Felix Gonzalez-Torres, ‘"Untitled" (Sand)’, Christie's

Signature: eight elements--portfolio of photogravures on Somerset Satin paper in silk-covered archival box

Museum of the City of St. Petersburg, Julie Sylvester Editions/St. Petersburg: Editions by Mike Kelley, Felix Gonzalez-Torres, Richard Prince, Sue Williams, David Salle, July 1994 (another example exhibited).

Los Angeles, Margo Leavin Gallery, In the Field: Landscape in Recent Photography, October-November 1994 (another example exhibited).

New York, The Solomon R. Guggenheim Museum, Felix Gonzalez-Torres, March-May 1995, pp. 113-115 and 117 (illustrated, another example exhibited).

Munich, Akademie der Bildenden Künste, Felix Gonzalez-Torres, Roni Horn, May-October 1995, pp. 44-45 (illustrated, another example exhibited).

Musée d'Art Moderne de la Ville de Paris, Passions privées. Collections particulieères d'art moderne et contemporain en France, December 1995-March 1996, pp. 654, 660 and 663 (illustrated, another example exhibited).

Annandale-on-Hudson, Bard College, Center for Curatorial Studies, A/Drift, October 1996-January 1997, pp. 12, 104-105 (illustrated, another example exhibited).

Caracas, Museo Alejandro Otero, Sin Fronteras, November 1996-March 1997, pp. 37, 51, 74, 83-84 (illustrated, another example exhibited).

New York, Kent, Is There Still Life, September-October 1997 (another example exhibited).

Museum Moderner Kunst Stiftung Ludwig Wien, Felix Gonzalez-Torres, September-November 1998 (another example exhibited).

Annandale-on-Hudson, Bard College, Center for Curatorial Studies, Felix Gonzalez-Torres: Snapshots, September-December 1999 (another example exhibited).

Stamford, The Whitney Museum of American Art at Champion, Contemporary Narratives in American Prints, November 1999-February 2000, p. 1 (illustrated, another example exhibited).

Frankfurt am Main, Museum für Moderne Kunst, Change of Scene XVIII: Paare (Couples): Gilbert & George and Felix Gonzalez-Torres, September 2000-March 2001, pp. 33-59 (illustrated, another example exhibited).

Paris, Galerie Jennifer Flay, Always Paris, November-December 2000 (another example exhibited).

Baltimore Art Museum, Body Space, February-May 2001 (another example exhibited).

Mexico City, Ecatapec, La Colección Jumex, Theory of Leisure, January-August 2002, pp. 52, 128-129 (illustrated, another example exhibited).

Munich, Museum Villa Stuck, Hautnah: Die Sammlung Goetz, May-August 2002, pp. 39-41 (illustrated, another example exhibited).

Mexico City, Antiguo Colegio de San Ildefonso and Bogotá, Biblioteca Luis Ángel Arango, Edén, March-June 2003, pp. 128-129 (illustrated, another example exhibited).

Paris, Galerie Emmanuel Perrotin, Empreinte Moi: Une Exposition de Philippe Ségalot, October-December 2005, n.p. (illustrated, another example exhibited).

New York, The Whitney Museum of American Art, Skin is a Language, January-May 2006 (another example exhibited).

New York, El Museo del Barrio, Felix Gonzalez-Torres: Early Impressions, February-May 2006 (illustrated on the cover and inside cover, another example exhibited).

New York, The Metropolitan Museum of Art, Depth of Field: Modern Photography at the Metropolitan, September 2007-March 2008 (another example exhibited).

Annandale-on-Hudson, Bard College, Center for Curatorial Studies, Hessel Museum of Art, Second Thoughts, March-May 2008 (another example exhibited).

Southhampton, Parrish Art Museum, SAND: Memory, Meaning and Metaphor, June-September 2008, pp. 4-5, 48 and 134 (illustrated, another example exhibited).

New York, The Solomon R. Guggenheim Museum, Haunted: Contemporary Photography/Video/Performance, June-September 2010 (another example exhibited).

Miami, De La Cruz Collection Contemporary Art Space, December 2010-November 2011 (another example exhibited).

Mexico City, Ecatepec, La Colección Jumex, Destello [Glimmer], April-September 2011 (another example exhibited).

Boston, Museum of Fine Arts and Dublin, Irish Museum of Modern Art, Conversations: Photography from the Bank of America Collection, February 2011-May 2012, pp. 103 and 105 (illustrated, another example exhibited).

C. Merewether, “Felix Gonzalez-Torres: El pasado por venir,” Atlantica International, Winter 1994-1995, pp. 40-41 and 148 (illustrated).

T. Folland, “In the Field at Margo Leavin,” Art Issues, January 1995, p. 44 (illustrated).

C. Chapman, “Personal Effects: On Aspects of Work by Felix Gonzalez-Torres,” BROADsheet, Spring 1996, p. 17.

L. Ericsson, “om det Verkliga - fran Datum till Constructum,” Index, March/April 1996, p. 73 (detail illustrated).

D. Elger, Felix Gonzalez-Torres Catalogue Raisonné, Ostfildern-Ruit, 1997, p. 132, no. 264 (illustrated).

B. Arning, “a/drift,” World Art 13, 1997, pp. 74-75 (illustrated).

V.P. Hoyningen-Huene, “Wissensfortschritt? Fortschritt der Skepsis,” Du Magazin, October 1997, pp. 1.18 and 1.36 (illustrated).

C. Merewether, “A Lasting Impression,” Trace: The Liverpool Biennial of Contemporary Art, Liverpool, 2000, pp. 164-171 (illustrated).

J. Ault, ed., Felix Gonzalez-Torres, Gottingen, 2006, pp. 221-223.

K. Rosenberg, “Modern Photography in a Brand-New Space,” The New York Times, 28 September 2007 (illustrated).

K. Johnson, “A Celebration of Sand in Vast Quantities or One Grain at a Time,” The New York Times, 11 July 2008, p. E32 (illustrated).

B. Genocchio, “Celebrating the Beach, Whether in Paint or Sand,” The New York Times, 27 July 2008 (illustrated).

B. Luca, Teatro del Sogno Da Chagall A Fellini, Milan, 2010, pp. 192-193 (illustrated).

Andrea Rosen Gallery, New York

Acquired from the above by the present owner

About Felix Gonzalez-Torres

Drawing from the traditions of Minimalism and Conceptual Art, Felix Gonzalez-Torres created installations and sculptures that function as personal and political meditations on private and public life. Often referred to as process art, Gonzalez-Torres’s work focused on ideas of formation and decay: he combined household and found objects that have the potential to change over time, while also working with more enduring materials such as puzzles, light strings, and photographs. Public interactivity was an integral part of some of his most iconic pieces, including Untitled (Placebo) (1991), an arrangement of individually wrapped candies with an ideal weight of 100-120 pounds that spectators are able to take from. Gonzalez-Torres emphasized the thematic universality of his pieces; whereas he was deeply affected by the AIDS epidemic while working, the artworks themselves have ongoing political relevance. He was heavily influenced by Conceptual artists such as Joseph Kosuth and Lawrence Weiner.

American, 1958-1996, Guáimaro, Cuba, based in New York, NY, United States

Group Shows

Lentos Kunstmuseum, 
Linz, Austria,
Der nackte Mann
London, UK,
Eclipse Towards the edge of the visible

Fair History on Artsy

Hauser & Wirth at Frieze New York 2018
Andrea Rosen Gallery at Art Basel 2016
Andrea Rosen Gallery at Art Basel 2015