were purposefully analog,

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Categories and Bodies of Work most often reflect the way that Gonzalez-Torres commonly referred to works in his lifetime. Certain works may fit into more than one category/body of work. Some bodies of work by González-Torres's are accompanied by Certificates of Authenticity and Ownership. The

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Throughout much of González-Torres's practices, he purposefully incorporated dissonant information and formats. Examples of these contradictions include the way he structured courses as a professor, wrote press releases and texts, gave lectures, participated in interviews, and created varying

1033:(1994-1995), is a variant of the double pools of water the artist had sketched before his death: two large pools of water were embedded in the gallery floor directly adjacent to one another. This work had first been executed posthumously as two outdoor pools embedded in the ground at the 986:. At each of the stages of the exhibition tour, the show was initially installed by the exhibition's curator Elena Filipovic and, halfway through its duration, is completely reinstalled by a different selected artist whose own practice has been influenced by González-Torres. Artists 488:, a candy work, consisted of a carpet (roughly 20 x 30 feet) of shiny silver wrapped candies. The candies covered the floor from one side of the room to the other and extended all the way to the back wall opposite the visitor. In 2011, the same candy work, 356:

There are four individual mirror works dating from 1992 to 1994. Three of these works consist of mirrors of a specific size that are either hung on or embedded in the wall. One of the mirror works consists of a mirrored box that is displayed on the ground.

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The ‘birds in sky’ works date from 1989 to 1995. Images of birds in the sky are featured across many bodies of work in Gonzalez-Torres’s practice, including billboards, doubles, framed photographs, paper stack, pedestals/platforms, and puzzles.

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the portrait at any time, which may include: adding, subtracting, editing and sequencing entries. Portrait works can exist in more than one place at a time and dimensions vary with installation. The typeface of the text for portrait works is

508:: block-like stacks of paper printed with ambiguous content, from which the viewer is allowed to choose to take a sheet. Rather than constituting a solid, immovable monument, the stacks can be dispersed, depleted, and renewed over time. 636:

In 1991 González-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, which some have interpreted to include references to the organic and inorganic substances associated with battling AIDS.

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The ‘image transfers’ date from 1987 to 1992. All three of these works are made in editions. Two of these works are intended to be permanently installed directly on the wall and the third is intended to be permanently tattooed.

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Gonzalez-Torres, Felix. "1990: L.A., 'The Gold Field'." Originally published in Earth Grows Thick: Works after Emily Dickenson by Roni Horn. Bremner, Ann, ed. Columbus, OH: Wexner Center for the Arts, 1996: 65 – 69.

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and he chose to refer to himself as American. His name has appeared as Félix González; professionally, he chose to style his name as Felix Gonzalez-Torres and also as Félix González-Torres in languages that include

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Gonzalez-Torres, Felix and Hans-Ulrich Obrist. "Felix Gonzalez-Torres." Hans-Ulrich Obrist: Interviews. Vol. 1. Edited by Thomas Boutoux. Florence and Milan, Italy: Fondazione Pitti Immagine Discovery, 2003: 308 –

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Kwon, Miwon. "The Becoming of a Work of Art: FGT and a Possibility of Renewal, a Chance to Share, a Fragile Truce." Felix Gonzalez-Torres, edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 281 –

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interact, and works that may be manifested anew and can change each time they are exhibited. González-Torres stated “the only thing permanent is change,” always questioning the stability of the art object.

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In 2023, David Zwirner Gallery in New York staged its second posthumous solo exhibition of work by González-Torres, including two works that had never been executed as the artist envisioned. The first,

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article that establishes a legacy of contention around the separation of church and state. This methodology was intended to foster individuals’ right and responsibility to have their own point of view.

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in locations where individuals would naturally have the choice to pass through them and the work’s dimensions vary with installation. Curtain works can exist in more than one place at a time.

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González-Torres staged many solo exhibitions, installations, and shows at galleries and museums in the United States and internationally during his lifetime. His notable solo shows include

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work has an "ideal weight" that remains constant while the actual weight of the installed candy may fluctuate during the course of an exhibition and also from one exhibition to the next.

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Kee, Joan. "Double Embodiments: Felix Gonzalez-Torres's Certificates." Models of Integrity: Art and Law in Post-Sixties America. Berkeley: University of California Press, 2019: 191 – 226.

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Avgikos, Jan. "The Trouble We Take for Something That Cannot Even Be Seen." Felix Gonzalez-Torres, Rudolf Stingel. Graz, Austria: Neue Galerie am Landesmuseum Joanneum, 1994: 58 – 63.

1045:(1994-1995), consists of a series of indoor billboard installations that the artist had originally designed for his unrealized exhibition at the Musée d'Art Contemporain in Bordeaux. 236:

certificate includes information about the parameters for installing or exhibiting the work, the conceptual nature of the work, as well as the owner's integral role in the artwork.

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Rosen, Andrea. "'Untitled' (Neverending Portrait)." Felix Gonzalez-Torres Catalogue Raisonne. Edited by Dietmar Elger. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 1997: 44 – 59.

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developed and processed by hand, as opposed to other photographic works by Gonzalez-Torres which emphasized mechanical reproducibility and the overt removal of the artist’s hand.

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Chambers-Letson, Joshua. "The Marxism of Felix Gonzalez-Torres." After the Party: A Manifesto for Queer of Color Life. New York, NY: New York University Press, 2018: 123 – 163.

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Rosen, Andrea and Tino Seghal. "Interview." Felix Gonzalez-Torres: Specific Objects Without Specific Form. Edited by Elena Filipovic. London: Koenig Books, 2016: 394 – 414.

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hooks, bell. "subversive beauty: new modes of contestation." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 45 – 49.

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remains constant from one installation to the next, the language the phrase is presented in may change depending on the local languages where the work is being installed.

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Gonzalez-Torres, Felix and Tim Rollins. "Interview by Tim Rollins." Felix Gonzalez-Torres. Edited by Bill Bartman. New York: Art Resources Transfer, Inc., 1993: 5 – 31.

4475: 2267: 661:, which exhibited his work both before and after his death. Starting in 2017, the estate of Felix Gonzalez-Torres has been co-represented by Andrea Rosen Gallery and 3573: 5823: 5497: 411:

frames and the glazing reflects the viewer in the work. There are thirteen individual photostats. (These works have sometimes been referred to as ‘date pieces.’)

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The ‘doubles’ works date from 1989 to 1995. Doubled objects, images, and motifs feature across the majority of the bodies of work in Gonzalez-Torres’s practice.

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Wagner, Frank. "In medias res." Cady Noland, Felix Gonzalez-Torres: Objekte, Installationen, Wanderbeiten. Berlin: Neue Gesellschaft für bildende Kunst, 1991.

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Merewether, Charles. "The Spirit of the Gift." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 61 – 75.

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Breslin, David. "A Formal Problem: On 'Untitled' (A Portrait) by Felix Gonzalez-Torres." Felix Gonzalez-Torres. New York: David Zwirner Books, 2018: 34 – 45.

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strategies for each body of work. One particular example is the way Gonzalez-Torres structured a lecture on the occasion of a solo-exhibition of his work at

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in the 1980s and 1990s. His practice continues to influence and be influenced by present-day cultural discourses. González-Torres died in Miami in 1996 from

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Ferguson, Russell. "The Past Recaptured." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 25 – 34.

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Goldstein, Ann. "Untitled (Ravenswood)." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 37 – 42.

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In January 1970, González-Torres fled Cuba for Madrid, Spain when he was 12 with his older sister. Later that same year, he relocated to Puerto Rico.

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Cruz, Amada. "The Means of Pleasure." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 13 – 22.

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Images of crowds are especially prominent in this category of works, and this motif carries its own diverse scope of meanings in the artist’s work.

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In the second decade of the 21st century the critical legacy of González-Torres's work has continued to be expanded and challenged. In 2010

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Storr, Robert. "When This You See Remember Me." Felix Gonzalez-Torres. Edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 5 – 37.

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Hodges, Jim. "What Was." Floating a Boulder: Works by Felix Gonzalez-Torres and Jim Hodges. New York: FLAG Art Foundation, 2010: 115 – 117.

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Ricco, John Paul. "Unbecoming Community." The Decision Between Us. Chicago & London: The University of Chicago Press, 2014: 173 – 207.

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Kosuth, Joseph. "Exemplar." Felix Gonzalez-Torres. Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 51 – 59.

1034: 6523: 4410: 4211: 4143: 1099: 585:. The billboards were installed in the same manner, scale, and location as existing commercial advertising billboards. The installation, 6245: 5986: 5918: 5333: 5097: 4802: 4038: 3747: 3705: 1856: 1604:

Lewis, Jo Ann. "'Traveling' Light: Installation Artist Felix Gonzalez-Torres Shines at the Hirshhorn." Washington Post 10 July 1994: G4.

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Gonzalez-Torres, Felix and Nena Dimitrijevic. "Interview." Rhetorical Image. New York: The New Museum of Contemporary Art, 1990: 27, 48.

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The Museum of Modern Art - Modern Art & Ideas: Art & Identity video featuring Felix Gonzalez-Torres's Untitled (Perfect Lovers)

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Pauls, Alan. "Souvenir." Félix González-Torres: Somewhere/Nowhere . Buenos Aires: MALBA – Fundación Costantini, 2008: 31 – 37, 89 – 91.

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Basualdo, Carlos. "Common Properties." Felix Gonzalez-Torres. Edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 185 – 196.

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value and authority; discourse around death, loss, and the potentiality of renewal; questions of display and conditions of reception,

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Ferguson, Russell. "Authority Figure." Felix Gonzalez-Torres. Edited by Julie Ault. Gottingen, Germany: Steidldangin, 2006: 81 – 103.

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work which features a black-and-white photograph of an unmade bed, was installed in twenty-four outdoor public locations all over

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is a billboard originally exhibited in 1992 in Hamburg, reading "Es ist nur eine Frage der Zeit." Whereas the general phrase

4634: 4465: 6478: 6468: 6077: 5819: 5295: 4245: 4081: 2441: 2275: 1455: 1410: 1260: 1247: 1171: 1010: 4933: 4355: 3581: 593:. The work is dated 1991, the same year as the death of his long-time partner, Ross Laycock, from AIDS-related illness. 248: 6533: 6498: 6488: 5811: 5595: 5433: 5063: 4967: 4895: 4866: 4700: 1175: 1162: 787:

Laycock died of AIDS-related causes in Toronto. Félix González's partner towards the end of his life was Rafael Vasquez.

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Spector, Nancy. "Inside Outrage: Do you need to infiltrate a system in order to change it?" Frieze June – Aug. 2007: 31.

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Nickas, Robert. "Felix Gonzalez-Torres: All The Time In The World." Flash Art International Nov. – Dec. 1991: 86 – 89.

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Bove, Carol. Where is Production? Inquiries Into Contemporary Sculpture. London, Black Dog Publishing, 2013: 50 – 55.

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Felix Gonzalez-Torres to Represent the United States at the 52nd International Art Exhibition of the Venice Biennale

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Umland, Anne. "Felix Gonzalez-Torres." Projects 34: Felix Gonzalez-Torres. New York: The Museum of Modern Art, 1992.

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Pearson, Lisa. “Lisa Pearson on Felix Gonzalez-Torres: Photostats,” Notes. Art Resources Transfer, Inc. 6 Dec. 2021.

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Wye, Deborah. "Untitled (Death by Gun) by Felix Gonzalez-Torres." Print Collector’s Newsletter Sept. – Oct. 1991.

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Lauf, Cornelia. "The Grayness of Things." artedomani 1990 punto di vista. Milan, Italy: Fabbri Editori: 35 – 42.

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Fuentes, Elvis. "Felix Gonzalez-Torres In Puerto Rico: An Image to Construct." Art Nexus, Dec. 2005 – Feb. 2006.

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Smith, Roberta. "Felix Gonzalez-Torres, 38, A Sculptor of Love and Loss." The New York Times 11 Jan. 1996: D21.

1139: 1079: 1041:, but the artist had originally envisioned the pools to be installed indoors. The second newly exhibited work, 4437:"Exhibition - Felix Gonzalez-Torres: The Politics of Relation | MACBA Museum of Contemporary Art of Barcelona" 1957: 1544:

Corrin, Lisa G. "Self Questioning Monuments." Felix Gonzalez-Torres. London: Serpentine Gallery, 2000. 7 – 15.

424:. The color of the text, and in some cases the optional band of background color, is specified for each work. 6503: 6103: 6013: 5463: 3845: 3620: 3082: 1438: 690: 3323: 2855: 6418: 4398: 4375: 4207: 1324: 832: 4532: 3805: 5549: 5195: 2907: 1231: 1143: 725: 542: 137: 6398: 4423: 3451: 1751: 979: 6458: 6448: 5625: 3398: 2932: 1572:

Gonzalez-Torres, Felix and Ross Bleckner. "Felix Gonzalez-Torres." BOMB, no. 51 (Spring 1995): 42 – 47.

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charts, the graph works are intentionally non-specific and are also referential to other graphed data.

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AIDS played in the works' conceptual formation, either in the exhibition proper or its press release.

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Floating a Boulder: Works by Felix Gonzalez-Torres and Jim Hodges, October 1, 2009 - January 31, 2010

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Felix Gonzalez-Torres, Rudolf Stingel. Graz, Austria: Neue Galerie am Landesmuseum Joanneum, 1994. .

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Travel Grant Program, a five-year initiative that funds travel based projects for CalArts students.

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in San Juan from 1975-1979. He moved to New York on academic scholarship to study photography at

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González-Torres's manifestable works incorporate the process of change. A 1991 installation of

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The New Museum of Contemporary Art, New York, NY. 16 Sep. – 20 Nov. 1988. Cur. Laura Trippi.

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in 2010, a record for the artist at auction at the time. In November 2015 González-Torres's

6443: 6438: 5940: 5591: 5059: 4963: 4929: 4696: 1196: 1131: 939:. His posthumous show (the only other posthumous representative from the United States was 927:

In 2007, González-Torres was selected as the United States' official representative at the

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Andrea Rosen Gallery, New York, NY. 3 May – 18 Jun. 2016. Cur. Julie Ault and Roni Horn.

2507: 1781: 1714: 1414: 1251: 748: 741: 193: 6135: 4592: 4165: 3369: 2674:. Rubin Museum of Art, New York, NY. 7 Feb. 2020 – 4 Jan. 2021. Cur. Christine Starkman. 2597:""Without the public these works are nothing," participating with Felix Gonzalez-Torres" 1526:

Avgikos, Jan. "This is My Body: Felix Gonzalez-Torres." Artforum February 1991: 79 – 83.

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The artist also participated in numerous group shows during his lifetime, including the

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In 1993, González-Torres mounted two simultaneous gallery exhibitions in Paris entitled

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in 1992. Viewers would come upon the work unexpectedly while walking the streets in the

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Edited by Russell Ferguson. Los Angeles, CA: Museum of Contemporary Art, 1994: 45 – 49.

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González-Torres and Horn became acquaintances in the early 1990s, and he later created

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Massimo De Carlo, Milan, Italy. 20 May – 20 Jul. 2016. Cur. Julie Ault and Roni Horn.

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time). Documentation of each billboard location is an essential aspect of these works.

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rates, and inequitable wealth distribution. He closed the lecture with a quote from a

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METRO-MoMA Survey of Archives of Latino and Latin American Art: Felix Gonzalez-Torres

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Untitled: An Installation by Félix González-Torres as part of the Visual Aids Program

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was curated and organized by Anne Umland in her role as Curatorial Assistant at the

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painting works include multiple components of the same or similar sizes and shapes.

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Paired, Gold: Felix Gonzalez-Torres and Roni Horn, October 2, 2009–January 6, 2010

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Tallman, Susan. "The Ethos of the Edition." Arts Magazine September 1991: 13 – 14.

39: 6388: 5913: 5879: 5693: 4790: 4661: 4622: 4420: 4395: 4108: 4021: 3709: 3469: 3436: 3417: 3376: 3354: 3288: 3251: 2296:

Gonzalez-Torres, Felix. "Practices: The Problem of Divisions of Cultural Labor."

1434: 1371: 1123: 940: 928: 920: 883: 808: 733: 721: 705:(1992) sold for $ 13.6 million, also at Christie's, a new record for the artist. 421: 213: 6371: 4233: 4071: 3302: 2571:. Annin Arts, Accra, Ghana. 28 Sep. – 2 Nov. 2018. Archival video documentation. 2335: 2241: 1562:

Goetz, Ingvild. Felix Gonzalez-Torres – Roni Horn. Munich: Sammlung Goetz, 1995.

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Fellowship Pollock-Krasner Foundation Grant Artist Fellowship, Art Matters, Inc.

5397: 5051: 4921: 4730: 4688: 4461: 4241: 1709: 1689: 1135: 771: 756: 729: 697:(1991), a 50 lb. installation of green hard candies, sold for $ 7.7 million at 220: 172: 82: 6423: 5583: 5423: 4955: 3411:

Recent Acquisition: Félix González-Torres, Press Release from January 29, 2009

2544: 523:(1980–82). González-Torres later wrote about his experience of Horn's work in 476:

in 2022. The work consists of endless supplies of paper that viewers can take.

6432: 6357: 5887: 4756: 4722: 4050: 2723:. Museum of Fine Arts, Boston, MA. 17 Sep. 2011 – Jan. 2015. Cur. Jen Mergel. 1868: 1674: 1550:

Evans, Steven. Felix Gonzalez-Torres. Milan: Galleria Massimo De Carlo, 1991.

1422: 1127: 932: 698: 566: 449: 164: 5389: 3886:"FELIX GONZALEZ-TORRES AT THE 52ND VENICE BIENNALE - Announcements - e-flux" 2523: 2300:(1992): 44 – 49. Reproduced by permission of Joshua Decter and Andrea Rosen. 6199: 6169: 4824: 224: 5519: 5119: 1446: 1300: 1001: 995: 168: 160: 5425:

Performance - Felix Gonzalez-Torres "Untitled" im Kunstmuseum St. Gallen

1916:"Felix Gonzalez-Torres: Haunting Works of an Artist Afflicted with AIDS" 1523:

Ault, Julie, and Andrea Rosen. Time Frames. Sweden: Signal, Malmo, 2011.

60: 4499:"A Guide to the Pioneering Conceptual Artwork of Felix Gonzalez-Torres" 4371:"Venice Biennale: With a wink, Felix Gonzalez-Torres slips into Venice" 4076: 2231:

Chicago & London: The University of Chicago Press, 2014: 173 – 207.

1724: 1699: 1664: 1659: 1496: 987: 936: 800: 5685: 6394:

Solomon R. Guggenheim Museum: Felix Gonzalez-Torres Collection Online

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Bourse De Commerce - Pinault Collection & Editions Dilecta. 2022.

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Ligon, Glenn. "My Felix." Artforum Summer 2007: 125 – 126, 128 (ill).

1426: 1200: 983: 916: 816: 780: 582: 570: 562: 512: 219:

Gonzalez-Torres stated that his work requires an audience, following

101: 3990: 1890:"An Installation by Felix Gonzalez-Torres Honors Sweetness and Loss" 701:, New York, a new record at the time. In 2024 his light-string work 4328: 3767:

Independent Study Program: 40 Years: Whitney Museum of American Art

3603:‘My highlight of 2015’ — “Untitled” (L.A.) by Felix Gonzalez-Torres 3515: 2127: 1983:"Floating a Boulder: Works by Felix Gonzalez-Torres and Jim Hodges" 967: 919:

in 2022. The work was first shown at González-Torres's posthumous

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Felix Gonzalez-Torres: Traveling, October 02 – November 06, 1994

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Felix Gonzalez-Torres: Traveling, October 02 – November 06, 1994

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fellowship to work in Berlin, and in 1993 a fellowship from the

159:(November 26, 1957 – January 9, 1996) was a Cuban-born American 2737:. Des Moines Art Center. pp. 13 (ill), 32–33, 34–35 (ill). 1437:, Paris; Museum of Contemporary Art, Los Angeles (2 versions); 1388: 1243: 6342:(25th anniversary ed.). Köln: Taschen. pp. 116–119. 3654:"Exhibition - Felix Gonzalez-Torres: The Politics of Relation" 4412:

Felix Gonzalez-Torres. Specific Objects without Specific Form

3769:. New York: Whitney Museum of American Art. 2008. p. 40. 2214:

hooks, bell. "subversive beauty: new modes of contestation."

2156:. Berkeley: University of California Press. pp. 191–226. 1179: 975: 963: 960:

Felix González-Torres. Specific Objects without Specific Form

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Felix González-Torres. Specific Objects without Specific Form

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in Madrid, in 2001 in conjunction with the group exhibition

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Since 1990, González-Torres's work has been represented by

460: 5226: 3979:. Columbus, OH: Wexner Center for the Arts. pp. 65–69. 3914:. Ostfildern-Ruit, Germany: Hatje Cantz Verlag. p. 58. 3903: 3324:"Felix Gonzalez-Torres - Exhibition - Andrea Rosen Gallery" 1504: 1459: 1239: 519:

in Los Angeles, González-Torres encountered her sculpture "

64: 1830:"Felix Gonzalez-Torres: playfully teasing, deadly serious" 6419:

Felix Gonzalez-Torres in Singular Forms at the Guggenheim

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Documentation of recent Felix Gonzalez-Torres exhibitions

2186:"to expose, to show, to demonstrate, to inform, to offer" 553:

in 2022, an example of the artist's "light string" works.

4039:"Felix Gonzalez-Torres, 38, A Sculptor of Love and Loss" 3748:"Felix Gonzalez-Torres, 38, A Sculptor of Love and Loss" 3510:"The Uses of Disorder: The Art of Felix Gonzalez-Torres" 2154:

Double Embodiments: Felix Gonzalez-Torres's Certificates

1857:"Felix Gonzalez-Torres, 38, A Sculptor of Love and Loss" 732:

in 1981 and 1983. He received a BFA in photography from

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The Foundation assisted the Cuban Research Institute at

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Carnegie International 1999/2000: Felix Gonzalez-Torres

3197:""Untitled" - Works - Felix Gonzalez-Torres Foundation" 2389:. New York: Art Resources Transfer, Inc. pp. 5–31. 6338:

Grosenick, Uta; Riemschneider, Burkhard, eds. (2005).

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Felix Gonzalez-Torres, 1 October 2006 - 9 January 2007

3806:"Interview with Felix Gonzalez-Torres by Robert Storr" 1093: 943:

in 1982) at the U.S. Pavilion featured, among others,

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Immediately following the artist's death in 1996, the

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from 1987-1994. In 1992 González-Torres was granted a

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The Guggenheim Acquires Work by Felix Gonzalez-Torres

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The Double: Identity and Difference in Art Since 1900

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US Government press release for Venice Biennale 2007

6104:""Untitled" (Portrait of the Cincinnati Art Museum)" 5692:(in German). Search "Felix" in collection database: 2174:. Gottingen, Germany: Steidldangin. pp. 81–103. 628:

in 2022, an example of the artist's bead sculptures.

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between 1979 and 1995 after attending university in

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45TH VENICE BIENNALE: APERTO 93 EMERGENCY/EMERGENZA

3951:"Felix Gonzalez-Torres | A.rt R.esources T.ransfer" 3846:"Felix Gonzalez-Torres | A.rt R.esources T.ransfer" 2385:Rollins, Tim, Susan Cahan, and Jan Avgikos (1993). 369: 4982: 4271:. Flash Art/Giancarlo Politi Editore. p. 59. 1465:"Untitled" (Portrait of the Cincinnati Art Museum) 1039:No es sólo lo que ves: pervirtiendo el minimalismo 958:Between 2010 and 2011, a traveling retrospective, 869: 3955:Felix Gonzalez-Torres | A.rt R.esources T.ransfer 3850:Felix Gonzalez-Torres | A.rt R.esources T.ransfer 3621:"At Christie's, the Show Goes On, Despite a Hack" 2068:"Felix Gonzalez-Torres: The Politics of Relation" 1774:"Felix Gonzalez-Torres | [No Title]" 1080:Deutscher Akademischer Austauschdienst Fellowship 815:(1993), Magasin III Museum for Contemporary Art, 6430: 3618:Small, Zachary; Halperin, Julia (May 14, 2024). 3223:Felix Gonzalez-Torres: All the Time in the World 1945:. Gottingen, Germany: Steidldangin. p. 367. 230: 4466:"Felix Gonzalez-Torres, a Master of Mutability" 3974: 1020: 1015:Felix Gonzalez-Torres: The Politics of Relation 1003:Felix Gonzalez-Torres: The Politics of Relation 874: 2265: 1017:. The exhibition was curated by Tanya Barson. 998:were chosen to curate the show's second half. 770:He became an American citizen by applying for 708: 527:which was first published in Horn's catalogue 5744:""Untitled" (Placebo - Landscape - for Roni)" 4266: 3617: 3269:Roni Horn: Earth Grows Thick - ARTBOOK|D.A.P. 2072:MACBA Museum of Contemporary Art of Barcelona 3909: 3872:Show and Tell: A Chronicle of Group Material 3723:"A Conversation with Gloria González-Torres" 3106: 2399:: CS1 maint: multiple names: authors list ( 1493:Berkeley Art Museum and Pacific Film Archive 896:covering nearly all of the artist's output. 849:Felix Gonzalez-Torres (Girlfriend in a Coma) 837:Felix Gonzalez-Torres (A Possible Landscape) 4142:. Magasin III Museum For Contemporary Art. 3658:MACBA Museu d'Art Contemporani de Barcelona 3480: 3463:Andrea Rosen Gallery: Felix Gonzalez-Torres 2751:) CS1 maint: multiple names: authors list ( 1394:"Untitled" (Placebo - Landscape - for Roni) 1230:; Museum of Contemporary Art, Los Angeles; 1082:(DAAD) Artists-in-Residence Program, Berlin 755:(CalArts). Gonzalez-Torres was a member of 537:"Untitled" (Placebo – Landscape – for Roni) 4429: 3727:A Conversation with Gloria González-Torres 3229: 3225:(161 ed.). Flash Art. pp. 86–89. 3160:"Works - Felix Gonzalez-Torres Foundation" 3123:"Works - Felix Gonzalez-Torres Foundation" 3083:"Works - Felix Gonzalez-Torres Foundation" 3058:"Works - Felix Gonzalez-Torres Foundation" 3033:"Works - Felix Gonzalez-Torres Foundation" 3008:"Works - Felix Gonzalez-Torres Foundation" 2983:"Works - Felix Gonzalez-Torres Foundation" 2958:"Works - Felix Gonzalez-Torres Foundation" 2933:"Works - Felix Gonzalez-Torres Foundation" 2908:"Works - Felix Gonzalez-Torres Foundation" 2747:: CS1 maint: location missing publisher ( 2685:"Works - Felix Gonzalez-Torres Foundation" 2648:"Works - Felix Gonzalez-Torres Foundation" 2623:"Works - Felix Gonzalez-Torres Foundation" 2482:"Works - Felix Gonzalez-Torres Foundation" 2442:"About - Felix Gonzalez-Torres Foundation" 2227:Ricco, John Paul. "Unbecoming Community." 2190:Museum moderner kunst stiftung ludwig wein 672:published an article by artist and critic 38: 6509:LGBTQ Hispanic and Latino American people 4356:Biennale looks to past instead of present 3912:Felix Gonzalez-Torres: Catalogue Raisonné 3481:Buffenstein, Alyssa (February 22, 2017). 2580: 2468:Felix Gonzalez-Torres: Catalogue Raisonné 2098:"Every Week There is Something Different" 1955: 1512:(1992-1995), Glenstone, Potomac, Maryland 1054:1988 Artist Fellowship, Art Matters, Inc. 1035:Museo Nacional Centro de Arte Reina Sofía 461:Various Installations and Interpretations 436: 19:For other people named Félix Torres, see 4321: 3574:""Untitled" (Portrait of Marcel Brient)" 2733:Getsy, David, and Jared Ledesma (2019). 2512:Cornell Journal of Law and Public Policy 2470:. Ostfildern-Ruit, Germany: Hatje Cantz. 2038:"Felix Gonzalez-Torres October 03, 1994" 907: 616: 541: 464: 440: 396: 276: 247: 5983:Museum of Contemporary Art, Los Angeles 5949:Museum of Contemporary Art, Los Angeles 5162:Museum of Contemporary Art, Los Angeles 4669:from the original on September 18, 2016 4174:Museum of Contemporary Art, Los Angeles 3781:"The Guggenheim Museums and Foundation" 3506: 3447: 3445: 2384: 1958:"Andrea Rosen on Félix González-Torres" 1111:Museum of Contemporary Art, Los Angeles 825:Museum of Contemporary Art, Los Angeles 790: 597:"Untitled" (It's Just a Matter of Time) 6431: 6316:from the original on November 16, 2022 6282:from the original on November 16, 2022 6150:from the original on November 19, 2021 6116:from the original on November 16, 2022 6084:from the original on November 16, 2022 6050:from the original on November 16, 2022 5989:from the original on November 16, 2022 5955:from the original on November 16, 2022 5826:from the original on November 16, 2022 5792:from the original on November 16, 2022 5758:from the original on November 16, 2022 5564:from the original on November 19, 2021 5470:from the original on November 16, 2022 5364:Crystal Bridges Museum of American Art 5268:from the original on November 16, 2022 5202:from the original on November 16, 2022 5168:from the original on November 16, 2022 5100:from the original on November 16, 2022 4936:from the original on November 16, 2022 4902:from the original on November 16, 2022 4805:from the original on November 16, 2022 4460: 4180:from the original on November 27, 2022 3300: 3220: 3201:www.felixgonzalez-torresfoundation.org 3164:www.felixgonzalez-torresfoundation.org 3127:www.felixgonzalez-torresfoundation.org 3107:Kraft, Richard; Pearson, Lisa (2020). 3087:www.felixgonzalez-torresfoundation.org 3062:www.felixgonzalez-torresfoundation.org 3037:www.felixgonzalez-torresfoundation.org 3012:www.felixgonzalez-torresfoundation.org 2987:www.felixgonzalez-torresfoundation.org 2962:www.felixgonzalez-torresfoundation.org 2937:www.felixgonzalez-torresfoundation.org 2912:www.felixgonzalez-torresfoundation.org 2831: 2689:www.felixgonzalez-torresfoundation.org 2652:www.felixgonzalez-torresfoundation.org 2627:www.felixgonzalez-torresfoundation.org 2569:Felix Gonzalez-Torres “Untitled”, 1995 2486:www.felixgonzalez-torresfoundation.org 2446:www.felixgonzalez-torresfoundation.org 2413: 2361:"Felix Gonzalez-Torres: inbetweenness" 2315:www.felixgonzalez-torresfoundation.org 1341:(1991), Museum of Modern Art, New York 1278:Crystal Bridges Museum of American Art 1220:(1991), Museum of Modern Art, New York 1187:(1990), Museum of Modern Art, New York 1151:(1989), Art Institute of Chicago, and 1100:List of works by Félix González-Torres 687:"Untitled" (Portrait of Marcel Brient) 16:American conceptual artist (1957–1996) 4573:from the original on January 27, 2022 4543:from the original on November 7, 2022 4513:from the original on January 20, 2023 4496: 4478:from the original on February 2, 2023 4354:Ana Finel Honigman (April 27, 2007), 4336:from the original on January 10, 2023 4146:from the original on December 3, 2022 4116:from the original on January 10, 2023 4036: 3785:The Guggenheim Museums and Foundation 3541: 2732: 2465: 2429:The Workspace: Felix Gonzalez-Torres. 2165: 2163: 1854: 1358:Hirshhorn Museum and Sculpture Garden 1332:"Untitled" (Portrait of Ross in L.A.) 736:in 1983 and obtained an MFA from the 315: 283:"Untitled" (Portrait of Ross in L.A.) 131:"Untitled" (Portrait of Ross in L.A.) 6372:The Felix Gonzalez-Torres Foundation 6078:Astrup Fearnley Museum of Modern Art 5820:Barcelona Museum of Contemporary Art 5296:Institute of Contemporary Art, Miami 4291: 4214:from the original on August 18, 2022 3869: 3578:The Félix González-Torres Foundation 3523:from the original on August 30, 2022 3442: 3303:"Projects 34: Felix Gonzalez-Torres" 3235:The Felix Gonzalez-Torres Foundation 2882:The Felix Gonzalez-Torres Foundation 2852:The Felix Gonzalez-Torres Foundation 2792:The Felix Gonzalez-Torres Foundation 2581:Cruz, Amada; Drutt, Matthew (2014). 2508:"Felix Gonzalez-Torres on Contracts" 2272:The Felix Gonzalez-Torres Foundation 2242:"Projects 34: Felix Gonzalez-Torres" 2169: 1940: 1456:Astrup Fearnley Museum of Modern Art 1411:Barcelona Museum of Contemporary Art 1261:Institute of Contemporary Art, Miami 1248:University of Michigan Museum of Art 1011:Barcelona Museum of Contemporary Art 747:He was an adjunct Art Instructor at 610:(at Galerie Ghislaine Hussenot) and 557:One of his most recognizable works, 6180:from the original on April 16, 2021 6009:"National Museum of Art Collection" 5860:from the original on August 4, 2021 5598:from the original on April 21, 2022 5550:"Untitled (Portrait of Ross in LA)" 5436:from the original on April 21, 2022 5066:from the original on March 18, 2022 5003:from the original on April 20, 2022 4896:Centre national des arts plastiques 4867:Museum of Contemporary Art, Chicago 4637:from the original on April 28, 2021 4414:, January 29, 2011 – April 25, 2011 4298:Globe e-Journal of Contemporary Art 4037:Smith, Roberta (January 11, 1996). 3991:"Outweek Magazine Internet Archive" 2816: 2505: 2151: 1855:Smith, Roberta (January 11, 1996). 1293:"Untitled" (Go-Go Dancing Platform) 1176:Centre national des arts plastiques 1163:Museum of Contemporary Art, Chicago 1094:Notable works in public collections 841:Centro Galego de Arte Contemporánea 738:International Center of Photography 587:Projects 34: Felix Gonzalez-Torres, 163:. He lived and worked primarily in 125:"Untitled" (Go-Go Dancing Platform) 13: 6524:20th-century American LGBTQ people 6331: 6276:University of California, Berkeley 6248:from the original on June 18, 2022 6208:San Francisco Museum of Modern Art 5921:from the original on July 17, 2022 5752:Staatliche Kunstsammlungen Dresden 5666:from the original on June 12, 2022 5632:from the original on June 18, 2021 5530:from the original on April 3, 2022 5370:from the original on June 12, 2022 5336:from the original on June 15, 2021 5234:from the original on March 7, 2021 5134:from the original on June 19, 2021 4970:from the original on June 27, 2021 4833:San Francisco Museum of Modern Art 4771:from the original on June 12, 2022 4703:from the original on June 26, 2021 4603:from the original on June 24, 2021 4248:from the original on June 30, 2022 4084:from the original on June 26, 2022 3746:Roberta Smith (January 11, 1996), 3380:San Francisco Museum of Modern Art 3255:San Francisco Museum of Modern Art 2709:Felix Gonzalez-Torres - Roni Horn. 2160: 2008:"Felix Gonzalez-Torres: Traveling" 1409:(1993), Art Institute of Chicago; 1398:Staatliche Kunstsammlungen Dresden 1317:, and Tate, London (jointly owned) 1226:(1991), Art Institute of Chicago; 1153:San Francisco Museum of Modern Art 496:In 1989 González-Torres presented 333: 14: 6545: 6365: 5500:from the original on June 3, 2022 5404:from the original on July 3, 2021 5302:from the original on May 24, 2022 4737:from the original on July 3, 2021 4497:Steer, Emily (January 17, 2023). 3634:from the original on May 15, 2024 3109:Photostats: Felix Gonzalez-Torres 2583:Billboards: Felix Gonzalez-Torres 1172:Fonds national d'art contemporain 851:at Musée d'Art Moderne de Paris. 689:(1992) sold for $ 4.6 million at 498:"Untitled" (Memorial Day Weekend) 448:(1989) installed across from the 6404:Felix Gonzalez-Torres exhibition 6294: 6260: 6226: 6214:from the original on May 3, 2020 6192: 6162: 6128: 6096: 6062: 6028: 6001: 5967: 5933: 5901: 5872: 5838: 5804: 5770: 5736: 5707: 5678: 5644: 5610: 5576: 5542: 5512: 5482: 5448: 5416: 5382: 5348: 5314: 5280: 5246: 5214: 5180: 5146: 5112: 5078: 5044: 5015: 4948: 4914: 4880: 4851: 4839:from the original on May 3, 2020 4817: 4783: 4749: 4715: 4681: 4649: 4615: 4585: 4567:Felix Gonzalez-Torres Foundation 4555: 4537:Felix Gonzalez-Torres Foundation 4525: 4490: 4454: 4404: 4382: 4364: 4348: 4315: 4285: 4260: 4226: 4192: 4158: 4128: 4096: 4064: 4030: 4008: 3983: 3968: 3943: 2102:Felix Gonzalez-Torres Foundation 1956:Embuscado, Rain (May 27, 2016). 1335:(1991), Art Institute of Chicago 1289:(1991), Whitney Museum, New York 831:(1995-1996), originating at the 821:Felix Gonzalez-Torres: Traveling 753:California Institute of the Arts 651:Florida International University 370:Newspaper and magazine clippings 366:the language of categorization. 342: 6529:20th-century Cuban LGBTQ people 3975:Gonzalez-Torres, Felix (1996). 3918: 3878: 3863: 3838: 3823: 3798: 3773: 3759: 3740: 3715: 3671: 3646: 3611: 3596: 3566: 3535: 3500: 3474: 3456: 3423: 3404: 3385: 3363: 3341: 3316: 3294: 3275: 3260: 3238: 3214: 3189: 3177: 3152: 3140: 3115: 3100: 3075: 3050: 3025: 3000: 2975: 2950: 2925: 2900: 2870: 2840: 2825: 2821:. Seoul: Samsung Museum of Art. 2810: 2780: 2771: 2759: 2726: 2721:Passages: Felix Gonzalez-Torres 2714: 2702: 2677: 2665: 2640: 2615: 2589: 2574: 2562: 2537: 2499: 2474: 2459: 2434: 2422: 2407: 2378: 2353: 2328: 2303: 2290: 2259: 2234: 2221: 2208: 2178: 2145: 2120: 2090: 2060: 2030: 2000: 1975: 1517: 1087:National Endowment for the Arts 1066:National Endowment for the Arts 870:Selected posthumous exhibitions 765:National Endowment for the Arts 515:'s 1990 solo exhibition at the 387: 263: 6484:AIDS-related deaths in Florida 5456:""Untitled" (Double Portrait)" 4267:von Oppenheim, Léonie (1993). 3712:FLAG Art Foundation, New York. 3542:Jones, Darren (May 29, 2017). 3507:Scanlan, Joe (February 2010). 2506:Kee, Joan (January 16, 2018). 1949: 1934: 1908: 1882: 1848: 1822: 1796: 1766: 1736: 1140:Williams College Museum of Art 730:Whitney Museum of American Art 691:Phillips de Pury & Company 502:"Untitled" (Veterans Day Sale) 272: 1: 6514:People from Camagüey Province 6474:American installation artists 6464:Artists from New York (state) 6014:National Museum of Art, Osaka 5023:""Untitled" (Perfect Lovers)" 3910:Elger; Dietmar, eds. (1997). 3301:Umland, Anne (May 16, 1992). 2819:Felix Gonzalez-Torres, Double 1730: 1439:National Museum of Art, Osaka 1368:"Untitled" (Republican Years) 716:González-Torres attended the 685:González-Torres's candy work 680: 529:"Roni Horn. Earths Grow Thick 525:"1990: L.A., The Gold Field." 405: 239: 231:Categories and bodies of work 6519:American LGBTQ photographers 5490:"Untitled (Double Portrait)" 4399:Solomon R. Guggenheim Museum 4376:International Herald-Tribune 4208:Solomon R. Guggenheim Museum 3439:Guggenheim Museum, New York. 3420:Guggenheim Museum, New York. 3291:Guggenheim Museum, New York. 2414:Obrist, Hans-Ulrich (2003). 2266:David Deitcher, ed. (2016). 1431:Musée National d'Art Moderne 1325:Solomon R. Guggenheim Museum 1307:"Untitled" (Double Portrait) 1085:1993 Artist Fellowship, the 1064:1989 Artist Fellowship, the 833:Solomon R. Guggenheim Museum 414: 378: 360: 214:notions of disidentification 7: 6479:American conceptual artists 6469:American postmodern artists 5715:""Untitled" (For New York)" 5520:"Untitled (Public Opinion)" 5254:""Untitled" (March 5th) #2" 5222:""Untitled" (March 5th) #2" 5196:Nelson-Atkins Museum of Art 5188:""Untitled" (March 5th) #2" 5154:""Untitled" (March 5th) #2" 5086:""Untitled" (March 5th) #2" 5052:"Untitled (Perfect Lovers)" 4956:"Untitled (Perfect Lovers)" 4922:""Untitled" (Death by Gun)" 3977:1990: L.A., 'The Gold Field 3416:September 24, 2011, at the 1653: 1321:"Untitled" (Public Opinion) 1232:Nelson-Atkins Museum of Art 1218:"Untitled" (Perfect Lovers) 1192:"Untitled" (Perfect Lovers) 1144:Williamstown, Massachusetts 966:Contemporary Art Centre in 823:(1994), originating at the 709:Personal life and education 591:Museum of Modern Art (MoMA) 547:"Untitled" (Lovers - Paris) 298: 119:"Untitled" (Perfect Lovers) 10: 6550: 6499:New York University alumni 6489:Cuban contemporary artists 5626:Philadelphia Museum of Art 3399:Philadelphia Museum of Art 2836:. National Gallery of Art. 2340:New Museum Digital Archive 1349:Philadelphia Museum of Art 1097: 614:at Galerie Jennifer Flay. 601:It's Just a Matter of Time 521:Forms from the Gold Field" 517:Museum of Contemporary Art 427: 422:Trump Medieval Bold Italic 351: 307: 18: 6399:"Untitled" (1992) at MoMA 6036:""Untitled" (Last Light)" 5975:""Untitled" (Last Light)" 5941:""Untitled" (Last Light)" 5909:""Untitled" (Last Light)" 5880:""Untitled" (Last Light)" 5812:""Untitled" (Last Light)" 5778:""Untitled" (Last Light)" 5618:"Untitled (Petit Palais)" 5464:Albright–Knox Art Gallery 5322:"Untitled (Ross in L.A.)" 5288:""Untitled" (Ross in LA)" 5120:"Untitled (March 5th) #2" 4322:Basualdo, Carlos (1998). 4294:"10th Biennale of Sydney" 3394:"Untitled" (Petit Palais) 3111:. New York: Siglio Press. 2817:Ahn, Soyeon, ed. (2012). 1941:Ault, Julie, ed. (2006). 1381:"Untitled" (For New York) 1345:"Untitled" (Petit Palais) 1257:"Untitled" (Ross in L.A.) 1224:"Untitled" (March 5th) #2 1185:"Untitled" (Death by Gun) 1048: 835:, New York, exhibited as 726:Independent Study Program 718:University of Puerto Rico 640: 324: 111: 97: 89: 71: 46: 37: 30: 6454:Cuban LGBT photographers 6144:Art Institute of Chicago 5786:Art Institute of Chicago 5558:Art Institute of Chicago 5094:Art Institute of Chicago 4799:Art Institute of Chicago 4631:Art Institute of Chicago 4533:""Untitled" (Sagitario)" 4424:Museum für Moderne Kunst 4020:August 26, 2011, at the 3708:October 8, 2011, at the 3375:August 16, 2011, at the 3353:August 26, 2011, at the 3328:m.andrearosengallery.com 3250:August 16, 2011, at the 2585:. San Antonio: Artspace. 2246:The Museum of Modern Art 2229:The Decision Between Us. 2128:"The Shape of Time 2018" 1419:Cambridge, Massachusetts 1120:Art Institute of Chicago 980:Museum für Moderne Kunst 504:, exhibited together as 288:Art Institute of Chicago 286:(1991) installed at the 6408:The Renaissance Society 6242:Baltimore Museum of Art 5846:"Untitled (Last Light)" 5660:Smithsonian Institution 5330:National Gallery of Art 5128:Cleveland Museum of Art 4993:"Felix Gonzalez-Torres" 4324:"Félix González-Torres" 4234:"1991 Whitney Biennial" 4200:"Felix Gonzalez-Torres" 4166:"Felix Gonzalez-Torres" 4136:"Felix Gonzalez-Torres" 4104:"Felix Gonzalez-Torres" 4072:"Felix Gonzalez-Torres" 4025:The Renaissance Society 3679:"Felix Gonzalez-Torres" 3392:Félix González-Torres, 3287:April 29, 2011, at the 3221:Nickas, Robert (1991). 2466:Elger, Dietmar (1997). 2042:The Renaissance Society 2012:The Renaissance Society 1987:The FLAG Art Foundation 1744:"Félix González-Torres" 1484:Baltimore Museum of Art 1407:"Untitled" (Last Light) 1362:Smithsonian Institution 1265:National Gallery of Art 1228:Cleveland Museum of Art 724:in 1979, attending the 703:"Untitled" (America #3) 626:Baltimore Museum of Art 551:National Gallery of Art 474:National Gallery of Art 194:The Renaissance Society 182: 6494:Pratt Institute alumni 5430:Kunstmuseum St. Gallen 5390:"Untitled (Implosion)" 5262:University of Michigan 4419:July 27, 2011, at the 4394:April 2, 2012, at the 4292:King, Natalie (1996). 3580:. 1992. Archived from 3435:April 5, 2012, at the 3147:Felix Gonzalez-Torres. 2832:Meyers, James (2022). 2766:Felix Gonzalez-Torres. 2672:Measure Your Existence 2216:Felix Gonzalez-Torres. 2192:. 2016. Archived from 2014:. 1994. Archived from 1311:Buffalo AKG Art Museum 1297:Kunstmuseum St. Gallen 1287:"Untitled" (Implosion) 1031:"Untitled" (Sagitario) 924: 845:Santiago de Compostela 629: 554: 506:"Untitled" (Monuments) 477: 453: 437:Dateline installations 291: 260: 6534:Félix González-Torres 6387:May 22, 2006, at the 6310:Des Moines Art Center 6109:Cincinnati Art Museum 6070:""Untitled" (Ischia)" 5686:"Sprengel Collection" 5652:"Untitled (For Jeff)" 3874:. Four Corners Books. 3468:May 30, 2006, at the 3370:Félix González-Torres 3245:Felix Gonzalez-Torres 3184:Felix Gonzalez-Torres 2858:on September 22, 2020 2798:on September 22, 2020 2524:10.31228/osf.io/ktxdz 2416:Felix Gonzalez-Torres 2387:Felix Gonzalez-Torres 2196:on September 15, 2017 2172:Felix Gonzalez-Torres 2132:theshapeoftime.khm.at 1943:Felix Gonzalez-Torres 1695:Relational Aesthetics 1501:Des Moines Art Center 1469:Cincinnati Art Museum 1354:"Untitled" (For Jeff) 1282:Bentonville, Arkansas 1236:Kansas City, Missouri 1213:Hartford, Connecticut 1022:Felix Gonzalez-Torres 911: 900:U.S. Pavilion at the 876:Felix Gonzalez-Torres 829:Felix Gonzalez-Torres 813:Felix Gonzalez-Torres 797:Felix Gonzalez-Torres 663:David Zwirner gallery 620: 545: 490:"Untitled" (Placebo), 468: 444: 397:Pedestals / platforms 280: 251: 198:University of Chicago 157:Felix Gonzalez-Torres 153:Félix González-Torres 32:Félix González-Torres 6504:American gay artists 6234:""Untitled" (Water)" 5592:Museum of Modern Art 5060:Museum of Modern Art 4964:Dallas Museum of Art 4930:Museum of Modern Art 4859:"Untitled (The End)" 4697:Museum of Modern Art 4464:(February 2, 2023). 3870:Ault, Julie (2010). 3683:Serpentine Galleries 2848:"Framed Photographs" 2170:Ault, Julie (2006). 2108:on November 30, 2020 2048:on December 20, 2015 1197:Dallas Museum of Art 1159:"Untitled" (The End) 1132:Museum of Modern Art 902:52nd Venice Biennale 860:45th Venice Biennale 791:Selected exhibitions 659:Andrea Rosen Gallery 486:"Untitled" (Placebo) 255:(1991) installed in 138:"Untitled" (America) 6200:"Untitled (Golden)" 6170:"Untitled (Golden)" 6136:"Untitled (Golden)" 5850:Harvard Art Museums 3358:Renaissance Society 2888:on January 28, 2021 2549:Artpace San Antonio 2278:on October 22, 2020 2078:on January 16, 2021 2018:on October 16, 2019 1715:Appropriation (art) 1474:"Untitled" (Golden) 1452:"Untitled" (Ischia) 1415:Harvard Art Museums 1389:Riehen, Switzerland 749:New York University 742:New York University 472:(1989/1990) at the 144:"Untitled" (Golden) 5854:Harvard University 5723:Beyeler Foundation 5432:. April 21, 2022. 5130:. April 16, 2021. 5031:Wadsworth Atheneum 4593:"Forbidden Colors" 4471:The New York Times 4043:The New York Times 3753:The New York Times 3627:The New York Times 3584:on August 11, 2020 3554:on April 27, 2020. 2152:Kee, Joan (2019). 1861:The New York Times 1784:on August 27, 2016 1754:on August 10, 2020 1748:Dia Art Foundation 1480:"Untitled" (Water) 1385:Beyeler Foundation 1364:, Washington, D.C. 1209:Wadsworth Atheneum 1107:"Forbidden Colors" 1073:Gordon Matta-Clark 972:Beyeler Foundation 925: 893:catalogue raisonné 864:Biennale of Sydney 630: 622:"Untitled" (Water) 555: 478: 454: 316:Framed photographs 292: 261: 257:Hangangjin station 179:-related illness. 6459:Cuban gay artists 6449:Gay photographers 6044:Walker Art Center 5428:(YouTube video). 5356:"Untitled (L.A.)" 4373:, Randy Kennedy, 4302:Monash University 3833:Hamburger Bahnhof 3548:Artslant Magazine 2735:Queer Abstraction 2603:. August 22, 2009 1443:Walker Art Center 1315:Buffalo, New York 1274:"Untitled" (L.A.) 1205:Potomac, Maryland 1059:Cintas Foundation 695:"Untitled" (L.A.) 150: 149: 57:November 26, 1957 6541: 6361: 6326: 6325: 6323: 6321: 6298: 6292: 6291: 6289: 6287: 6264: 6258: 6257: 6255: 6253: 6230: 6224: 6223: 6221: 6219: 6196: 6190: 6189: 6187: 6185: 6166: 6160: 6159: 6157: 6155: 6132: 6126: 6125: 6123: 6121: 6100: 6094: 6093: 6091: 6089: 6066: 6060: 6059: 6057: 6055: 6032: 6026: 6025: 6023: 6021: 6005: 5999: 5998: 5996: 5994: 5971: 5965: 5964: 5962: 5960: 5937: 5931: 5930: 5928: 5926: 5905: 5899: 5898: 5896: 5894: 5876: 5870: 5869: 5867: 5865: 5842: 5836: 5835: 5833: 5831: 5808: 5802: 5801: 5799: 5797: 5774: 5768: 5767: 5765: 5763: 5740: 5734: 5733: 5731: 5729: 5719:FondationBeyeler 5711: 5705: 5704: 5702: 5700: 5682: 5676: 5675: 5673: 5671: 5648: 5642: 5641: 5639: 5637: 5614: 5608: 5607: 5605: 5603: 5580: 5574: 5573: 5571: 5569: 5546: 5540: 5539: 5537: 5535: 5516: 5510: 5509: 5507: 5505: 5486: 5480: 5479: 5477: 5475: 5452: 5446: 5445: 5443: 5441: 5420: 5414: 5413: 5411: 5409: 5386: 5380: 5379: 5377: 5375: 5352: 5346: 5345: 5343: 5341: 5318: 5312: 5311: 5309: 5307: 5284: 5278: 5277: 5275: 5273: 5250: 5244: 5243: 5241: 5239: 5218: 5212: 5211: 5209: 5207: 5184: 5178: 5177: 5175: 5173: 5150: 5144: 5143: 5141: 5139: 5116: 5110: 5109: 5107: 5105: 5082: 5076: 5075: 5073: 5071: 5048: 5042: 5041: 5039: 5037: 5019: 5013: 5012: 5010: 5008: 4989: 4980: 4979: 4977: 4975: 4952: 4946: 4945: 4943: 4941: 4918: 4912: 4911: 4909: 4907: 4884: 4878: 4877: 4875: 4873: 4855: 4849: 4848: 4846: 4844: 4821: 4815: 4814: 4812: 4810: 4787: 4781: 4780: 4778: 4776: 4765:Williams College 4753: 4747: 4746: 4744: 4742: 4719: 4713: 4712: 4710: 4708: 4685: 4679: 4678: 4676: 4674: 4653: 4647: 4646: 4644: 4642: 4619: 4613: 4612: 4610: 4608: 4589: 4583: 4582: 4580: 4578: 4559: 4553: 4552: 4550: 4548: 4529: 4523: 4522: 4520: 4518: 4507:Another Magazine 4494: 4488: 4487: 4485: 4483: 4458: 4452: 4451: 4449: 4447: 4433: 4427: 4408: 4402: 4386: 4380: 4368: 4362: 4352: 4346: 4345: 4343: 4341: 4319: 4313: 4312: 4310: 4308: 4289: 4283: 4282: 4264: 4258: 4257: 4255: 4253: 4230: 4224: 4223: 4221: 4219: 4196: 4190: 4189: 4187: 4185: 4162: 4156: 4155: 4153: 4151: 4132: 4126: 4125: 4123: 4121: 4100: 4094: 4093: 4091: 4089: 4068: 4062: 4061: 4059: 4057: 4034: 4028: 4012: 4006: 4005: 4003: 4001: 3987: 3981: 3980: 3972: 3966: 3965: 3963: 3961: 3947: 3941: 3940: 3938: 3936: 3922: 3916: 3915: 3907: 3901: 3900: 3898: 3896: 3882: 3876: 3875: 3867: 3861: 3860: 3858: 3856: 3842: 3836: 3827: 3821: 3820: 3818: 3816: 3810:creativetime.org 3802: 3796: 3795: 3793: 3791: 3777: 3771: 3770: 3763: 3757: 3744: 3738: 3737: 3735: 3733: 3719: 3713: 3700: 3694: 3693: 3691: 3689: 3675: 3669: 3668: 3666: 3664: 3650: 3644: 3643: 3641: 3639: 3623: 3615: 3609: 3600: 3594: 3593: 3591: 3589: 3570: 3564: 3555: 3550:. 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Archived from 1740: 1720:Art intervention 1705:Installation art 1685:Christopher Wool 1376:Hanover, Germany 1303:(permanent loan) 1269:Washington, D.C. 1138:, New York; and 1075:Foundation Award 862:(1993); and the 856:Whitney Biennial 579:Long Island City 114: 106:installation art 78: 56: 54: 42: 28: 27: 6549: 6548: 6544: 6543: 6542: 6540: 6539: 6538: 6429: 6428: 6389:Wayback Machine 6368: 6350: 6334: 6332:Further reading 6329: 6319: 6317: 6300: 6299: 6295: 6285: 6283: 6266: 6265: 6261: 6251: 6249: 6232: 6231: 6227: 6217: 6215: 6198: 6197: 6193: 6183: 6181: 6168: 6167: 6163: 6153: 6151: 6134: 6133: 6129: 6119: 6117: 6102: 6101: 6097: 6087: 6085: 6068: 6067: 6063: 6053: 6051: 6034: 6033: 6029: 6019: 6017: 6007: 6006: 6002: 5992: 5990: 5973: 5972: 5968: 5958: 5956: 5939: 5938: 5934: 5924: 5922: 5914:Centre Pompidou 5907: 5906: 5902: 5892: 5890: 5878: 5877: 5873: 5863: 5861: 5844: 5843: 5839: 5829: 5827: 5810: 5809: 5805: 5795: 5793: 5776: 5775: 5771: 5761: 5759: 5742: 5741: 5737: 5727: 5725: 5713: 5712: 5708: 5698: 5696: 5694:Sprengel Museum 5684: 5683: 5679: 5669: 5667: 5650: 5649: 5645: 5635: 5633: 5616: 5615: 5611: 5601: 5599: 5582: 5581: 5577: 5567: 5565: 5548: 5547: 5543: 5533: 5531: 5518: 5517: 5513: 5503: 5501: 5488: 5487: 5483: 5473: 5471: 5454: 5453: 5449: 5439: 5437: 5422: 5421: 5417: 5407: 5405: 5388: 5387: 5383: 5373: 5371: 5360:Crystal Bridges 5354: 5353: 5349: 5339: 5337: 5320: 5319: 5315: 5305: 5303: 5286: 5285: 5281: 5271: 5269: 5252: 5251: 5247: 5237: 5235: 5220: 5219: 5215: 5205: 5203: 5186: 5185: 5181: 5171: 5169: 5152: 5151: 5147: 5137: 5135: 5118: 5117: 5113: 5103: 5101: 5084: 5083: 5079: 5069: 5067: 5050: 5049: 5045: 5035: 5033: 5021: 5020: 5016: 5006: 5004: 4991: 4990: 4983: 4973: 4971: 4954: 4953: 4949: 4939: 4937: 4920: 4919: 4915: 4905: 4903: 4886: 4885: 4881: 4871: 4869: 4857: 4856: 4852: 4842: 4840: 4823: 4822: 4818: 4808: 4806: 4789: 4788: 4784: 4774: 4772: 4755: 4754: 4750: 4740: 4738: 4721: 4720: 4716: 4706: 4704: 4687: 4686: 4682: 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June 12, 2020 1888: 1887: 1883: 1873: 1871: 1853: 1849: 1839: 1837: 1828: 1827: 1823: 1813: 1811: 1808:THE LONDON LIST 1802: 1801: 1797: 1787: 1785: 1772: 1771: 1767: 1757: 1755: 1742: 1741: 1737: 1733: 1656: 1520: 1515: 1435:Centre Pompidou 1372:Sprengel Museum 1155:(jointly owned) 1124:Brooklyn Museum 1102: 1096: 1051: 1026: 1007: 962:, was shown at 956: 941:Robert Smithson 929:Venice Biennale 921:Venice Biennale 915:(1992-1995) at 906: 884:Sprengel Museum 880: 872: 809:Brooklyn Museum 793: 734:Pratt Institute 722:Pratt Institute 711: 683: 643: 463: 439: 430: 417: 408: 399: 390: 381: 372: 363: 354: 345: 336: 334:Image transfers 327: 318: 310: 301: 275: 266: 242: 233: 185: 142: 135: 128: 123: 112: 85: 80: 76: 75:January 9, 1996 67: 58: 52: 50: 33: 24: 17: 12: 11: 5: 6547: 6537: 6536: 6531: 6526: 6521: 6516: 6511: 6506: 6501: 6496: 6491: 6486: 6481: 6476: 6471: 6466: 6461: 6456: 6451: 6446: 6441: 6427: 6426: 6421: 6416: 6411: 6401: 6396: 6391: 6379: 6374: 6367: 6366:External links 6364: 6363: 6362: 6348: 6333: 6330: 6328: 6327: 6293: 6259: 6225: 6191: 6161: 6127: 6095: 6061: 6027: 6000: 5966: 5932: 5900: 5871: 5837: 5803: 5769: 5735: 5706: 5677: 5643: 5609: 5575: 5541: 5511: 5481: 5447: 5415: 5398:Whitney Museum 5381: 5347: 5313: 5279: 5245: 5213: 5179: 5145: 5111: 5077: 5043: 5014: 4981: 4947: 4913: 4879: 4850: 4816: 4782: 4748: 4731:Whitney Museum 4714: 4680: 4648: 4614: 4584: 4554: 4524: 4489: 4453: 4428: 4403: 4381: 4363: 4347: 4314: 4284: 4277: 4259: 4242:Whitney Museum 4225: 4191: 4157: 4127: 4095: 4063: 4029: 4007: 3982: 3967: 3942: 3917: 3902: 3890:www.e-flux.com 3877: 3862: 3837: 3822: 3797: 3772: 3758: 3739: 3714: 3695: 3670: 3645: 3610: 3595: 3565: 3563:. 8 June 2017. 3534: 3499: 3473: 3455: 3441: 3422: 3403: 3384: 3362: 3340: 3315: 3293: 3274: 3259: 3237: 3228: 3213: 3188: 3176: 3151: 3139: 3114: 3099: 3074: 3049: 3024: 2999: 2974: 2949: 2924: 2899: 2869: 2839: 2824: 2809: 2779: 2770: 2758: 2725: 2713: 2701: 2676: 2664: 2639: 2614: 2588: 2573: 2561: 2536: 2498: 2473: 2458: 2433: 2421: 2406: 2377: 2352: 2327: 2302: 2289: 2258: 2233: 2220: 2207: 2177: 2159: 2144: 2119: 2089: 2059: 2029: 1999: 1974: 1948: 1933: 1922:. 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