Cuban-born American artist Félix González-Torres (November 26, 1957 – January 9, 1996) produced a wide variety of artworks during his lifetime. Comprising pieces that are often open-ended in their formal presentation and range across many mediums, combining elements of drawing, painting, photography, printmaking, sculpture, video, and installation art, González-Torres' body of work is relatively small but influential.[1] The majority of the artist's formal works were accompanied by certificates of authenticity that often also specified - or expressly didn't specify - installation instructions, either directing the owner or presenter of the works to follow installation guidelines, or empowering them to make decisions on how to construct, arrange, or install the works.[2] Given the participatory nature of many of González-Torres' works, including his interactive paper stack and candy spill works that must eventually be replenished, these certificates also sometimes specified how to reproduce or where to purchase the materials needed to sustain the works.[3][2] For a large number of the artist's works, these certificates are the only permanent component, as the other portions of the work (e.g. piles of candy, stacks of paper, etc.) are purchased or reproduced by the owner or presenter of the work.[3][1]
Below are chronological, though incomplete, lists of the artist's works. Nearly all of González-Torres' formal works are named some variant of "Untitled", with the quotation marks a formal element of the title; many different works across different mediums have identical titles.[3] Full medium descriptions, work dimensions, and edition sizes are included with each listing, along with locations in public collections noted where known, to aid in differentiation between works. While several works on these lists were created in collaboration with other artists, these lists do not include works González-Torres created or helped create as a member of Group Material or other named artist collectives.
González-Torres' output can be sorted into three discrete categories, each of which has its own list below: formal works, disavowed "non-works," and "additional material" circulated by the artist.[4] Formal works are works of art completed or conceptualized by the artist during his lifetime that he formally considered to be part of his oeuvre; the majority of these works are extant and owned by public or private collections. The artist's formal works are the most widely known, cited, and exhibited elements of his artistic output. "Non-works" are works that the artist created and exhibited during his lifetime but later disavowed and declared no longer works of art. González-Torres disavowed and destroyed nearly all works created prior to 1988, including nearly all of the work he created while attending university in Puerto Rico and most of his early output from his time in New York.[4][5] Non-works are assumed to be destroyed unless otherwise noted.[4] "Additional material" comprises sketches, photographs, objects, and other ephemera that had served as precursors to the final physical or conceptual form of formal works, as well as versions of formal works outside of the official editions. The artist circulated these materials with friends, collectors, and other artists, but did not consider them to be formal works of art.[5][4] Many of the additional materials are nearly identical to formal works by the artist.[4] Additionally, some public and private collections have retained or acquired individual papers from installations of one or more of the artist's endlessly replenishable paper stack works;[6][7][8] these individual sheets were not considered works in themselves by the artist and these collections are not included on these lists.[3]
Images of González-Torres' work are subject to copyright by the Felix Gonzalez-Torres Foundation, formed in 2002 by the artist's estate as the sole licensor of copyright. Catalogue numbers are references to the 1997 catalogue raisonné of the artist's work, along with the Foundation's public archival catalogue.[9] Neither of these catalogues include every piece of material the artist created or conceptualized during his lifetime, and these lists may not be exhaustive.
List of formal works
editFormal works are works of art deemed to be part of González-Torres' oeuvre by the artist during his lifetime. Three works on this list were conceptualized during the artist's lifetime and executed posthumously. Catalogue numbers for formal works were formatted as a sequential numbered list in the 1997 catalogue raisonné; the corresponding catalogue numbers were amended and re-numbered for the Felix Gonzalez-Torres Foundation's public catalogue, in line with the numbering system from the artist's original gallery catalogue.[10] This list defaults to sorting works by their catalogue number in the Foundation's catalogue.
Many of the works in González-Torres' formal oeuvre were accompanied by certificates of authenticity; six series of works in particular were universally accompanied by these certificates.[3] The certificates for these series - replenishable stacks, candy pieces, billboards, lightstrings, beaded curtains, and date portraits - included extensive language defining the works conceptually and physically. Replenishable stacks, date portraits, beaded curtains, and candy pieces are marked in the Notes column on the full list of works to distinguish them from others.
- Replenishable stacks: Certificates include the original type and weight of paper used for the first manifestation of the work, with instructions to use a similar paper if the original is not available; descriptions of what is printed on the paper and how it was printed; an ideal height at which the stack should be installed; instructions allowing viewers to take individual sheets from the installed work; instructions allowing the owner to replenish the stack; language specifying that individual sheets taken from the work do not themselves comprise individual works of art; and language defining the work as unique by its ownership, explained to mean that it can be manifested in multiple locations at once without its uniqueness being threatened.[3]
- Candy pieces: Certificates include the original type of candy or wrapper used for the first manifestation of the work and the original supplier of the candy, with instructions to use a similar candy if the original is unavailable; an ideal weight at which the piece should be installed and the original installation layout; instructions allowing viewers to take individual candies from the installed work; instructions allowing the owner to install the work in a layout of their liking and to replenish the candies when they see fit; and language defining the work as unique by its ownership, explained to mean that it can be manifested in multiple locations at once without its uniqueness being threatened.[3]
- Billboards: Certificates include the original image for the work; language allowing the owner to install the image as a billboard, concurrently in multiple public outdoor locations as many times as desired, as well as applied directly to a wall indoors in one place at a time, printed to the size of the entire wall; instructions on how to crop the image; requirements for the work to be installed outdoors at least once if borrowed for an exhibition; and language defining documentation of the work as a formal conceptual element, along with requests for owners and exhibitors to document each installation of the work.[10] Three billboard works significantly differ in their conceptual format, as noted in the full list: "Untitled" (Portrait of Austrian Airlines) (1993); "Untitled" (For Parkett) (1994); and "Untitled" (1994-1995).
- Lightstrings: Certificates include technical specifications about the lights, sockets, and cords, with instructions to use similar bulbs if the originals are unavailable; language defining the work as complete when owners choose their own unique configuration and install it; instructions allowing the work to be installed in different manifestations whenever the owner desires; requirements for the bulbs to be replaced as they burn out; and instructions to exhibit the work with all the lights either on or off.[10]
- Beaded curtains: Certificates include the original type, dimension, color, and order of beads used for the first manifestation of the work, with instructions to use a similar bead if the originals are unavailable; instructions allowing the owner to install the work in one or more entranceways into a room; and requirements that the beads hang from the ceiling to the floor and span the width of the entire entranceway.[10]
- Date portraits: Certificates include the original text and years chosen by the artist and owner; instructions allowing the owner to add to or subtract from the original list of text and years, as well as to change the location of the work; ideal installation instructions, with the work painted directly onto the wall(s) just below where the wall meets the ceiling; color and font specifications, with the text to be in silver paint and Trump Mediaeval Bold Italic typeface on a wall color of the owner's choice; instructions allowing the text size to change whenever the work is reinstalled to fit the new location; and language defining the work as unique by its ownership, explained to mean that it can be manifested in multiple locations at once without its uniqueness being threatened.[10]
Abbreviations: AP = Artist's proof; AAP = Additional artist's proof; PP = Printer's proof; CR = catalogue raisonné
| Title | Year | Medium | Dimensions | Edition size | Public collection(s) | 1997 CR no. | Foundation cat. no. | Notes |
|---|---|---|---|---|---|---|---|---|
| "Untitled" (Ischia) | 1986 | Gold paint and aquatint on paper, framed | 20 x 50 in (50.8 x 127 cm) overall; three parts, 20 x 15 3/4 in (50.8 x 40 cm) each | 1 | 1[4] | GF1986-001[11] | ||
| "Untitled" | 1986 | Framed Cibachrome | 9 x 9 in (22.86 x 22.86 cm) | 1 | 2[4] | GF1986-003[12] | ||
| "Untitled" (Wall Street) | 1986 | Framed C-print | 46 1/2 x 39 in (118.11 x 99.06 cm) | 1, 1 AP with 2 AAPs | Vancouver Art Gallery[13] | 3[4] | GF1986-005[14] | |
| "Untitled" | 1986 | Framed C-print | 15 1/4 x 17 in (38.73 x 43.18 cm) | 2 | 4[15] | GF1986-006[16] | ||
| "Untitled" | 1987 | Framed photostat | 8 1/4 x 10 1/4 in (20.95 x 26.03 cm) | 1, 1 AP with 2 AAPs | 5[15] | GF1987-001[17] | ||
| "Untitled" | 1987 | Glass, rubber, black and white photo, and wooden pedestal | 67 x 12 x 12 in (170.18 x 30.48 x 30.48 cm) overall; bottle: 7 x 3 x 2 in (17.78 x 7.62 x 5.08 cm) | 1 | 6[15] | GF1987-002[18] | ||
| "Untitled" | 1987 | China plates with lacquered c-prints | 48 x 60 in (121.92 x 152.4 cm) overall [approx.]; eight parts | 1 | 7[19] | GF1987-003[20] | ||
| "Untested" | 1987 | Glass bottle, newsprint, and pedestal | 53 3/4 x 16 x 12 in (136.52 x 40.64 x 30.48 cm) overall; bottle: 5 3/4 x 2 x 2 in (14.6 x 5.08 x 5.08 cm) | 1 | Museum of Modern Art, New York[21] | 8[19] | GF1987-005[22] | Listed in 1997 CR and Museum of Modern Art collection database as "Untitled", without pedestal[19][21] |
| "Double Fear" | 1987 | Rub-on transfer | 4 1/2 x 9 1/2 in (11.43 x 24.13 cm) overall; ten parts | 20 | 9[23] | GF1987-006[24] | Published by the artist[23] | |
| "Untitled" | 1987 | Acrylic and newsprint on canvas | 8 in (20.32 cm) diameter | 1 | 20[25] | GF1987-008[26] | Listed in 1997 CR as "Untitled" (Double Fear)[25] | |
| "Untitled" | 1987 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 10[23] | GF1987-010[27] | ||
| "Untitled" | 1987 | C-print jigsaw puzzles, framed | 92 x 20 in (233.68 x 50.8 cm) overall; three parts; frames: 14 1/8 x 15 7/8 in (35.88 x 40.32 cm) each; puzzles: 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) each | 1 | 11[23] | GF1987-011[28] | ||
| "Untitled" (Just Say No) | 1987 | Offset print on acetate | 11 x 14 in (27.94 x 35.56 cm) | 1 | 12[23] | GF1987-014[29] | ||
| "Untitled" (Double Fear) | 1987 | Acrylic and newsprint on canvas | 8 in (20.32 cm) diameter | 1 | 13[30] | GF1987-015[31] | ||
| "Untitled" (Double Fear) | 1987 | Acrylic and newsprint on canvas | 8 in (20.32 cm) diameter | 1 | 14[30] | GF1987-016[32] | ||
| "Untitled" (Double Fear) | 1987 | Acrylic and newsprint on canvas | 8 in (20.32 cm) diameter | 1 | 15[30] | GF1987-017[33] | ||
| "Untitled" | 1987 | Framed photostat | 8 1/2 x 10 3/8 in (21.59 x 26.35 cm) | 3, 1 AP | 16[30] | GF1987-019[34] | ||
| "Untitled" (Fear) | 1986/1987 | Glass bottle and newsprint | 6 x 2 1/2 in (15.24 x 6.35 cm) | 1 | 17[35] | GF1987-022[36] | ||
| "Untitled" | 1986/1987 | Glass bottle and newsprint | 8 1/2 x 3 1/4 x 3 1/4 in (21.59 x 8.25 x 8.25 cm) | 1 | 18[35] | GF1987-023[37] | ||
| "Untitled" | 1986/1987 | Glass bottle and newsprint | 5 3/4 x 2 x 2 in (14.6 x 5.08 x 5.08 cm) | 1 | 19[25] | GF1987-024[38] | ||
| "Untitled" | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Whitney Museum, New York[39] | 27[40] | GF1988-001[41] | |
| "Untitled" | 1988 | Framed photostat | 10 1/2 x 13 in (26.67 x 33.02 cm) | 1, 1 AP | 24[42] | GF1988-002[43] | ||
| "Untitled" | 1988 | Framed photostat | 10 1/4 x 13 in (26.67 x 33.02 cm) | 3, 1 AP | 23[42] | GF1988-003[44] | ||
| "Untitled" | 1988 | Framed photostat | 8 1/4 x 10 1/4 in (26.67 x 20.95 cm) | 3, 1 AP | Museum of Contemporary Art San Diego;[45] and Tate, London[46] | 22[25] | GF1988-004[47] | Listed in 1997 CR as a 1987 work[25] |
| "Untitled" | 1988 | Framed photostat | 10 1/2 x 11 3/4 in (26.67 x 29.84 cm) | 1, 1 AP | 25[40] | GF1988-005[48] | ||
| "Untitled" (Cold Blue Snow) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP with 1 AAP | 29[49] | GF1988-006[50] | ||
| "Untitled" (Cold Blue Snow) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 30[49] | GF1988-007[51] | ||
| "Untitled" | 1988 | C-print jigsaw puzzle in plastic bag | 9 1/2 x 7 1/2 in (24.13 x 19.05 cm) | 3, 1 AP | 31[52] | GF1988-008[53] | ||
| "Untitled" | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Whitney Museum, New York[54] | 32[52] | GF1988-009[55] | |
| "Untitled" (Venezia) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 33[52] | GF1988-010[56] | ||
| "Untitled" (Loverboy) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 28[49] | GF1988-011[57] | ||
| "Untitled" (Madrid 1971) | 1988 | C-print jigsaw puzzles in plastic bag and wall lettering | 15 x 18 in (38.1 x 45.72 cm) overall; three parts; puzzle one: 9 1/2 x 7 1/2 in (24.13 x 19.05 cm); puzzle two: 7 1/2 x 9 1/2 in (19.05 x 24.13 cm); wall lettering: 1/2 x 3 in (1.27 x 7.62 cm) | 1 | 21[25] | GF1988-012[58] | Listed in 1997 CR as a 1987 work[25] | |
| "Untitled" | 1988 | Wooden pedestal and photocopy on paper, endless copies | Stack: 6 in (15.24 cm) at ideal height x 11 x 8 1/2 in (27.94 x 21.59 cm) [original paper size]; pedestal: 30 x 12 1/2 x 9 1/2 in (76.2 x 31.75 x 24.13 cm) | 1 | 26[40] | GF1988-013[59] | Replenishable stack | |
| "Untitled" (7 Days of Bloodworks) | 1988 | Gesso, acrylic, and graphite on canvas | Overall dimensions variable; ideal overall dimensions: 20 x 121 in (50.8 x 307.34 cm); seven parts, 20 x 16 in (50.8 x 40.64 cm) each | 1 | Rachofsky Collection, Dallas[60] | 34[61] | GF1988-015[62] | |
| "Untitled” (Love Letter From The War Front) | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Museum Boijmans Van Beuningen, Rotterdam, Netherlands (permanent loan);[63] and Whitney Museum, New York[64] | 35[65] | GF1998-016[66] | |
| "Untitled" | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 2, 1 AP | 36[65] | GF1988-017[67] | ||
| “Untitled” (Klaus Barbie as a Family Man) | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP with 2 AAPs | Colección Jumex, Mexico City;[68] Hamburger Kunsthalle, Hamburg, Germany;[69] and Whitney Museum, New York[70] | 38[71] | GF1988-018[72] | |
| "Untitled" | 1988 | Framed photostat | 10 1/2 x 13 in (26.67 x 33.02 cm) | 1, 1 AP | 37[65] | GF1988-019[73] | ||
| "Untitled" | 1988 | Framed photostat | 11 x 14 in (27.94 x 35.56 cm) | 2, 1 AP with 1 AAP | 39[74] | GF1988-020[75] | ||
| "Untitled" | 1988 | Framed photostat | 10 1/2 x 11 3/4 in (26.67 x 29.84 cm) | 1, 1 AP | 30[74] | GF1988-021[76] | ||
| "Forbidden Colors" | 1988 | Acrylic on panel | 20 x 68 in (50.8 x 172.72 cm) overall; four parts, 20 x 16 in (50.8 x 40.64 cm) each | 1 | Museum of Contemporary Art, Los Angeles[77] | 41[74] | GF1988-022[78] | |
| "Untitled" | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 2 APs with 1 AAP | Whitney Museum, New York[79] | 42[80] | GF1988-023[81] | |
| "Untitled" | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 1, 1 AP | Whitney Museum, New York[82] | 43[80] | GF1988-024[83] | |
| "Untitled" | 1988 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Whitney Museum, New York[84] | 44[85] | GF1988-025[86] | |
| "Untitled" | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 2, 1 AP | 45[85] | GF1988-026[87] | ||
| "Untitled" (Me and My Sister) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 46[85] | GF1998-027[88] | ||
| "Untitled" (Self Portrait with Sister) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 47[89] | GF1988-028[90] | ||
| "Untitled" (Warm Water) | 1988 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 48[89] | GF1988-029[91] | ||
| "Untitled" (Photomugs) | 1986/1988 | Plastic mug with black and white photograph | 4 in (10.16 cm) height; 3 1/2 in (8.89 cm) diameter | 20, 2 APs | 49[89] | GF1988-030[92] | Published by the artist[89] | |
| "Untitled" (1988) | 1988 | Framed photostat | 10 1/4 x 13 in (26.03 x 33.02 cm) | 1, 1 AP | 50[93] | GF1988-031[94] | ||
| "Untitled" | 1988 | Framed photostat | 9 x 11 in (22.86 x 27.94 cm) | 2, 1 AP | 51[93] | GF1988-032[95] | ||
| "Untitled" (1988) | 1988 | Framed photostat | 8 1/4 x 10 1/4 in (20.95 x 26.03 cm) | 2, 1 AP | 52[93] | GF1988-033[96] | ||
| "Untitled" (Double Fear) | 1987-1988 | Acrylic and newsprint on canvas | 8 in (20.32 cm) diameter | 1 | Not listed | GF1988-034[97] | ||
| "Untitled" (Loverboy) | 1989 | Sheer blue fabric and hanging device | Dimensions variable | 1 | Dia Art Foundation, New York[98] | 53[99] | GF1989-001[100] | Previously exhibited and published as "Untitled"; "Untitled" (For Ross); "Untitled" (Fear); and "Untitled" (Blue Curtains)[99] |
| "Untitled" (Paris 1989) | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 54[99] | GF1989-002[101] | ||
| "Untitled" (Paris, Last Time, 1989) | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 55[102] | GF1989-003[103] | ||
| "Untitled" | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 2, 1 AP | 56[102] | GF1989-004[104] | ||
| "Untitled" | 1989 | Framed silkscreen on paper | 16 1/2 x 21 3/4 in (41.91 x 55.24 cm) | 250, 10 APs | Art Institute of Chicago;[105] Brooklyn Museum, New York;[106] Museum of Modern Art, New York;[107] Whitney Museum, New York;[108] and Williams College Museum of Art, Williamstown, Massachusetts[109] | 57[110] | GF1989-005[111] | Published by Public Art Fund, New York; 161 versions were reclaimed by the artist to form "Untitled" (1991) [GF1991-010][111] |
| "Untitled" (Bloodworks) | 1989 | Graphite, colored pencil, and tempera on paper, framed | 12 1/4 x 19 1/2 in (31.11 x 49.53 cm) | 1 | 58[110] | GF1989-006[112] | ||
| "Untitled" | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP with 3 AAPs | 59[110] | GF1989-007[113] | ||
| "Untitled" | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 60[114] | GF1989-008[115] | ||
| "Untitled" | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 61[114] | GF1989-009[116] | ||
| "Untitled" (Waldheim to The Pope) | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 62[117] | GF1989-010[118] | ||
| "Untitled" (Key West Weekend) | 1989 | C-print jigsaw puzzle and Plexiglas pedestal | Puzzle: 7 1/2 x 9 1/2 in (19.05 x 24.13 cm); pedestal: 36 x 10 1/2 x 8 1/2 in (91.44 x 26.67 x 21.59 cm) | 1 | 63[117] | GF1989-011[119] | ||
| "Untitled" (Veterans Day Sale) | 1989 | Print on paper, endless copies | 22 in (55.88 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | Milwaukee Art Museum[120] | 64[121] | GF1989-012[122] | Replenishable stack; text on paper: "VETERANS DAY SALE"; originally exhibited together with "Untitled" (Memorial Day Weekend) (1989) as "Untitled" (Monuments)[121] |
| "Untitled" | 1989 | Billboard | Dimensions variable | 1 | 65[121] | GF1989-013[123] | ||
| "Untitled" (White Legal) | 1989 | Metal magazine rack and photocopy on paper, endless copies | 65 1/2 x 9 3/4 x 4 1/8 in (166.37 x 24.76 x 10.48 cm) overall; paper: 14 x 8 1/2 in (35.56 x 21.59 cm) | 1 | 66[124] | GF1989-016[125] | ||
| "Untitled" (Monument) | 1989 | Print on paper, endless copies | 20 in (50.8 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | 67[126] | GF1989-017[127] | Replenishable stack; text on paper: "TEN MEN CAME, ONLY THREE RETURNED"[126] | |
| "Untitled" (Bloodworks) | 1989 | Graphite and tempera on paper, framed | Overall dimensions variable; five parts, 16 1/2 x 15 in (41.91 x 38.1 cm) each | 1 | 68[126] | GF1989-018[128] | ||
| "Untitled" (Memorial Day Weekend) | 1989 | Print on paper, endless copies | 22 in (55.88 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | 69[126] | GF1989-019[129] | Replenishable stack; text on paper: "MEMORIAL DAY WEEKEND"; originally exhibited together with "Untitled" (Veterans Day Sale) (1989) as "Untitled" (Monuments)[130] | |
| "Untitled" | 1989 | Paint on wall | Dimensions variable | 1 | Art Institute of Chicago, and San Francisco Museum of Modern Art (jointly owned)[131][132] | 70[130] | GF1989-020[133] | Date portrait |
| "Untitled" (Still Life) | 1989 | Print on paper, endless copies | 6 in (15.24 cm) at ideal height x 11 x 8 1/2 in (27.94 x 21.59 cm) [original paper size] | 1 | 71[130] | GF1989-022[134] | Replenishable stack | |
| "Untitled" (Oscar Wilde's Tombstone) | 1989 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 72[135] | GF1989-023[136] | ||
| "Untitled" (New Supreme Justice) | 1989 | Gesso on canvas | Overall dimensions variable; ideal overall dimensions: 35 x 88 1/2 in (88.9 x 224.79 cm) [approx.]; five parts; part one: 16 3/4 x 14 in (42.54 x 35.56 cm); part two: 23 7/8 x 14 in (60.64 x 35.56 cm); part three: 30 x 20 in (76.2 x 50.8 cm); part four: 24 x 20 in (60.96 x 50.8 cm); part five: 20 7/8 x 20 in (53.02 x 50.8 cm) | 1 | 73[135] | GF1989-024[137] | ||
| "Untitled" (God Bless Our Country and Now Back to War) | 1989 | Collage on paper, framed | 15 3/4 x 65 in (40 x 165.1 cm) overall; four parts, 15 3/4 x 12 7/8 in (40 x 32.7 cm) each | 1 | 74[135] | GF1989-025[138] | ||
| "Untitled" (Blue Cross) | 1990 | Blue fabric and paper, endless copies, 4 stacks | 9 in (22.86 cm) at ideal height x 59 x 59 in (149.86 x 149.86 cm) overall; four parts, 9 in (22.86 cm) at ideal height x 23 x 23 in (58.42 x 58.42 cm) each [original paper size] | 1 | 75[139] | GF1990-001[140] | Replenishable stacks; four stacks arranged in a square[139] | |
| "Untitled" | 1990 | Print on paper, endless copies, 3 stacks | 17 in (43.18 cm) at ideal height x 87 x 23 in (220.98 x 58.42 cm) overall; three parts; first stack: 17 in (43.18 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size]; second stack: 12 in (30.48 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size]; third stack: 8 in (20.32 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | Museum of Modern Art, New York[141] | 76[139] | GF1990-002[142] | Replenishable stacks; three stacks attached to each other[139] |
| "Untitled" (Loverboy) | 1990 | Blue paper, endless supply | 7 1/2 in (19.05 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | 78[143] | GF1990-003[144] | Replenishable stack | |
| "Untitled" (The End) | 1990 | Print on paper, endless copies | 22 in (55.88 cm) at ideal height x 28 x 22 in (71.12 x 55.88 cm) [original paper size] | 1 | Museum of Contemporary Art, Chicago[145] | 77[139] | GF1990-004[146] | Replenishable stack |
| "Untitled" | 1990 | Print on paper, endless copies | 15 1/2 in (39.37 cm) at ideal height x 29 x 22 1/2 in (73.66 x 57.15 cm) [original paper size] | 1 | 79[147] | GF1990-005[148] | Replenishable stack; two stacks attached to each other[147] | |
| "Untitled" | 1990 | Rub-on transfer | 11 in (27.94 cm) diameter | 20 | 80[147] | GF1990-006[149] | Published by the artist[147] | |
| "Untitled" | 1990 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | Hamburger Kunsthalle, Hamburg, Germany[150] | 82[151] | GF1990-008[152] | Replenishable stack |
| "Untitled" (Join) | 1990 | Print on paper, endless copies | 36 in (91.44 cm) at ideal height x 28 13/16 x 22 7/16 in (73.18 x 56.99 cm) [original paper size] | 1 | Rubell Museum, Miami / Washington, D.C.[153] | 81[147] | GF1990-009[154] | Replenishable stack; created in collaboration with artist Michael Jenkins (b. 1957)[154] |
| "Untitled" (Blue Mirror) | 1990 | Print on paper, endless copies | 20 in (50.8 cm) at ideal height x 28 x 22 in (71.12 x 55.88 cm) [original paper size] | 1 | 84[155] | GF1990-010[156] | Replenishable stack | |
| "Untitled" | 1990 | Print on paper, endless copies | 25 in (63.5 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | 83[151] | GF1990-011[157] | Replenishable stack | |
| "Untitled" (Blue Mirror) | 1990 | Print on paper, endless copies | 71.1 cm (28 in) at ideal height x 73.7 x 58.4 cm (29 x 23 in) [original paper size] | 1 | 85[155] | GF1990-012[158] | Replenishable stack; ideal size formatted by the artist as a metric measurement | |
| "Untitled" (Fortune Cookie Corner) | 1990 | Fortune cookies, endless supply | Overall dimensions variable; original installation: 10,000 fortune cookies [approx.] | 1 | 86[155] | GF1990-013[159] | Candy piece | |
| "Untitled" | 1990 | Embossed paper in archival box | 8 x 14 x 14 in (20.32 x 35.56 x 35.56 cm) | 12, 5 APs | Barcelona Museum of Contemporary Art;[160] and Walker Art Center, Minneapolis[161] | 90[162] | GF1990-014[163] | Published by Santa Monica Editions, Los Angeles, and Andrea Rosen Gallery, New York[163] |
| "Untitled" | 1990 | Metal first aid kit, paper, and clock | 10 1/2 x 7 5/8 x 2 1/8 in (26.67 x 19.37 x 5.4 cm) | 1 | 89[164] | GF1990-015[165] | ||
| "Untitled" | 1990 | Print on red paper, endless copies | 28 in (71.12 cm) at ideal height x 28 3/4 x 22 1/4 in (73.02 x 56.51 cm) [original paper size] | 1 | Fonds national d'art contemporain, Centre national des arts plastiques, Paris[166] | 87[164] | GF1990-016[167] | Replenishable stack; text on paper: "Himmler," "Hate," "Hole," "Helms," (front), "HOW MANY TIMES? FOR HOW LONG? WHY?" (back)[164] |
| "Untitled" (For White Columns) | 1990 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 6, 2 APs | 88[164] | GF1990-017[168] | ||
| "Untitled" (Shield) | 1990 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 91[162] | GF1990-018[169] | ||
| "Untitled" (Girlfriend in a Coma) | 1990 | Paint on wall and embossed paper, endless copies | Overall dimensions variable; stack: 12 in (30.48 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | 92[170] | GF1990-019[171] | Replenishable stack | |
| "Untitled" (A Corner of Baci) | 1990 | Baci chocolates, endless supply | Overall dimensions variable; original installation: 42 lb (19 kg) [approx.] | 1 | Museum of Contemporary Art, Los Angeles[172] | 99[173] | GF1990-020[174] | Candy piece |
| "Untitled (NRA - National Rifle Association) | 1990 | Print on red paper, endless copies | Original drawing: 20-22 in (50.8-55.88 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [approx.]; original installation: 20 in (50.8 cm) at ideal height x 33 1/4 x 26 1/4 in (84.45 x 66.67 cm) [original paper size] | 1 | 93[170] | GF1990-021[175] | Replenishable stack | |
| "Untitled" (t-cell count) | 1990 | Graphite, colored pencil, and gouache on paper, framed | 19 1/2 x 15 3/4 in (49.53 x 40 cm) | 1 | 95[176] | GF1990-023[177] | ||
| "Untitled" (t-cell count) | 1990 | Graphite and gouache on paper, framed | 19 3/4 x 15 3/4 in (50.16 x 40 cm) | 1 | 94[170] | GF1990-024[178] | ||
| "Untitled" (t-cell count) | 1990 | Graphite and gouache on paper, framed | 19 1/2 x 15 3/4 in (49.53 x 40 cm) | 1 | Art Institute of Chicago[179] | 96[176] | GF1990-025[180] | |
| "Untitled" (t-cell count) | 1990 | Graphite, colored pencil, and gouache on paper, framed | 19 1/2 x 15 3/4 in (49.53 x 40 cm) | 1 | 97[176] | GF1990-026[181] | ||
| "Untitled" (t-cell count) | 1990 | Graphite, colored pencil, and gouache on paper, framed | 19 1/2 x 15 3/4 in (49.53 x 40 cm) | 1 | Museum of Modern Art, New York[182] | 98[173] | GF1990-027[183] | |
| "Untitled" (Silver Beach) | 1990 | Print on paper, endless copies | 50.8 cm (20 in) at ideal height x 76.2 x 67.7 cm (30 x 26 2/3 in) [original paper size] | 1 | Art Institute of Chicago[184] | 103[185] | GF1990-030[186] | Replenishable stack; ideal size formatted by the artist as a metric measurement |
| "Untitled" (Beautiful, in conjunction with Louise Lawler) | 1990 | Print on paper, endless copies | 36 in (91.44 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | 101[187] | GF1990-031[188] | Replenishable stack; created in collaboration with Louise Lawler[188] | |
| "Untitled" (USA Today) | 1990 | Candies in red, silver, and blue wrappers, endless supply | Overall dimensions variable; ideal weight: 300 lb (136 kg) | 1 | Museum of Modern Art, New York[189] | 106[190] | GF1990-032[191] | Candy piece |
| "Untitled" (Death by Gun) | 1990 | Print on paper, endless copies | 9 in (22.86 cm) at ideal height x 45 x 33 in (114.3 x 83.82 cm) [original paper size] | 1 | Museum of Modern Art, New York[192] | 100[193] | GF1990-036[194] | Replenishable stack |
| "Untitled" (Natural History) | 1990 | Framed black and white photographs | Overall dimensions variable; thirteen parts, 16 3/4 x 20 1/4 in (42.54 x 51.43 cm) each | 3 | Des Moines Art Center, Iowa (Ed. 3, photograph A);[195] Rachofsky Collection, Dallas (Ed. 1, complete set);[60] Tokyo Photographic Art Museum (Ed. 3, photograph I);[196][197] and Walker Art Center, Minneapolis (Ed. 3, photograph F)[198] | 107[199] | GF1990-038[200] | Photograph titles: Patriot (A), Historian (B), Ranchman (C), Scientist (D), Soldier (E), Humanitarian (F), Author (G), Conservationist (H), Naturalist (I), Scholar (J), Explorer (K), Statesman (L), Club 21 (M);[199] Ed. 1 and 2 were sold as complete sets which must remain under sole ownership, Ed. 3 was split into its component photographs which were sold individually; all three editions include photograph M (Club 21), but the artist deemed that it should not be exhibited with Ed. 1 or 2 when they are publicly shown[200] |
| "Untitled" | 1982/1990 | Newsprint on paper, framed | 12 3/4 x 34 in (32.38 x 86.36 cm) overall; three parts, 12 3/4 x 10 in (32.38 x 25.4 cm) each | 1 | 105[190] | GF1990-039[201] | ||
| "Untitled" (Perfect Lovers) | 1987-1990 | Wall clocks | Overall dimensions variable; two parts, ideally installed above head height; original clocks: 13 1/2 in (34.29 cm) diameter each | 3, 1 AP | Dallas Museum of Art;[202] Glenstone, Potomac, Maryland;[203] and Wadsworth Atheneum, Hartford, Connecticut[204] | 108[205] | GF1990-040[206] | Consists of two black-framed, battery-operated commercial clocks; separate artwork from "Untitled" (Perfect Lovers) (1991) [GF1991-007][207] |
| "Untitled" | 1989/1990 | Print on paper, endless copies, 2 stacks | 26 in (66.04 cm) at ideal height x 29 x 56 in (73.66 x 142.24 cm) overall; two parts, 26 in (66.04 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) each [original paper size] | 1 | 104[185] | GF1990-041[208] | Replenishable stacks; text on paper: "SOMEWHERE BETTER THAN THIS PLACE" (first stack), "NOWHERE BETTER THAN THIS PLACE" (second stack);[190] listed in 1997 CR as a 1990 work[185] | |
| "Untitled" (Spaghetti) | 1990 | Print on paper, endless copies | 8 1/2 in (21.59 cm) at ideal height x 58 x 42 in (147.32 x 106.68 cm) [original paper size] | 1 | 102[187] | GF1990-042[209] | Replenishable stack | |
| "Untitled" (Welcome Back Heroes) | 1991 | Bazooka Bubble Gum, endless supply | Overall dimensions variable; ideal weight: 200 kg (440 lb) | 1 | 109[207] | GF1991-001[210] | Candy piece; ideal weight formatted by the artist as a metric measurement[207] | |
| "Untitled" (The New Plan) | 1991 | Billboard | Dimensions variable | 1 | 110[207] | GF1991-002[211] | ||
| "Untitled" (Portrait of the Wongs) | 1991 | Paint on wall | Dimensions variable | 1 | 111[212] | GF1991-003[213] | Date portrait | |
| "Untitled" (Revenge) | 1991 | Blue candies in clear wrappers, endless supply | Overall dimensions variable; ideal weight: 325 lb (147 kg) | 1 | 113[214] | GF1991-004[215] | Candy piece | |
| "Untitled" (Loverboy) | 1991 | Silkscreen on cotton t-shirt | Size XL | 250 | Walker Art Center, Minneapolis[216] | 114[214] | GF1991-006[217] | Published by Fundacion Caja de Pensiones, Madrid, in conjunction with El Jardin Salvaje (1991)[214] |
| "Untitled" (Perfect Lovers) | 1991 | Wall clocks and paint on wall | Overall dimensions variable; two parts, ideally installed above head height; original clocks: 14 in (35.56 cm) diameter each | 1 | Museum of Modern Art, New York[218] | 112[212] | GF1991-007[219] | Consists of two white-framed, battery-operated commercial clocks and paint on wall; separate artwork from "Untitled" (Perfect Lovers) (1987-1990) [GF1990-040][212] |
| "Untitled" (14 Days of Bloodworks) | 1991 | Acrylic, gesso, and graphite on canvas | Overall dimensions variable; fourteen parts, 20 x 16 in (50.8 x 40.64 cm) each | 1 | 115[220] | GF1991-008[221] | ||
| "Untitled" (Lover Boys) | 1991 | Candies in silver wrappers, endless supply | Overall dimensions variable; ideal weight: 355 lb (161 kg) | 1 | 116[220] | GF1991-009[222] | Candy piece | |
| "Untitled" | 1991 | Silkscreen on paper | 3 5/8 x 21 3/4 x 16 1/2 in (9.21 x 55.24 x 41.91 cm) overall; one hundred sixty one parts, 16 1/2 x 21 3/4 in (41.91 x 55.24 cm) each | 1 | Solomon R. Guggenheim Museum, New York[223] | 120[224] | GF1991-010[225] | Created with 161 reclaimed versions of "Untitled" (1989) [GF1989-005], stacked at 16 1/2 in height[225] |
| "Untitled" (March 5th) #1 | 1991 | Mirror | 12 x 24 in (30.48 x 60.96 cm) overall; two parts, ideally installed at head height, 12 in (30.48 cm) diameter each | 1 | 117[220] | GF1991-011[226] | ||
| "Untitled" (March 5th) #2 | 1991 | Light bulbs, porcelain light sockets, and electrical cords | Overall dimensions variable; two parts, 113 in (287.02 cm) height each[227] | 20, 2 APs | Art Institute of Chicago;[228] Cleveland Museum of Art;[229] Museum of Contemporary Art, Los Angeles;[230] Nelson-Atkins Museum of Art, Kansas City, Missouri;[231] Tate, London;[232] and University of Michigan Museum of Art, Ann Arbor[233] | 118[227] | GF1991-012[234] | Published by the artist and Andrea Rosen Gallery, New York[227] |
| "Untitled" (Ross in L.A.) | 1991 | Print on paper, endless copies | 10 in (25.5 cm) at ideal height x 29 x 23 in (78.4 x 62 cm) [original paper size] | 3 | Institute of Contemporary Art, Miami;[235] and National Gallery of Art, Washington, D.C.[236] | 119[227] | GF1991-013[237] | Replenishable stack |
| "Untitled" (Portrait of Michael Jenkins) | 1991 | Paint on wall | Dimensions variable | 1 | Harvard Art Museums, Cambridge, Massachusetts[238] | 121[224] | GF1991-014[239] | Date portrait |
| "Untitled" (Lover Boys) | 1991 | Blue-and-white spiral candies in clear wrappers, endless supply | Overall dimensions variable; ideal weight: 355 lb (161 kg) | 1 | Glenstone, Potomac, Maryland[203] | 122[224] | GF1991-015[240] | Candy piece |
| "Untitled" (L.A.) | 1991 | Green candies in clear wrappers, endless supply | Overall dimensions variable; original dimensions: 192 x 14 x 1 1/2 in (487.68 cm x 35.56 x 3.81 cm) [approx.]; original weight: 50 lb (22.6 kg) | 1 | Crystal Bridges Museum of American Art and Art Bridges Foundation, Bentonville, Arkansas (jointly owned)[241] | 123[242] | GF1991-016[243] | Candy piece |
| "Untitled" | 1991 | Wooden box, paper, photographs, magazines, postcards, and other objects | 2 1/2 x 10 1/4 x 12 1/2 in (6.35 x 26.03 x 31.75 cm) | 1 | 124[242] | GF1991-018[244] | The artist deemed that the work should only be displayed privately by the collector who purchased it, meaning it is represented in exhibitions with wall text but remains physically at the collector's private home;[245] objects were added to the work by the artist over time following its sale, including one AP each of "Untitled" (1991) [GF1991-081] and "Untitled" (Key West) (1992), which are not themselves autonomous works of art and must remain with this work.[242] | |
| "Untitled" (We Don't Remember) | 1991 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 29 x 23 in (73.66 x 58.42 cm) [original paper size] | 1 | Staatliche Kunstsammlungen Dresden, Germany[246] | 125[242] | GF1991-019[247] | Replenishable stack; text on paper: "WIR ERINNERN UNS NICHT"[242] |
| "Untitled" (Placebo) | 1991 | Candies in silver wrappers, endless supply | Overall dimensions variable; ideal weight: 1,000–1,200 lb (453–544 kg) | 1 | Museum of Modern Art, New York[248] | 126[249] | GF1991-020[250] | Candy piece |
| "Untitled" (Implosion) | 1991 | Silkscreen on Coventry rag paper | 40 x 30 in (101.6 x 76.2 cm) | 190, 10 APs | Whitney Museum, New York[251] | 127[249] | GF1991-021[252] | Entire edition remains together as one work, stacked at 8 in height;[253] published by Edition Julie Sylvester, New York[249] |
| "Untitled" (Go-Go Dancing Platform) | 1991 | Wood, light bulbs, light sockets, electrical cord, and acrylic paint | 21 1/2 x 72 x 72 in (54.61 x 182.88 x 182.88 cm) | 1 | Kunstmuseum St. Gallen, Switzerland (permanent loan)[254] | 128[253] | GF1991-022[255] | |
| "Untitled" (Chemo) | 1991 | Strands of beads and hanging device | Dimensions variable | 1 | Glenstone, Potomac, Maryland[203] | 129[256] | GF1991-023[257] | Beaded curtain; consists of white, clear, and silver plastic beads[256] |
| "Untitled" (Welcome) | 1991 | Rubber mats, photographs, metal, soap, paper, cloth | Overall dimensions variable; original dimensions: 11 x 29 1/2 x 71 in (27.94 x 74.93 x 180.34 cm) | 1 | 130[258] | GF1991-024[259] | ||
| "Untitled" (7 Days of Bloodworks) | 1991 | Acrylic, gesso, and graphite on canvas | 20 x 121 in (50.8 x 307.34 cm) overall; seven parts, 20 x 16 in (50.8 x 40.64 cm) each | 1 | 131[258] | GF1991-025[260] | ||
| "Untitled" (Rossmore II) | 1991 | Green candies in clear wrappers, endless supply | Overall dimensions variable; ideal weight: 75 lb (34 kg) | 1 | 132[258] | GF1991-026[261] | Candy piece | |
| "Untitled" | 1991 | Print on paper, endless copies | 3 1/4 in (8.25 cm) at ideal height x 11 x 8 1/2 in (27.94 x 21.59 cm) [original paper size] | 1, 1 AP | 133[262] | GF1991-027[263] | Replenishable stack | |
| "Untitled" (31 Days of Bloodworks) | 1991 | Acrylic, gesso, graphite, photographs, and paper on canvas | Overall dimensions variable; thirty-one parts, 20 x 16 in (50.8 x 40.64 cm) each | 1 | 138[264] | GF1991-028[265] | ||
| "Untitled" (A Couple) | 1991 | C-print jigsaw puzzle mounted on museum board | 11 x 22 in (27.94 x 55.88 cm) overall; two parts, 11 in (27.94 cm) diameter each | 1, 1 AP | 134[262] | GF1991-029[266] | Initially titled "Untitled" (A Portrait)[262] | |
| "Untitled" (Ross) | 1991 | Candies in variously colored wrappers, endless supply | Overall dimensions variable; ideal weight: 175 lb (79.3 kg) | 1 | 137[267] | GF1991-030[268] | Candy piece | |
| "Untitled" (A Portrait) | 1991/1995 | Video, monitor, pedestal, and chairs | Overall dimensions variable; video: 5 min | 1 | Staatliche Kunstsammlungen Dresden, Germany[269] | 135[262] | GF1991-031[270] | |
| "Untitled" (Orpheus, Twice) | 1991 | Mirror | Overall dimensions variable; two parts, 76 3/4 x 27 1/2 in (194.94 x 69.85 cm) each | 1 | 139[271] | GF1991-032[272] | Work is ideally exhibited embedded in the wall[271] | |
| "Untitled" (Portrait of Julie Ault) | 1991 | Paint on wall | Dimensions variable | 1 | 136[267] | GF1991-033[273] | Date portrait | |
| "Untitled" (Throat) | 1991 | Handkerchief and cough-drops endless supply | Overall dimensions variable; 1 1/2 in (3.81 cm) at ideal height x 16 x 16 in (40.64 x 40.64 cm) | 1 | Astrup Fearnley Museum of Modern Art, Oslo[274] | 140[271] | GF1991-035[275] | Candy piece; originally consisted of Luden's Honey and Menthol cough drops and handkerchief[271] |
| "Untitled" (Lover's Letter) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 141[276] | GF1991-036[277] | ||
| "Untitled" (Lover's Letter) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 142[276] | GF1991-037[278] | ||
| "Untitled" (Album) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 143[276] | GF1991-038[279] | ||
| "Untitled" (Vancouver) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 144[280] | GF1991-039[281] | ||
| "Untitled" (Lover's Letter) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 145[280] | GF1991-040[282] | ||
| "Untitled" (1987) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 146[280] | GF1991-041[283] | ||
| "Untitled" (Cold Blue Snow) | 1991 | C-print jigsaw puzzle in plastic bag | 9 1/2 x 7 1/2 in (24.13 x 19.05 cm) | 3, 1 AP | 147[284] | GF1991-042[285] | ||
| "Untitled" (Lover's Letter) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 148[284] | GF1991-043[286] | ||
| "Untitled" (Paris) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 149[284] | GF1991-044[287] | ||
| "Untitled" (Vida) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 153[288] | GF1991-045[289] | ||
| "Untitled" (Last Letter) | 1991 | Chromogenic print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Museum of Modern Art, New York[290] | 150[291] | GF1991-046[292] | |
| "Untitled" (My Soul of Life) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 151[291] | GF1991-048[293] | ||
| "Untitled" (Dream) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | National Museum of Modern Art, Kyoto[294] | 154[288] | GF1991-049[295] | |
| "Untitled" (Last Letters) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Colección Jumex, Mexico City[296] | 155[288] | GF1991-050[297] | |
| "Untitled" (Wawannaisa) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 152[291] | GF1991-051[298] | ||
| "Untitled" (Ross Scuba Diving) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Colección Jumex, Mexico City[299] | 156[300] | GF1991-052[301] | |
| "Untitled" (Ross and Harry) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Barcelona Museum of Contemporary Art[302] | 157[300] | GF1991-053[303] | |
| "Untitled" (7 Days of Bloodworks) | 1991 | Acrylic, gesso, and graphite on canvas | Overall dimensions variable; seven parts, 20 x 16 in (50.8 x 40.64 cm) each | 1 | Pinault Collection, Paris[304] | 159[305] | GF1991-054[306] | |
| "Untitled" (Double Portrait) | 1991 | Print on paper, endless copies | 26 cm (10 1/4 in) at ideal height x 100 x 70 cm (39 3/8 x 27 1/2 in) [original paper size] | 1 | Buffalo AKG Art Museum, Buffalo, New York, and Tate, London (jointly owned)[307][308] | 158[300] | GF1991-055[309] | Replenishable stack; ideal size formatted by the artist as a metric measurement |
| "Untitled" (Passport) | 1991 | Paper, endless supply | 10 cm (4 in) at ideal height x 60 x 60 cm (23 5/8 x 23 5/8 in) [original paper size] | 1 | Hessel Museum of Art, Annandale-on-Hudson, New York[310] | 160[305] | GF1991-056[311] | Replenishable stack; ideal size formatted by the artist as a metric measurement |
| "Untitled" (Blue Placebo) | 1991 | Candies in blue wrappers, endless supply | Overall dimensions variable; ideal weight: 130 kg (286 lb) | 1 | Astrup Fearnley Museum of Modern Art, Oslo[312] | 161[313] | GF1991-057[314] | Candy piece; ideal weight formatted by the artist as a metric measurement[313] |
| "Untitled" (Line of Long Life) | 1991 | Embossed paper, endless copies | 12.5 cm (4 7/8 in) at ideal height x 60 x 60 cm (23 5/8 x 23 5/8 in) [original paper size] | 1 | 166[315] | GF1991-058[316] | Replenishable stack; ideal size formatted by the artist as a metric measurement | |
| "Untitled" (Portrait of the Stillpasses) | 1991 | Paint on wall | Dimensions variable | 1 | 162[313] | GF1991-059[317] | Date portrait | |
| "Untitled" (Supreme Majority) | 1991 | White paper | Overall dimensions variable; seven parts, each varying in size; original installation: 61 x 86 x 36 in (154.94 x 218.44 x 91.44 cm) overall | 1 | Museum of Modern Art, New York[318] | 164[319] | GF1991-061[320] | |
| "Untitled" (Party Platform - 1980–1992) | 1991 | Black paper, endless supply | 7 in (17.78 cm) at ideal height x 40 x 26 in (101.6 x 66.04 cm) [original paper size] | 1 | 163[319] | GF1991-062[321] | Replenishable stack; previously exhibited and published as "Untitled" (NRC)[319] | |
| "Untitled" (Public Opinion) | 1991 | Black rod licorice candies in clear wrappers, endless supply | Overall dimensions variable; ideal weight: 700 lb (317 kg) | 1 | Solomon R. Guggenheim Museum, New York[322] | 167[315] | GF1991-063[323] | Candy piece |
| "Untitled" (Portrait of Ross in L.A.) | 1991 | Candies in variously colored wrappers, endless supply | Overall dimensions variable; ideal weight: 175 lb (79.3 kg) | 1 | Art Institute of Chicago[324] | 168[325] | GF1991-064[326] | Candy piece |
| "Untitled" (NRA) | 1991 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 58 x 42 in (147.32 x 106.68 cm) [original paper size] | 1 | Astrup Fearnley Museum of Modern Art, Oslo[327] | 169[325] | GF1991-065[328] | Replenishable stack |
| "Untitled" | 1991 | Print on paper, endless copies | 8 1/2 in (21.59 cm) at ideal height x 58 x 42 in (147.32 x 106.68 cm) [original paper size] | 1 | 165[315] | GF1991-067[329] | Replenishable stack | |
| "Untitled" (Bloomie's) | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | 170[330] | GF1991-068[331] | ||
| "Untitled" | 1991 | C-print jigsaw puzzle in plastic bag | 9 1/2 x 7 1/2 in (24.13 x 19.05 cm) | 3, 1 AP | 171[330] | GF1991-069[332] | ||
| "Untitled" (1980-1992) | 1991 | C-print jigsaw puzzle in plastic bag | 10 1/2 x 13 1/2 in (26.67 x 34.29 cm) | 3, 1 AP | 172[333] | GF1991-070[334] | ||
| "Untitled" (Chief Justice's Hands) | 1991 | Chromogenic print jigsaw puzzle in plastic bag | 10 1/2 x 13 1/2 in (26.67 x 34.29 cm) | 3, 1 AP | Buffalo AKG Art Museum, Buffalo, New York[335] | 173[333] | GF1991-071[336] | |
| "Untitled" (Fainted) | 1991 | C-print jigsaw puzzle in plastic bag | 10 1/2 x 13 1/2 in (26.67 x 34.29 cm) | 3, 1 AP | Art Institute of Chicago[337] | 174[333] | GF1991-072[338] | |
| "Untitled" (David Souter's Home) | 1991 | C-print jigsaw puzzle in plastic bag | 10 1/2 x 13 1/2 in (26.67 x 34.29 cm) | 3, 1 AP | 175[339] | GF1991-073[340] | ||
| "Untitled" (David Souter's Home) | 1991 | C-print jigsaw puzzle in plastic bag | 10 1/2 x 13 1/2 in (26.67 x 34.29 cm) | 3, 1 AP | 176[339] | GF1991-074[341] | ||
| "Untitled" (I Love NY) | 1991 | C-print jigsaw puzzle in plastic bag | 10 1/2 x 13 1/2 in (26.67 x 34.29 cm) | 3, 1 AP | 177[339] | GF1991-075[342] | ||
| "Untitled" (Para Un Hombre En Uniforme) | 1991 | Red-white-and-blue lollipops, endless supply | Overall dimensions variable; ideal weight 100 kg (220.5 lb) | 1 | Hessel Museum of Art, Annandale-on-Hudson, New York[343] | 178[344] | GF1991-076[345] | Candy piece; ideal weight formatted by the artist as a metric measurement; previously exhibited and published as "Untitled" (Hard Times Ahead)[344] |
| "Untitled" | 1991 | Print on paper, endless copies | 7 in (17.78 cm) at ideal height x 45 1/4 x 38 1/2 in (114.93 x 97.79 cm) [original paper size] | 1 | Walker Art Center, Minneapolis[346] | 180[347] | GF1991-077[348] | Replenishable stack |
| "Untitled" (Legal Size White) | 1991 | Metal magazine rack and paper, endless supply | 65 1/2 x 9 3/4 x 4 1/8 in (166.37 x 24.76 x 10.48 cm) overall; paper size: 14 x 8 1/2 in (35.56 x 21.59 cm) | 1 | 181[347] | GF1991-078[349] | Replenishable stack | |
| "Untitled" (Portrait of Dad) | 1991 | White mint candies in clear wrappers, endless supply | Overall dimensions variable; ideal weight 175 lb (79.3 kg) | 1 | 179[344] | GF1991-079[350] | Candy piece | |
| "Untitled" | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP | Museum Boijmans Van Beuningen, Rotterdam, Netherlands (permanent loan)[351] | 182[352] | GF1991-081[353] | AP is a component of "Untitled" (1991) [GF1991-018][352] |
| "Untitled" (Aparación) | 1991 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 43 x 28 1/2 in (109.22 x 72.39 cm) [original paper size] | 1 | 183[352] | GF1991-083[354] | Replenishable stack | |
| "Untitled" | 1991 | Billboard | Dimensions variable | 1 | Museum of Modern Art, New York[355] | 184[356] | GF1991-084[357] | |
| "Untitled" (Fear) | 1991 | Blue mirror | 30 5/8 x 25 7/8 in (77.79 x 65.72 cm) | 1 | 185[358] | GF1991-085[359] | Work is ideally exhibited embedded in the wall[358] | |
| "Untitled" | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 24 ft (7.3 m) length, 20 ft (6.1 m) extra cord[360] | 2 | 186[360] | GF1992-006[361] | Consists of 24 light bulbs[360] | |
| "Untitled" (Tim Hotel) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[360] | 1 | 188[360] | GF1992-007[362] | Consists of 42 light bulbs[360] | |
| "Untitled" (Fear) | 1992 | Blue mirror | 8 1/4 x 30 1/2 x 30 1/2 in (20.95 x 77.47 x 77.47 cm) | 1 | 187[360] | GF1992-008[363] | ||
| "Untitled" (Portrait of Marcel Brient) | 1992 | Candies in blue wrappers, endless supply | Overall dimensions variable; ideal weight 90 kg (198.5 lb) | 1 | 189[364] | GF1992-009[365] | Candy piece; ideal weight formatted by the artist as a metric measurement[364] | |
| "Untitled" (Portrait of Jennifer Flay) | 1992 | Paint on wall | Dimensions variable | 1 | 191[366] | GF1992-010[367] | Date portrait | |
| "Untitled" (It's Just a Matter of Time) | 1992 | Billboard | Dimensions variable | 1 | 190[364] | GF1992-011[368] | ||
| "Untitled" (Petit Palais) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[366] | 1 | Philadelphia Museum of Art[369] | 192[366] | GF1992-012[370] | Consists of 42 light bulbs[366] |
| "Untitled" (Key West) | 1992 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in (19.05 x 24.13 cm) | 3, 1 AP with 1 AAP | 193[371] | GF1992-013[372] | AAP is a component of "Untitled" (1991) [GF1991-018][352] | |
| "Untitled" | 1992 | Billboard | Dimensions variable | 1 | 194[371] | GF1992-014[373] | ||
| "Untitled" (Miami) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[374] | 1 | 197[374] | GF1992-015[375] | Consists of 42 light bulbs[376] | |
| "Untitled" (Toronto) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[374] | 1 | Museum of Modern Art, New York[377] | 196[374] | GF1992-016[378] | Consists of 42 light bulbs[374] |
| "Untitled" (Portrait of Andrea Rosen) | 1992 | Paint on wall | Dimensions variable | 1 | 195[374] | GF1992-017[379] | Date portrait | |
| "Untitled" | 1992 | Billboard | Dimensions variable | 1 | Hessel Museum of Art, Annandale-on-Hudson, New York[380] | 201[381] | GF1992-018[382] | |
| "Untitled" (rue St. Denis) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[376] | 1 | 199[376] | GF1992-019[383] | Consists of 42 light bulbs[376] | |
| "Untitled" (Rossmore) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[381] | 1 | 200[376] | GF1992-020[384] | Consists of 42 light bulbs[381] | |
| "Untitled" (For Jeff) | 1992 | Billboard | Dimensions variable | 1 | Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.[385] | 198[376] | GF1992-021[386] | |
| "Untitled" (1992) | 1992 | Framed photostat | 12 5/8 x 16 5/8 in (32.07 x 42.23 cm) | 4, 1 AP | 202[387] | GF1992-022[388] | ||
| "Untitled" (Alice B. Toklas' and Gertrude Stein's Grave, Paris) | 1992 | Framed C-print | 29 1/4 x 36 1/4 in (74.29 x 92.07 cm) | 4, 1 AP | Hessel Museum of Art, Annandale-on-Hudson, New York;[389] and Pinault Collection, Paris[390] | 203[387] | GF1992-023[391] | |
| "Untitled" | 1992 | Candies in variously colored wrappers, endless supply | Overall dimensions variable; original size: 2 x 48 x 48 in (5.08 x 121.92 x 121.92 cm) | 1 | 204[392] | GF1992-024[393] | Candy piece | |
| "Untitled" (For Stockholm) | 1992 | Light bulbs, porcelain light sockets, and electrical cords | Overall dimensions variable; twelve parts, 42 ft (12.8 m) length each, 20 ft (6.1 m) extra cord each[394] | 1 | Pinault Collection, Paris[395] | GF1992-025[396] | Consists of 12 strings with 42 light bulbs each[394] | |
| "Untitled" (America #1) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[397] | 1 | San Francisco Museum of Modern Art[398] | 208[397] | GF1992-026[399] | Consists of 42 light bulbs[397] |
| "Untitled" (National Front) | 1992 | Print on paper, endless copies | 14 cm (5 1/2 in) at ideal height x 125 x 91 cm (49 1/8 x 35 3/4 in) [original paper size] | 1 | 205[392] | GF1992-027[400] | Replenishable stack; ideal size formatted by the artist as a metric measurement | |
| "Untitled" | 1992 | Framed gelatin silver print with pencil | 21 1/4 x 18 5/8 in (53.97 x 47.31 cm) | 3, 1 AP | Hessel Museum of Art, Annandale-on-Hudson, New York[401] | 206[392] | GF1992-028[402] | |
| "Untitled" (Love Letter) | 1992 | Framed C-print | 19 1/2 x 23 1/2 in (49.53 x 59.69 cm) | 1 | Hessel Museum of Art, Annandale-on-Hudson, New York[403] | 212[404] | GF1992-029[405] | |
| "Untitled" (Republican Years) | 1992 | Print on paper, endless copies | 20 cm (7 7/8 in) at ideal height x 138 x 98 cm (54 1/3 x 38 5/9 in) [original paper size] | 1 | Sprengel Museum, Hanover, Germany[406] | 211[407] | GF1992-030[408] | Replenishable stack; ideal size formatted by the artist as a metric measurement |
| "Untitled" (Florence) | 1985-1992 | Framed C-print | 24 3/4 x 31 1/4 in (62.86 x 79.37 cm) | 1 | 214[404] | GF1992-031[409] | ||
| "Untitled" (Love Letter) | 1992 | Framed C-print | 19 1/2 x 23 1/2 in (49.53 x 59.69 cm) | 1 | 213[404] | GF1992-035[410] | ||
| "Untitled" (Double Bloodworks) | 1992 | Acrylic and graphite on canvas | 14 x 26 in (35.56 x 66.04 cm) overall; two parts, 14 x 12 in (35.56 x 30.48 cm) each | 1 | 215[411] | GF1992-036[412] | ||
| "Untitled" (America #2) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[397] | 1 | 209[397] | GF1992-037[413] | Consists of 42 light bulbs[397] | |
| "Untitled" (America #3) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[397] | 1 | Pola Museum of Art, Hakone[414] | 210[397] | GF1992-038[415] | Consists of 42 light bulbs[407] |
| "Untitled" | 1992 | Tattoo | Size varies with individual | Unlimited | 216[411] | GF1992-039[416] | ||
| "Untitled" (Blood) | 1992 | Strands of beads and hanging device | Dimensions variable | 1 | Pinault Collection, Paris[417] | 217[411] | GF1992-040[418] | Beaded curtain; Consists of red and clear plastic beads[411] |
| "Untitled" (Album) | 1992 | Handmade leather-bound photo album with black pages and mounting corners | 14 x 14 x 2 1/2 in (35.56 x 35.56 x 6.35 cm), 24 leaves | 12, 4 APs, 1 AP with 35 leaves | Metropolitan Museum of Art, New York;[419] Museum of Modern Art, New York (2 versions);[420][421] and Whitney Museum, New York[422] | 218[411] | GF1992-041[423] | Work is not considered complete until owners add their own personal photographs and mementos; published by Edition Julie Sylvester, New York[411] |
| "Untitled" (For New York) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[424] | 1 | Beyeler Foundation, Riehen, Switzerland[425] | 221[424] | GF1992-042[426] | Consists of 42 light bulbs[424] |
| "Untitled" (A Love Meal) | 1992 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[424] | 1 | Stedelijk Museum Amsterdam[427] | 222[424] | GF1992-043[428] | Consists of 42 light bulbs[424] |
| "Untitled" (Silver) | 1992 | Light bulbs, metal light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[429] | 1 | 219[429] | GF1992-044[430] | Consists of 24 light bulbs[429] | |
| "Untitled" (Bloodworks) | 1992 | Gouache and graphite on paper, framed | Overall dimensions variable; four parts, 12 x 10 1/2 in (30.48 x 26.67 cm) each | 1 | 220[429] | GF1992-045[431] | ||
| "Untitled" (Jorge) | 1992 | Framed C-print | 41 3/8 x 50 5/8 in (105.09 x 128.59 cm) | 1 | 224[432] | GF1992-046[433] | ||
| "Untitled" (Paris) | 1992 | Framed C-print | 18 7/8 x 22 5/8 in (47.94 x 57.47 cm) | 1, 1 AP | 223[424] | GF1992-047[434] | ||
| "Untitled" (False Hope - Bloodwork) | 1992 | Acrylic, wax, and graphite on linen | 16 x 12 in (40.64 x 30.48 cm) | 1 | 225[432] | GF1992-048[435] | ||
| "Untitled" (A Walk in the Snow) | 1993 | Framed C-print | 25 x 28 1/2 in (63.5 x 72.39 cm) | 1 | 226[432] | GF1993-001[436] | ||
| "Untitled" (A Walk in the Snow) | 1993 | Framed C-print | 25 x 32 in (63.5 x 81.28 cm) | 1 | Hessel Museum of Art, Annandale-on-Hudson, New York[437] | 227[432] | GF1993-002[438] | |
| "Untitled" | 1992/1993 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 48 1/4 x 33 1/4 in (122.55 x 84.45 cm) [original paper size] | 1 | 229[439] | GF1993-003[440] | Replenishable stack | |
| "Untitled" | 1992/1993 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 44 1/2 x 33 1/2 in (122.55 x 84.45 cm) [original paper size] | 1 | San Francisco Museum of Modern Art[441] | 228[439] | GF1993-004[442] | Replenishable stack |
| "Untitled" | 1993 | Print on paper, endless copies | 8 in (20.32 cm) at ideal height x 37 x 55 1/2 in (93.98 x 140.97 cm) [original paper size] | 1 | Abteiberg Museum, Mönchengladbach, Germany[443] | 231[444] | GF1993-005[445] | Replenishable stack; created in collaboration with Christopher Wool[445] |
| "Untitled" (North) | 1993 | Light bulbs, porcelain light sockets, and electrical cords | Overall dimensions variable; twelve parts, 22 1/2 ft (6.8 m) length each, 20 ft (6.1 m) extra cord each[446] | 1 | Hessel Museum of Art, Annandale-on-Hudson, New York[447] | 232[446] | GF1993-006[448] | Consists of 12 strings with 22 light bulbs each[449] |
| "Untitled" (Couple) | 1993 | Light bulbs, porcelain light sockets, and electrical cords | Overall dimensions variable; two parts, 42 ft (12.8 m) length each, 20 ft (6.1 m) extra cord each[450] | 1 | 237[450] | GF1993-007[451] | Consists of 2 strings with 24 light bulbs each[450] | |
| "Untitled" (Bloodwork - Steady Decline) | 1993 | Graphite and gouache on paper | Overall dimensions variable; thirteen parts, 14 x 11 in (35.56 x 27.94 cm) each | 1 | Art Institute of Chicago[452] | 233[449] | GF1993-009[453] | |
| "Untitled" | 1991-1993 | Billboard | Overall dimensions variable; two parts | 1 | Staatliche Kunstsammlungen Dresden, Germany[454] | 230[444] | GF1993-010[455] | |
| "Untitled" (Portrait of Elaine Dannheisser) | 1993 | Paint on wall | Dimensions variable | 1 | Museum of Modern Art, New York[456] | 234[449] | GF1993-011[457] | Date portrait |
| "Untitled" (Portrait of Ingvild Goetz) | 1993 | Paint on wall | Dimensions variable | 1 | 235[450] | GF1993-012[458] | Date portrait | |
| "Untitled" (Portrait of the Magoons) | 1993 | Paint on wall | Dimensions variable | 1 | 236[450] | GF1993-013[459] | Date portrait | |
| "Untitled" (Strange Bird) | 1993 | Billboard | Dimensions variable | 1 | Art Gallery of Ontario, Toronto[460] | 242[461] | GF1993-014[462] | |
| "Untitled" (Placebo - Landscape - for Roni) | 1993 | Candies in gold wrappers, endless supply | Overall dimensions variable; ideal weight 1,200 lb (544 kg) | 1 | Staatliche Kunstsammlungen Dresden, Germany[463] | 251[464] | GF1993-015[465] | Candy piece |
| "Untitled" (Lovers - Paris) | 1993 | Light bulbs, porcelain light sockets, and electrical cords | Overall dimensions variable; two parts, 41 ft (12.5 m) length each, 20 ft (6.1 m) extra cord each[466] | 1 | Glenstone, Potomac, Maryland[203] | 239[466] | GF1993-016[467] | Consists of 2 strings with 42 lights each[466] |
| "Untitled" (Passport #II) | 1993 | Print on paper, endless copies | 20.3 cm (8 in) at ideal height x 76.2 x 61 cm (31 1/2 x 29 1/2 in) [original size]; bound booklets: 12 pages, 15.2 x 10.2 cm (6 x 4 in) each [original size] | 1 | 238[468] | GF1993-017[469] | Replenishable stack; ideal size formatted by the artist as a metric measurement | |
| "Untitled" (Arena) | 1993 | Light bulbs, porcelain light sockets, dimmer switch, and electrical cord | Overall dimensions variable; 59 ft (18 m) length, 20 ft (6.1 m) extra cord[466] | 1 | Staatliche Kunstsammlungen Dresden, Germany[470] | 240[466] | GF1993-018[471] | Consists of 60 light bulbs[461] |
| "Untitled" (9 Days of Bloodwork - Steady Decline and False Hope) | 1993 | Gouache and graphite on paper, framed | Overall dimensions variable; nine parts, 17 3/4 x 13 3/4 in (45.08 x 34.92 cm) each | 1 | 243[472] | GF1993-019[473] | ||
| "Untitled" (7 Days of Bloodwork - Steady Decline) | 1993 | Gouache and graphite on paper | Overall dimensions variable; seven parts, 14 x 11 in (35.56 x 27.94 cm) each | 1 | 244[472] | GF1993-020[474] | ||
| "Untitled" (Portrait of Robert Vifian) | 1993 | Paint on wall | Dimensions variable | 1 | 241[461] | GF1993-021[475] | Date portrait | |
| "Untitled" (Portrait of Austrian Airlines) | 1993 | Medium variable | Dimensions variable | 1 | 250[476] | GF1993-022[477] | Billboard/date portrait; work consists of a list of the cities served by Austrian Airlines along with the year the airline began flying there, printed in white text on a green background, installed as a variably sized billboard or round advertising column.[476] | |
| "Untitled" (Strange Music) | 1993 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 43 ft (13.1 m) length, 20 ft (6.1 m) extra cord[472] | 1 | 245[472] | GF1993-024[478] | Consists of 42 light bulbs[472] | |
| "Untitled" (Last Light) | 1993 | Light bulbs, plastic light sockets, electrical cord, and dimmer switch | Overall dimensions variable; 11 1/2 ft (3.5 m) length, 12 1/2 ft (3.8 m) extra cord[479] | 24, 6 APs | Art Institute of Chicago;[480] Barcelona Museum of Contemporary Art;[481] Harvard Art Museums, Cambridge, Massachusetts;[482] Israel Museum, Jerusalem;[483] Musée National d'Art Moderne, Centre Pompidou, Paris;[484] Museum of Contemporary Art, Los Angeles (2 versions);[485][486] National Museum of Art, Osaka;[487] and Walker Art Center, Minneapolis[488] | 246[479] | GF1993-026[489] | Consists of 24 light bulbs; published by A.R.T. (Art Resources Transfer) Press, Los Angeles, and Andrea Rosen Gallery, New York[479] |
| "Untitled" (Leaves of Grass) | 1993 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 41 1/2 ft (12.6 m) length, 20 ft (6.1 m) extra cord[479] | 1 | 247[479] | GF1993-027[490] | Consists of 42 light bulbs[479] | |
| "Untitled" (Summer) | 1993 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 41 1/2 ft (12.6 m) length, 20 ft (6.1 m) extra cord[476] | 1 | 249[476] | GF1993-028[491] | Consists of 42 light bulbs[476] | |
| "Untitled" (Ischia) | 1993 | Light bulbs, porcelain light sockets, and electrical cord | Overall dimensions variable; 42 ft (12.8 m) length, 20 ft (6.1 m) extra cord[479] | 1 | Astrup Fearnley Museum of Modern Art, Oslo[492] | 248[479] | GF1993-029[493] | Consists of 42 light bulbs[479] |
| "Untitled" (Alice B. Toklas and Gertrude Stein) | 1992/1993 | Framed C-print | 19 1/8 x 23 1/8 in (48.58 x 58.74 cm) | 1 | 252[464] | GF1993-030[494] | ||
| "Untitled" | 1994 | Billboard | Dimensions variable | 1 | 253[495] | GF1994-001[496] | ||
| "Untitled" (Portrait of the Rosenbergs) | 1994 | Paint on wall | Dimensions variable | 1 | 254[495] | GF1994-002[497] | Date portrait | |
| "Untitled" (For Parkett) | 1994 | Billboard on Appleton coated stock | Overall dimensions variable; maximum dimensions: 125 x 272 in (317.5 x 690.88 cm) | 84, 15 APs | Art Gallery of South Australia, Adelaide;[498] Mary and Leigh Block Museum of Art, Evanston, Illinois;[499] Hessel Museum of Art, Annandale-on-Hudson, New York;[500] Museum of Modern Art, New York;[501] and Sprengel Museum, Hannover[406] | 255[495] | GF1994-003[502] | Work is not considered complete until installed and is permanently destroyed when uninstalled;[495][503] published by Parkett-Verlag, Zürich, for Parkett no. 39[495] |
| "Untitled" (21 Days of Bloodwork - Steady Decline) | 1994 | Gouache and graphite on paper | Overall dimensions variable; twenty-one parts, 16 1/2 x 12 3/8 in (41.91 x 31.43 cm) each | 1 | 257[504] | GF1994-004[505] | ||
| "Untitled" (19 Days of Bloodwork - Steady Decline) | 1994 | Gouache and graphite on paper, framed | Overall dimensions variable; nineteen parts, 16 1/2 x 12 3/8 in (41.91 x 31.43 cm) each | 1 | 256[504] | GF1994-005[506] | ||
| "Untitled" (Portrait of MOCA) | 1994 | Paint on wall | Dimensions variable | 1 | Museum of Contemporary Art, Los Angeles[507] | 263[508] | GF1994-006[509] | Date portrait |
| "Untitled" (Bloodwork - Steady Decline) | 1994 | Graphite and gouache on paper | 14 3/4 x 10 7/8 in (37.46 x 27.62 cm) | 1 | 258[510] | GF1994-007[511] | ||
| "Untitled" (Diptych) | 1994 | Framed gelatin silver prints | 25 1/8 x 71 1/2 in (63.82 x 181.61 cm) overall; two parts, 25 1/8 x 32 3/4 in (63.82 x 83.18 cm) each | 1, 1 AP | 265[512] | GF1994-008[513] | ||
| "Untitled" (Portrait of the Cincinnati Art Museum) | 1994 | Paint on wall | Dimensions variable | 1 | Cincinnati Art Museum[514] | 262[508] | GF1994-009[515] | Date portrait |
| "Untitled" (Sand) | 1993-1994 | Portfolio of photogravures on Somerset Satin paper in silk covered archival box | Overall dimensions variable; eight parts, 12 1/2 x 15 1/2 in (31.75 x 39.37 cm) each | 12, 6 APs | Colección Jumex, Mexico City;[516] Hessel Museum of Art, Annandale-on-Hudson, New York;[517] Metropolitan Museum of Art, New York;[518] and Whitney Museum, New York[519] | 264[512] | GF1994-010[520] | Published by Edition Julie Sylvester, New York[520] |
| "Untitled" | 1994 | Framed gelatin silver prints | 25 1/4 x 176 3/8 in (64.13 x 447.99 cm) overall; five parts, 25 1/4 x 32 7/8 in (64.13 x 83.5 cm) each | 2, 1 AP | 266[521] | GF1994-011[522] | Photographs may be installed in any order[521] | |
| "Untitled" | 1994 | Framed C-prints | Overall dimensions variable; two parts, 26 3/8 x 33 7/8 in (66.99 x 86.04 cm) each | 2, 1 AP | 268[523] | GF1994-012[524] | Photographs must be installed adjacently, in either order[523] | |
| "Untitled" (Beginning) | 1994 | Strands of beads and hanging device | Dimensions variable | 1 | 269[523] | GF1994-014[525] | Beaded curtain; consists of green, clear, and silver plastic beads[526] | |
| "Untitled" | 1994 | Silkscreen on cotton t-shirt | Size XL | 500 | 260[510] | GF1994-015[527] | Published by agnès b., New York[527] | |
| "Untitled" | 1994 | Framed gelatin silver prints | 25 5/8 x 140 1/2 in (65.09 x 356.87 cm) overall; four parts, 25 5/8 x 32 7/8 in (65.09 x 83.5 cm) each | 2, 1 AP | Metropolitan Museum of Art, New York[528] | 271[529] | GF1994-016[530] | Photographs may be installed in any order[529] |
| "Untitled" (America) | 1994 | Light bulbs, waterproof rubber light sockets, and waterproof electrical cords | Overall dimensions variable; twelve parts, 65 1/2 ft (19.9 m) length each, 24 1/2 ft (7.4 m) extra cord each[526] | 1 | Whitney Museum, New York[531] | 270[526] | GF1994-017[532] | Consists of 12 strings, 24 light bulbs each[526] |
| "Untitled" (Bloodwork - Steady Decline) | 1994 | Graphite and gouache on paper, framed | 16 1/2 x 12 3/8 in (41.9 x 31.4 cm) | 1 | 259[510] | GF1994-019[533] | ||
| "Untitled" (Portrait of the Fabric Workshop, a gift to Kippy) | 1994 | Paint on wall | Dimensions variable | 1 | 272[529] | GF1994-020[534] | Date portrait | |
| "Untitled" | 1994 | Framed gelatin silver print | 25 3/8 x 32 7/8 in (64.45 x 83.5 cm) | 2, 1 AP | 267[521] | GF1994-021[535] | ||
| "Untitled" | 1994 | C-print, framed in Plexiglas box | 4 1/16 x 6 1/16 x 1 1/4 in (10.32 x 15.4 x 3.17 cm) | 25, 12 APs, 5 PPs | Whitney Museum, New York[536] | 261[510] | GF1994-022[537] | Published by Printed Matter, Inc., New York, for the portfolio Portraits (1994)[510] |
| "Untitled" | 1995 | Billboard | Dimensions variable | 1 | 275[538] | GF1995-001[539] | ||
| "Untitled" (Oscar Wilde) | 1995 | Photo-etching on paper | 4 1/2 x 6 in (11.43 x 15.24 cm) | 250, 25 APs, 2 PPs with 2 AAPs | Allen Memorial Art Museum, Oberlin, Ohio;[540] and El Museo del Barrio, New York[541] | 273[529] | GF1995-002[542] | Included in special limited edition of exhibition catalogue Felix Gonzalez-Torres (1995), published by the Solomon R. Guggenheim Museum, New York[529] |
| "Untitled" (Golden) | 1995 | Strands of beads and hanging device | Dimensions variable | 1 | Art Institute of Chicago, San Francisco Museum of Modern Art, and Solomon R. Guggenheim Museum, New York (jointly owned)[543][544][545] | 276[538] | GF1995-003[546] | Beaded curtain; consists of golden, clear, and silver plastic beads[538] |
| "Untitled" (Vultures) | 1995 | Framed gelatin silver prints, paint on wall (optional) | Overall dimensions variable; fourteen parts, 25 5/8 x 32 7/8 in (65.09 x 83.5 cm) each | 1, 1 AP | 274[547] | GF1995-004[548] | ||
| "Untitled" (Water) | 1995 | Strands of beads and hanging device | Dimensions variable | 1 | Baltimore Museum of Art[549] | 277[550] | GF1995-005[551] | Beaded curtain; consists of blue, clear, and silver plastic beads[550] |
| "Untitled" | 1995 | Billboard | Dimensions variable | 1 | 278[550] | GF1995-006[552] | ||
| "Untitled" | 1995 | Billboard | Dimensions variable | 1 | 279[550] | GF1995-007[553] | ||
| "Untitled" | 1995 | Silver plated brass | 16 1/2 x 33 in (41.91 x 83.82 cm) overall; two parts, 16 1/2 in (41.91 cm) diameter each | 12, 4 APs plus 1 PP | Berkeley Art Museum and Pacific Film Archive, California;[554] and Des Moines Art Center, Iowa[555] | 280[556] | GF1995-008[557] | Published by Patrick Painter Editions, Vancouver[557] |
| "Untitled" | 1995 | Billboard | Dimensions variable | 1 | 281[556] | GF1995-009[558] | ||
| "Untitled" | 1994-1995 | Billboards, mixed media | Dimensions variable | 1 | Not listed | GF1995-010[559] | Conceptualized during the artist's lifetime for an unrealized exhibition at CAPC Bordeaux;[559] realized posthumously in conjunction with Felix Gonzalez-Torres (2023), David Zwirner Gallery, New York;[560] work consists of two indoor billboards on wooden structures and includes sound installation of a recording of applause following a 1990 performance by Kathleen Battle and Jessye Norman at Carnegie Hall, New York[561] | |
| "Untitled" (Sagitario) | 1994-1995 | Medium variable, water | 24 x 12 ft (7.3 x 3.6 m) overall; two parts, 12 ft (3.6 m) diameter each | 1 | Not listed | GF1995-011[562] | Conceptualized during the artist's lifetime for an unrealized exhibition at CAPC Bordeaux;[563] first realized posthumously as two circular pools of water embedded in the ground outdoors, in conjunction with No es sólo lo que ves: Pervirtiendo el minimalismo (2000-2001), from the exhibition series Versiones del Sur: Cinco propuestas en torno al arte en América, Museo Nacional Centro de Arte Reina Sofía, Madrid;[562][564] realized posthumously for a second time, as two pools of water embedded in the floor indoors, in conjunction with Felix Gonzalez-Torres (2023), David Zwirner Gallery, New York.[560] | |
| "Untitled" | 1992-1995 | Medium variable, water | 14–16 in (35.56–40.64 cm) at ideal height x 24 x 12 ft (7.3 x 3.6 m) or 48 x 24 ft (14.6 x 7.3 m) | 1 | Glenstone, Potomac, Maryland[203] | Not listed | GF1995-012[565] | Conceptualized during the artist's lifetime for an outdoor sculpture competition at Western Washington University; realized posthumously as two circular pools of water carved from marble, in conjunction with the artist's solo exhibition at the 52nd Venice Biennale (2007)[563][566] |
List of non-works
editThese non-works were created and exhibited by the artist during his lifetime but disavowed - and in most cases destroyed - before his death. Most of González-Torres' output prior to 1988 was deemed a non-work by the artist and formally disavowed; most of these works are no longer extant. Many of these non-works are similar to formal works; these are noted where known. Non-works included in the 1997 catalogue raisonné were given catalogue numbers in sequential roman numerals; the corresponding catalogue numbers from the Felix Gonzalez-Torres Foundation are the same, with the addition of "N-W" for non-work. Non-works that were not included in the 1997 CR do not have catalogue numbers.
| Title | Year | Medium | Dimensions | Edition size | Public collection(s) | 1997 CR no. | Foundation cat. no. | Notes |
|---|---|---|---|---|---|---|---|---|
| Sociedad or Derretimiento de la Sociedad [Recorded title] |
c.1978 | Performance, mixed media | N/A | N/A | Not listed | Listed without cat. no.[567] | Created and performed in collaboration with artists Rosa Balsera and José Pérez Mesa for Sociedad / Derretimiento de la Sociedad (1978), University of Puerto Rico, Río Piedras Campus, San Juan; 25 papier-mâché masks were placed on twenty blocks of ice in a line on the university campus[567] | |
| Wrapped [Recorded title] |
c.1978 | Performance, mixed media | N/A | N/A | Not listed | Listed without cat. no.[568] | Created and performed in collaboration with artists Rosa Balsera and José Pérez Mesa for Wrapped (1978), University of Puerto Rico, Río Piedras Campus, San Juan; a dead tree in the university's Plaza Antonia Martínez was wrapped in 40 yards of fabric[568] | |
| 20 años, 10 horas, 10 madres [Formerly titled] |
c.1979 | Black and white, single-channel video | 7 min | Unknown | Not listed | Listed without cat. no.[569] | ||
| Autorretrato 3 [Formerly titled] |
c.1979 | Black and white, single-channel video | 9 min | Unknown | Not listed | Listed without cat. no.[570] | ||
| Cívicas 5 P.M. [Formerly titled] |
c.1979 | Mixed media, table, ribbons, ornaments | Unknown | Unknown | Not listed | Listed without cat. no.[571] | ||
| Delante/Detras [Formerly titled] |
c.1979 | Black and white, single-channel video | 4 min | Unknown | Not listed | Listed without cat. no.[572] | ||
| Jeff-November [Formerly titled] |
c.1979 | Black and white, single-channel video | Unknown | Unknown | Not listed | Listed without cat. no.[573] | ||
| New York, New York! [Formerly titled] |
c.1979 | Black and white, single-channel video | 2 min | Unknown | Not listed | Listed without cat. no.[574] | ||
| TV Vacío-Vacío [Formerly titled] |
c.1979 | Performance, mixed media | N/A | N/A | Not listed | Listed without cat. no.[575] | Performed in conjunction with TV Vacío-Vacío (1979), University of Puerto Rico, Río Piedras Campus, San Juan; artist read aloud a text on everyday topics related to television while two people sat in front of a TV monitor with no signal[575] | |
| Contaminación ambien/mental [Formerly titled] |
c.1980 | Printed art page in newspaper | 14 x 11 1/4 in | Unknown | Not listed | Listed without cat. no.[576] | Published in El Nuevo Día, August 24, 1980[576] | |
| Division #2 [Formerly titled] |
c.1980 | Color video | 5 min | Unknown | Not listed | Listed without cat. no.[577] | ||
| He dicho [Formerly titled] |
c.1980 | Audio recording | 5 min | Unknown | Not listed | Listed without cat. no.[578] | Broadcast on radio station WRTU, University of Puerto Rico, Río Piedras Campus, San Juan[578] | |
| APRENDIENDO [Formerly titled] |
c.1981 | Black and white, single-channel video | 7 min | Unknown | Not listed | Listed without cat. no.[579] | ||
| CESAR [Formerly titled] |
c.1981 | Color video | 18 min | Unknown | Not listed | Listed without cat. no.[580] | ||
| HOGAR [Formerly titled] |
c.1981 | Color and black and white video | 4 min | Unknown | Not listed | Listed without cat. no.[581] | ||
| Olimpia [Formerly titled] |
c.1981 | Black and white, single-channel video | 3:30 min | Unknown | Not listed | Listed without cat. no.[582] | ||
| Unforgettable Winds [Formerly titled] |
c.1981 | Printed art page in newspaper | 14 x 11 1/4 in | Unknown | Not listed | Listed without cat. no.[583] | Published in The San Juan Star, January 11, 1981[583] | |
| La imagen como producto/poder [Formerly titled] |
c.1981 | Printed art page in newspaper | 14 x 11 1/2 in | Unknown | Not listed | Listed without cat. no.[584] | Published in El Nuevo Día, July 26, 1981[584] | |
| Óxido, sueños sobre una cama de hielo [Recorded title] |
c.1982 | Performance, mixed media, poetry | N/A | N/A | Not listed | Listed without cat. no.[585] | Created and performed in conjunction with poet Aleida Amador for Óxido, sueños sobre una cama de hielo (1982), Residencia Aboy-Lompré, San Juan; artist covered himself in sunscreen wearing swim trunks and laid down on blocks of ice in front of a board with text, while poems by Amador were read aloud[585] | |
| Felix Gonzalez-Torres, 'Rust, dreams on an ice bed', Casa Aboy, San Juan Puerto Rico, January 23, 1982 [Formerly titled] |
c.1982 | Photo, text in magazine | Unknown | Unknown | Not listed | Listed without cat. no.[586] | Published in High Performance Magazine, Spring-Summer 1982; written text and photo-documentation of performance at Residencia Aboy-Lompré, San Juan[586] | |
| Untitled (Still Life: Newspapers, Dinosaurs, Dolls, Cloths...) | 1981/1983 | Silver gelatin prints, artist's frame | Four parts, photo A: 4 3/4 x 6 1/2 in, photo B: 6 x 4 1/2 in, photo C: 4 5/8 x 6 3/8 in, photo D: 5 1/2 x 6 1/2 in | Unknown | Puerto Rico Museum of Contemporary Art[587] | Not listed | Not listed | |
| [No recorded title] | c.1984 | Photographic panel on bus | Unknown | Unknown | Not listed | Listed without cat. no.[588] | Executed in conjunction with Metro Bus Show (1984-1985), CEPA Gallery, Buffalo, New York; work was installed on a bus that traveled through the city on multiple routes[588] | |
| [No recorded title] | c.1984 | Photos, text, poetry in magazine | Unknown | Unknown | Not listed | Listed without cat. no.[589] | Published in Center for Exploratory Perceptual Art Bulletin, November 1984, in conjunction with Metro Bus Show (1984-1985), CEPA Gallery, Buffalo, New York; includes photos, text, and a poem titled Fetishism[589] | |
| Sin Título [Formerly titled] |
c.1985 | Color photographs and text | Overall dimensions variable, fifteen parts, 13 x 9 1/2 in | Unknown | Not listed | Listed without cat. no.[590] | ||
| "Will I Lie to You?" [Formerly titled] |
1986 | Found painting and text | Dimensions variable | 1 | Not listed | Listed without cat. no.[591] | ||
| "Untitled" (Double Fear) | 1986 | Acrylic, newsprint on canvas | Diameter 16 in | 1 | I[592] | N-W I | Similar to formal works "Untitled" (Double Fear) (1987) [GF1987-015, -016, and -017][592] | |
| "For the Birds" [Formerly titled] |
1987 | Wood, bird seed, text | 80 x 12 x 12 in | 1 | II[592] | N-W II[593] | ||
| "Untitled" [Formerly titled] |
1987 | Clock, with rub-on transfer on the clock and on the wall | 15 x 15 x 2 1/2 in | 3 | III[592] | N-W III[594] | ||
| "Untitled" | 1987 | Iron on stencil on cloth | 20 x 20 in | 1 | IV[592] | N-W IV | ||
| "Untitled" | 1987 | Photostat, framed | 10 x 11 in | 1, 1 AP | V[592] | N-W V | ||
| "Untitled" | 1987 | Wax, acrylic, and graphite on panel | 8 x 10 in | 1 | VI[592] | N-W VI | ||
| "Untitled" (Double Fear) | 1987 | Acrylic, newsprint on canvas | Diameter 12 in | 1 | VII[592] | N-W VII | Similar to formal works "Untitled" (Double Fear) (1987) [GF1987-015, -016, and -017][592] | |
| "Untitled" | 1987 | C-print, tinted, framed | Frame 8 x 10 in, image 7 5/8 x 9 5/8 in | 1 | VIII[592] | N-W VIII | ||
| "Untitled" | 1987 | Cibachrome print | 7 x 9 in | 1 | IX[592] | N-W IX | ||
| "Untitled" [Formerly titled] |
1988 | Leather belt, engraved brass, brass knuckles | 40 x 1 1/2 in | 3 | X[592] | N-W X[595] | ||
| "Untitled" [Formerly titled] |
1989 | Quatrenium and plexiglass | 48 x 70 in | 1 | XI[596] | N-W XI[597] | Executed and displayed in Petrosino Square, New York, for a rotating public art exhibition sponsored by the Lower Manhattan Cultural Council; originally referred to by the artist as "Untitled" (Quatrenium)[598] | |
| "White Legal" [Formerly titled] |
1989 | Metal magazine rack and paper, endless supply | 58 x 13 x 11 in | 1 | XII[596] | N-W XII[599] | Similar to formal works "Untitled" (White Legal) (1989) and "Untitled" (Legal Size White) (1991)[596] | |
| "Rough Draft" [Formerly titled] |
1989 | Fax-nonexistent offset on paper (endless copies) | 8 1/4 x 11 1/2 in | 1 | XIII[596] | N-W XIII[600] | ||
| "Untitled" (Mirage) [Formerly titled] |
1990 | Candies in red, silver, and blue wrappers, endless supply | Dimensions variable | 1 | N/A | Listed without cat. no.[601] | Listed in 1997 CR as a previous title for formal work "Untitled" (USA Today) (1990);[190] listed in Foundation cat. as a separate non-work[601] | |
| "Untitled" (Second Quadrenium 1984-1988) | 1990 | Acrylic on canvas | Four parts, 20 x 16 in each | 1 | XIV[596] | N-W XIV | Similar to formal work "Forbidden Colors" (1988)[596] | |
| "Untitled" [Formerly titled] |
1990 | Blue candies, individually wrapped in cellophane | Overall dimensions variable, ideal weight 158 lb | 1 | XV[596] | N-W XV[602] | Similar to formal work "Untitled" (Revenge) (1991)[596] | |
| "Untitled" (Loverboys Coma LA) | 1990 | 22 reams of light blue tissue paper | Two parts, 8 x 43 x 43 in overall, 20 x 30 in each | 1 | XVI[596] | N-W XVI | ||
| "Untitled" (I Spoke to your God) [Formerly titled] |
1990 | Offset print on red paper, endless copies | 10 in at ideal height x 23 x 29 in | 1 | XVII[596] | N-W XVII[603] | Created in collaboration with Donald Moffett[603] | |
| "Untitled" [Formerly titled] |
1990 | Billboard | Dimensions variable | 1 | XVIII[596] | N-W XVIII[604] | Displayed in conjunction with Day Without Art 1990[604] | |
| "Untitled" (We Love George) [Formerly titled] |
1990 | Text on vinyl | 36 x 120 in | 1 | XIX[596] | N-W XIX[605] | ||
| "Untitled" [Formerly titled] |
1990 | Offset print on paper, endless copies, paint on wall | Three parts, 18 1/2 x 19 x 81 4/5 in overall | 1 | XX[596] | N-W XX[606] | Similar to formal work "Untitled" (1990) [GF1990-002][596] | |
| "Untitled" (Light Blue Wall) [Formerly titled] |
1991 | Paint on wall | Dimensions variable | 1 | XXI[596] | N-W XXI[607][608] | Listed in 1997 CR as "Untitled" (Blue Wall);[596] listed in Foundation cat. twice, under both titles[608][607] | |
| "Untitled" | 1991 | C-print jigsaw puzzle in plastic bag | 7 1/2 x 9 1/2 in | 1 | XXII[596] | N-W XXII | ||
| "Untitled" (Supreme Majority) [Formerly titled] |
1991 | Gesso on triangular canvas | Seven parts, 41 x 96 in overall | 1 | XXIII[596] | N-W XXIII[609] | Similar to formal work "Untitled" (New Supreme Justice) (1989)[596] | |
| "Untitled" (1980-1992) [Formerly titled] |
1991 | White paper, endless copies, black cloth, 4 stacks | Four parts, 35 in at ideal height x 25 x 25 in each, cloth 60 x 60 in | 1 | XXIV[596] | N-W XXIV[610] | Similar to formal work "Untitled" (Blue Cross) (1990)[596] | |
| "Untitled" (Go-Go Dance Platform) [Formerly titled] |
1991 | Wood, light bulbs, acrylic paint | 60 x 16 x 16 in | 1 | XXV[596] | N-W XXV[611] | Similar to formal work "Untitled" (Go-Go Dancing Platform) (1991)[596] | |
| "Untitled" (Free Tibet) | 1991 | Handwoven carpet | 48 x 78 3/4 in | 24 | XXVI[612] | N-W XXVI | Published by Equator Productions, New York; executed in conjunction with The Carpet Project (1992), Tanja Grunert Gallery, Cologne, Germany[613] | |
| "Untitled" [Formerly titled] |
1992 | Wood, light bulbs, enamel paint, porcelain light sockets, extension cord | 7 x 82 3/4 x 72 7/8 in | 1 | XXVII[612] | N-W XXVII[614] | Similar to formal work "Untitled" (Go-Go Dancing Platform) (1991)[612] | |
| "Untitled" | 1992 | Wood, light bulbs, enamel paint, porcelain light sockets, wire | 6 x 72 x 48 in | 1 | XXVIII[612] | N-W XXVIII | Similar to formal work "Untitled" (Go-Go Dancing Platform) (1991)[612] | |
| "Untitled" [Formerly titled] |
1992 | Wood, paint, leather and rubber harnesses, g-strings, underwear | 12 x 40 x 40 in | 1 | XXIX[612] | N-W XXIX[615] | ||
| "Untitled" [Formerly titled] |
1992 | Wood, industrial carpet | 8 x 98 x 30 in | 1 | XXX[612] | N-W XXX[616] | ||
| "Untitled" | 1992 | Wood, light bulbs, enamel paint, porcelain light sockets, wire | 6 x 60 x 60 in | 1 | XXXI[612] | N-W XXXI | Similar to formal work "Untitled" (Go-Go Dancing Platform) (1991)[612] | |
| "Untitled" (Checks) 1-31 | 1994 | Ink on paper | Overall dimensions variable, thirty one parts, 3 3/4 x 6 3/4 in each | 1 | XXXII[612] | N-W XXXII | Consisted of checks written out by the artist to benefit ACRIA[612] | |
| "Untitled" | 1994 | Candies, endless supply | Overall dimensions variable, ideal weight 180 lb | 1 | XXXIII[612] | N-W XXXIII | Executed in conjunction with Do It (1994), Kunsthalle Ritter Klagenfurt; artist instructed curator to "Get 180 lbs of a local wrapped candy and drop in a corner."[612] |
List of additional materials
editThese materials are not formal works of art by the artist, as he specified prior to his death. Many of these listed materials are similar to, earlier iterations of, or studies for formal works the artist eventually exhibited and sold; these are noted where known. Catalogue numbers for additional materials were formatted as "A#" in the 1997 catalogue raisonné; the corresponding catalogue numbers from the Felix Gonzalez-Torres Foundation are the same, with the addition of "M" for additional material.
| Title | Year | Medium | Dimensions | Edition size | Public collection(s) | 1997 CR no. | Foundation cat. no. | Notes |
|---|---|---|---|---|---|---|---|---|
| Pedro and Pablo [Formerly titled] |
1980 | Black and white photograph | 14 x 11 in | 1 | A1[617] | AM1 | ||
| [No title] | c. early 1980s | Black and white photographs, photostat on cardboard | 11 x 27 15/16 in | 1 | A2[617] | AM2 | ||
| [No title] | c. early 1980s | Black and white photographs, photostat on cardboard | 11 x 27 15/16 in | 1 | A3[617] | AM3 | ||
| [No title] | 1983 | Black and white photograph, framed | Frame 15 x 12 1/2 in, image 3 3/4 x 4 3/4 in | 1 | A4[617] | AM4 | ||
| [No title] | 1983 | Black and white photograph, framed | Frame 15 x 12 1/8 in, image 4 3/4 x 3 3/4 in | 1 | A5[617] | AM5 | ||
| [No title] | c.1983 | Black and white photograph, framed | Frame 15 x 12 1/8 in, image 3 3/4 x 4 3/4 in | 1 | A6[617] | AM6 | ||
| [No title] | c.1983 | Black and white photograph, framed | Frame 14 x 11 in, image 3 5/8 x 4 5/8 in | 1 | A7[617] | AM7 | ||
| "Self Portrait with Feather" [Formerly titled] |
c.1983 | Palladium print | 6 5/8 x 5 in (paper size) | 1 | A8[617] | AM8 | ||
| [No title] | c.1983 | Black and white photograph, framed | Frame 15 x 12 1/8 in, image 3 3/4 x 4 5/8 in | 1 | A9[617] | AM9 | ||
| [No title] | c.1983 | Palladium print | 5 3/4 x 7 5/8 in (paper size) | 1 | A10[618] | AM10 | ||
| [No title] | c.1985 | Black and white photograph, framed | Frame 4 3/4 x 5 1/2 in, image 2 7/8 x 3 5/8 in | 1 | A11[618] | AM11 | ||
| [No title] | 1985 | Black and white Polaroid | 2 7/8 x 2 3/4 in | 1 | Metropolitan Museum of Art, New York[619] | A12[618] | AM12[620] | |
| [No title] | 1986 | C-print, tinted red | 8 1/4 x 12 1/4 in | 1 | A13[618] | AM13 | ||
| [No title] | 1986 | C-print, tinted blue | 17 x 24 in | 1 | A14[618] | AM14 | ||
| [No title] | 1986 | C-print, tinted red | 9 x 12 in | 1 | A15[618] | AM15 | ||
| [No title] | c.1986 | C-print, tinted red, framed | Frame 10 3/8 x 8 3/8 in, image 9 5/8 x 7 5/8 in | 1 | A16[618] | AM16 | Similar to formal work "Untitled" (Madrid 1971) (1988)[618] | |
| "The Lord's Wish" [Formerly titled] |
1986 | C-print, tinted green, framed | Frame 9 1/4 x 11 3/4 in, image 8 1/4 x 10 3/4 in | 1 | A17[618] | AM17 | ||
| "Untitled" [Formerly titled] |
c.1987 | Oil and collage on canvas | 18 1/8 x 14 1/8 in | 1 | A18[618] | AM18 | ||
| "Untitled" [Formerly titled] |
1987 | Duratrans print on magazine paper, framed | 8 15/16 x 11 in | 1 | A19[618] | AM19 | Similar to formal work "Untitled" (1987) [GF1987-001][618] | |
| [No title] | c.1987 | C-print, framed | Frame 9 x 11 in, image 7 3/4 x 9 3/4 in | 1 | A20[618] | AM20 | ||
| [No title] | c.1987 | Gold paint on blue paper | 10 x 14 in | 1 | A21[618] | AM21 | ||
| [No title] | c.1987 | Ironing board, transfer text | 31 3/4 x 12 x 1 1/2 in | 1 | A22[618] | AM22 | ||
| "Untitled" [Formerly titled] |
1987 | Photostat, framed | 8 1/8 x 10 1/8 in | 1 | A23[618] | AM23 | Similar to formal work "Untitled" (1987) [GF1987-019][618] | |
| "Untitled" [Formerly titled] |
1987 | Photostat | 8 x 10 in | 1 | A24[621] | AM24 | Similar to formal work "Untitled" (1987) [GF1987-001][621] | |
| "Perfect Lovers" [Formerly titled] |
1987 | Clocks | 9 3/4 x 19 1/2 x 2 1/2 in | 1 | A25[621] | AM25[622] | Similar to formal works "Untitled" (Perfect Lovers) (1987-1990) [GF1990-040] and "Untitled" (Perfect Lovers) (1991) [GF1991-007][621] | |
| [No title] | 1987 | Glass bottle, newsprint | 10 1/4 x 4 1/8 x 2 5/8 in | 1 | A26[621] | AM26 | Similar to formal works "Untitled" (1987) [GF1987-005, -023, and -024] and "Untitled" (Fear) (1987) [GF1987-022][621] | |
| "Untitled" [Formerly titled] |
1987 | Acrylic, newsprint on canvas | 15 7/8 x 19 7/8 in | 1 | A27[621] | AM27 | Similar to formal works "Untitled" (1987) [GF1987-008] and "Untitled" (Double Fear) (1987) [GF1987-015, -016, and -017][621] | |
| [No title] | c.1987 | Acrylic, newsprint on canvas | Diameter 10 in | 1 | A28[621] | AM28 | Similar to formal works "Untitled" (1987) [GF1987-005] and "Untitled" (Fear) (1987) [GF1987-015, -016, and -017][621] | |
| [No title] | c.1987 | C-print | 8 1/4 x 9 3/8 in (paper size) | 1 | A29[621] | AM29 | ||
| [No title] | 1987 | China plates with lacquered c-prints | Two parts, diameter 5 15/16 in each | 1 | A30[621] | AM30 | From the same group of plates as formal work "Untitled" (1987) [GF1987-003][621] | |
| [No title] | c.1987 | C-print, framed | Frame 7 5/8 x 9 5/8 in, image 6 5/8 x 8 5/8 in | 1 | A31[621] | AM31 | ||
| [No title] | 1988 | China plates with lacquered c-prints | Two parts, diameter 8 in each | 1 | A32[621] | AM32 | From the same group of plates as formal work "Untitled" (1987) [GF1987-003][621] | |
| "Untitled" [Formerly titled] |
1988 | Photostat | 8 x 10 in | 1 | A33[621] | AM33[623] | Similar to formal work "Untitled" (1988) [GF1988-005][621] | |
| "Untitled" [Formerly titled] |
1988 | Photostat | 6 1/2 x 9 in | 1 | A34[621] | AM34 | Similar to formal work "Untitled" (1988) [GF1988-032][621] | |
| [No title] | c.1988 | Photostat, framed | 10 3/8 x 11 5/8 in | 1 | A35[621] | AM35 | ||
| "Untitled" (Paris) [Formerly titled] |
1988 | Chromogenic print | 12 5/8 x 19 1/8 in | 1 | Art Institute of Chicago[624] | A37[621] | AM37[625] | |
| [No title] | c.1988 | C-print, framed | Frame 8 7/8 x 11 in, image 7 5/8 x 9 3/4 in | 1 | A38[626] | AM38 | ||
| "Untitled" (Warm Water) [Formerly titled] |
1988 | C-print jigsaw puzzle | 7 1/2 x 9 1/2 in | 2 | A39[626] | AM39 | Similar to formal work "Untitled" (Warm Water) (1988)[626] | |
| [No title] | 1988 | C-print, framed | Frame 15 3/4 x 17 1/4 in, image 7 5/8 x 9 3/4 in | 1 | A40[626] | AM40 | ||
| [No title] | 1989 | Offset print on paper, framed | 9 1/16 x 11 1/2 in | 5 | A41[626] | AM41 | Single framed sheets from formal work "Untitled" (Still Life) (1989)[626] | |
| "Bloodwork" [Formerly titled] |
1989 | Graphite and gouache on paper | 12 1/8 x 9 in | 1 | A42[626] | AM42 | ||
| [No title] | c.1989 | Black and white Polaroid | 3 3/8 x 4 1/4 in | 1 | A43[626] | AM43 | ||
| [No title] | c.1990 | C-print | 33 1/2 x 20 in | 1 | A44[626] | AM44 | Source image for formal work "Untitled" (The New Plan) (1991)[626] | |
| "Untitled" (Natural History) [Formerly titled] |
1990 | Black and white photograph | 11 x 14 in (paper size) | 1 | A45[626] | AM45 | Similar to photograph J (Scholar) from formal work "Untitled" (Natural History) (1990)[626] | |
| Untitled graph (blood work) [Formerly titled] |
1990 | Graphite and gouache on paper | 12 1/2 x 9 3/8 in | 1 | A46[626] | AM46 | Similar to formal works "Untitled" (t-cell count) (1990) [GF1990-023, -024, -025, -026, and -027][626] | |
| [No title] | c.1991 | Ink on white cardboard | 9 x 9 in | 1 | A47[626] | AM47 | Source image for formal work "Untitled (Long Line of Life) (1991) [GF1991-058][626] | |
| "Untitled" (Alice B. Toklas' and Gertrude Stein's Grave, Paris) [Formerly titled] |
1992 | C-print, framed (one unframed) | 5 x 7 in (first version, paper size); frame 14 1/2 x 17 in, image 8 x 10 in (second version); frame 13 3/4 x 16 1/2 in, image 6 x 9 3/4 in (third version) | 3 | A48[626] | AM48 | Similar to formal work "Untitled" (Alice B. Toklas' and Gertrude Stein's Grave, Paris) (1992)[626] | |
| "Untitled" (1992) [Formerly titled] |
1992 | Photostat, framed | 12 5/8 x 16 5/8 in | 1 | A49[626] | AM49 | Similar to formal work "Untitled" (1992) (1992) [GF1992-022][626] | |
| [No title] | 1992 | Plastic photo album | 6 3/8 x 4 5/8 in | 1 | A50[627] | AM50 | ||
| [No title] | 1993 | C-print | 15 1/4 x 22 3/4 in | 1 | A51[627] | AM51 | Similar to formal work "Untitled" (Loverboy) (1988) [GF1988-011][627] | |
| "Untitled" (A Walk in the Snow) [Formerly titled] |
1993 | C-print | Two parts, 8 x 10 in each | 1 | A52[627] | AM52 | Similar to formal works "Untitled" (A Walk in the Snow) (1993) [GF1993-001 and -002][627] | |
| [No title] | 1993 | Graphite, offset print on tissue paper | 11 x 8 1/2 in | 1 | A53[627] | AM53 | ||
| "Untitled" (Sand) [Formerly titled] |
1993/1994 | Photogravure on Somerset Satin paper | 12 3/4 x 15 3/4 in | 1 | A54[627] | AM54 | Single sheets from formal work "Untitled" (Sand) (1993-1994)[627] |
Citations and references
editCitations
edit- ^ a b Greenberger, Alex (6 May 2021). "How Felix Gonzalez-Torres's Unabashedly Political Art Lent Minimalism a New Context". Art in America. ARTnews. Archived from the original on 28 June 2022. Retrieved 13 December 2022.
- ^ a b Kee, Joan (Spring 2017). "Félix González-Torres on Contracts" (PDF). Cornell Journal of Law and Public Policy. 26 (3): 517–519. Retrieved 10 December 2022.
- ^ a b c d e f g Elger (1997), p. 14.
- ^ a b c d e f g h Elger (1997), p. 19.
- ^ a b Grant, Daniel (11 August 2010). "Can Artists Really Disown Their Early Work?". HuffPost. Archived from the original on 25 May 2022. Retrieved 14 December 2022.
- ^ ""Untitled" (Death by Gun)". Allen Art Collection. Oberlin College. Archived from the original on 16 November 2022. Retrieved 4 December 2022.
- ^ ""Untitled" (Veteran's Day Sale)". V&A. Victoria and Albert Museum. 1989. Archived from the original on 4 February 2018. Retrieved 4 December 2022.
- ^ ""Untitled" (Ross in L.A.)". WalkerArt. Walker Art Center. Archived from the original on 12 September 2016. Retrieved 4 December 2022.
- ^ Elger (1997).
- ^ a b c d e Elger (1997), p. 15.
- ^ ""Untitled" (Ischia)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 20 November 2022.
- ^ "Acquisitions". Vancouver Art Gallery Annual Report 2002 (Report). Vancouver Art Gallery. 2002. p. 22.
- ^ ""Untitled" (Wall Street)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 20.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 14 August 2020. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 21.
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- ^ a b ""Untitled"". MoMA. Museum of Modern Art. Archived from the original on 26 June 2021. Retrieved 20 November 2022.
- ^ ""Untested"". Felix Gonzalez-Torres Foundation. Archived from the original on 14 August 2020. Retrieved 21 November 2022.
- ^ a b c d e Elger (1997), p. 22.
- ^ ""Double Fear"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b c d e f g Elger (1997), p. 25.
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- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 25 October 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Just Say No)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 22 November 2022.
- ^ a b c d Elger (1997), p. 23.
- ^ ""Untitled" (Double Fear)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Double Fear)". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Double Fear)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 24.
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- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
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- ^ ""Untitled"". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 27.
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- ^ a b Elger (1997), p. 26.
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- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 19 October 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". MCASD. Museum of Contemporary Art San Diego. Archived from the original on 22 November 2022. Retrieved 22 November 2022.
- ^ ""Untitled"". Tate. Archived from the original on 20 November 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 28.
- ^ ""Untitled" (Cold Blue Snow)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Cold Blue Snow)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 29.
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- ^ ""Untitled"". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 20 November 2022.
- ^ ""Untitled" (Venezia)". Felix Gonzalez-Torres Foundation. Archived from the original on 3 August 2021. Retrieved 21 November 2022.
- ^ ""Untitled" (Loverboy)". Felix Gonzalez-Torres Foundation. Archived from the original on 28 July 2021. Retrieved 21 November 2022.
- ^ ""Untitled" (Madrid 1971)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 14 August 2020. Retrieved 21 November 2022.
- ^ a b "Félix González-Torres". The Warehouse Dallas. Rachofsky Collection. Archived from the original on 21 November 2022. Retrieved 21 November 2022.
- ^ Elger (1997), p. 30.
- ^ ""Untitled" (7 Days of Bloodworks)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Love Letter From the War Front)". Boijmans. Museum Boijmans Van Beuningen. Archived from the original on 24 November 2022. Retrieved 24 November 2022.
- ^ ""Untitled" (Love Letter From The War Front)". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 31.
- ^ ""Untitled" (Love Letter From The War Front)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Klaus Barbie as a Family Man)". Colección Jumex (in Spanish). Archived from the original on 20 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Klaus Barbie as a Family Man)". Hamburger Kunsthalle (in German). Archived from the original on 21 November 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Klaus Barbie as a Family Man)". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ Elger (1997), p. 32.
- ^ ""Untitled" (Klaus Barbie as a Family Man)". Felix Gonzalez-Torres Foundation. Archived from the original on 19 October 2021. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 33.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ "Forbidden Colors". MOCA. Archived from the original on 24 June 2021. Retrieved 12 June 2022.
- ^ ""Forbidden Colors"". Felix Gonzalez-Torres Foundation. Archived from the original on 10 November 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ a b Elger (1997), p. 34.
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- ^ ""Untitled"". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 35.
- ^ ""Untitled"". Félix González-Foundation. Archived from the original on 20 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Me and My Sister)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ a b c d Elger (1997), p. 36.
- ^ ""Untitled" (Self Portrait with Sister)". Felix González-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Warm Water)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Photomugs)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 37.
- ^ ""Untitled" (1988)". Felix Gonzalez-Torres Foundation. Archived from the original on 19 October 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 28 July 2021. Retrieved 21 November 2022.
- ^ ""Untitled" (1988)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Double Fear)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Loverboy)". Dia Art Foundation. Archived from the original on 4 April 2024. Retrieved 4 April 2024.
- ^ a b c Elger (1997), p. 38.
- ^ ""Untitled" (Loverboy)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 March 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Paris 1989)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 39.
- ^ ""Untitled" (Paris, Last Time, 1989)". Felix Gonzalez-Torres Foundation. Archived from the original on 3 August 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 21 November 2022.
- ^ "Untitled". ArtIC. Art Institute of Chicago. 1989. Archived from the original on 28 April 2021. Retrieved 12 June 2022.
- ^ ""Untitled"". Brooklyn Museum. Archived from the original on 18 September 2016. Retrieved 22 November 2022.
- ^ ""Untitled"". MoMA. Museum of Modern Art. Archived from the original on 26 June 2021. Retrieved 20 November 2022.
- ^ "Untitled". Whitney. Whitney Museum. Archived from the original on 3 July 2021. Retrieved 12 June 2022.
- ^ "Untitled". WCMA. Williams College. Archived from the original on 12 June 2022. Retrieved 12 June 2022.
- ^ a b c Elger (1997), p. 40.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Bloodworks)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 41.
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- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 42.
- ^ ""Untitled" (Waldheim to The Pope)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Key West Weekend)". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Veterans Day Sale)". MAM. Milwaukee Art Museum. Archived from the original on 23 November 2022. Retrieved 23 November 2022.
- ^ a b c Elger (1997), p. 43.
- ^ ""Untitled" (Veterans Day Sale)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 17 July 2022. Retrieved 21 November 2022.
- ^ Elger (1997), p. 44.
- ^ ""Untitled" (White Legal)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 21 November 2022.
- ^ a b c d Elger (1997), p. 45.
- ^ ""Untitled" (Monument)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Bloodworks)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Memorial Day Weekend)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 46.
- ^ ""Untitled"". ArtIC. Art Institute of Chicago. May 1989. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ "Untitled". SFMoMA. San Francisco Museum of Modern Art. Archived from the original on 3 May 2020. Retrieved 12 June 2022.
- ^ ""Untitled"". Félix Gonzélez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Still Life)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 47.
- ^ ""Untitled" (Oscar Wilde's Tombstone)". Felix Gonzalez-Torres Foundation. Archived from the original on 28 July 2021. Retrieved 21 November 2022.
- ^ ""Untitled" (New Supreme Justice)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (God Bless Our Country and Now Back to War)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ a b c d e Elger (1997), p. 48.
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- ^ ""Untitled"". MoMA. Museum of Modern Art. Archived from the original on 26 June 2021. Retrieved 20 November 2022.
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- ^ Elger (1997), p. 49.
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- ^ "Untitled (The End)". MCA Chicago. Museum of Contemporary Art, Chicago. Retrieved 12 June 2022.
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- ^ a b c d e Elger (1997), p. 50.
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- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Hamburger Kunsthalle (in German). Archived from the original on 21 November 2022. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 51.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Join)". Rubell Museum. Archived from the original on 21 November 2022. Retrieved 21 November 2022.
- ^ a b ""Untitled" (Join)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 52.
- ^ ""Untitled" (Blue Mirror)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Blue Mirror)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Fortune Cookie Corner)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". MACBA. Barcelona Museum of Contemporary Art. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ ""Untitled"". WalkerArt. Walker Art Center. Archived from the original on 12 September 2016. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 54.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 20 November 2022.
- ^ a b c d Elger (1997), p. 53.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". CNAP (in French). Centre national des arts plastiques. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (For White Columns)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Shield)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 55.
- ^ ""Untitled" (Girlfriend in a Coma)". Felix Gonzalez-Torres Foundation. Archived from the original on 19 October 2021. Retrieved 21 November 2022.
- ^ "Untitled (A Corner of Baci)". MOCA. Archived from the original on 24 June 2021. Retrieved 12 June 2022.
- ^ a b Elger (1997), p. 57.
- ^ ""Untitled" (A Corner of Baci)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (NRA - National Rifle Association)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 56.
- ^ ""Untitled" (t-cell count)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (t-cell count)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (t-cell count)". ArtIC. Art Institute of Chicago. 1990. Archived from the original on 16 November 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (t-cell count)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (t-cell count)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (t-cell count)". MoMA. Museum of Modern Art. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ ""Untitled" (t-cell count)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Silver Beach)". ArtIC. Art Institute of Chicago. 1990. Archived from the original on 16 November 2022. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 60.
- ^ ""Untitled" (Silver Beach)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 20 November 2022.
- ^ a b Elger (1997), p. 59.
- ^ a b ""Untitled" (Beautiful, in conjunction with Louise Lawler)". Felix González-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ "Untitled (USA Today)". MoMA. Museum of Modern Art. Archived from the original on 13 March 2022. Retrieved 12 June 2022.
- ^ a b c d Elger (1997), p. 61.
- ^ ""Untitled" (USA Today)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Death by Gun)". MoMA. Museum of Modern Art. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ Elger (1997), p. 58.
- ^ ""Untitled" (Death by Gun)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 June 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Natural History)". DMAC. Des Moines Art Center. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ ""Untitled" (Natural History)". TOPMuseum (in Japanese). Tokyo Photographic Art Museum. Archived from the original on 21 November 2022. Retrieved 21 November 2022.
- ^ "Love's Body: Art in the Age of AIDs" (PDF). TOPMuseum (in Japanese). Tokyo Photographic Art Museum. Archived (PDF) from the original on 14 December 2022. Retrieved 14 December 2022.
- ^ ""Untitled" (Natural History)". WalkerArt. Walker Art Center. Archived from the original on 28 October 2021. Retrieved 21 November 2022.
- ^ a b Elger (1997), p. 63.
- ^ a b ""Untitled" (Natural History)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 22 November 2022.
- ^ "Untitled (Perfect Lovers)". DMA. Dallas Museum of Art. Archived from the original on 3 December 2023. Retrieved 3 December 2023.
- ^ a b c d e "Felix Gonzalez-Torres". Glenstone. Archived from the original on 20 April 2022. Retrieved 12 June 2022.
- ^ "Wadsworth Atheneum Collection". Wadsworth. Wadsworth Atheneum. Retrieved 16 November 2022.
- ^ Elger (1997), p. 64.
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- ^ a b c d Elger (1997), p. 65.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Spaghetti)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Welcome Back Heroes)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (The New Plan)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ a b c Elger (1997), p. 66.
- ^ ""Untitled" (Portrait of the Wongs)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 22 November 2022.
- ^ a b c Elger (1997), p. 67.
- ^ ""Untitled" (Revenge)". Felix Gonzalez-Torres Foundation. Archived from the original on 19 October 2021. Retrieved 22 November 2022.
- ^ ""Untitled" (Loverboy)". WalkerArt. Walker Art Center. Archived from the original on 28 September 2020. Retrieved 21 November 2022.
- ^ ""Untitled" (Loverboy)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (Perfect Lovers)". MoMA. Museum of Modern Art. Archived from the original on 3 July 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Perfect Lovers)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 20 November 2022.
- ^ a b c Elger (1997), p. 68.
- ^ ""Untitled" (14 Days of Bloodworks)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Lover Boys)". Felix Gonzalez-Torres Foundation. Archived from the original on 1 April 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Guggenheim. Solomon R. Guggenheim Museum. Archived from the original on 23 January 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 70.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 November 2022. Retrieved 21 November 2022.
- ^ ""Untitled" (March 5th) #1". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
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{{cite web}}: CS1 maint: unfit URL (link) - ^ ""Untitled" (We Don't Remember)". Felix Gonzalez-Torres Foundation. Archived from the original on 2 December 2021. Retrieved 21 November 2022.
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- ^ a b Elger (1997), p. 73.
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- ^ a b Elger (1997), p. 77.
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{{cite web}}: CS1 maint: unfit URL (link) - ^ ""Untitled" (A Portrait)". Felix Gonzalez-Torres Foundation. Archived from the original on 14 August 2020. Retrieved 21 November 2022.
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- ^ a b c Elger (1997), p. 89.
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- ^ a b Elger (1997), p. 91.
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- ^ a b Elger (1997), p. 95.
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- ^ a b Elger (1997), p. 102.
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- ^ a b Elger (1997), p. 106.
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- ^ a b c Elger (1997), p. 107.
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- ^ a b c Elger (1997), p. 111.
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- ^ a b "Sprengel Collection". Sprengel (in German). Search "Felix" in collection database: Sprengel Museum. Retrieved 16 November 2022.
- ^ a b Elger (1997), p. 110.
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- ^ a b c d e f g Elger (1997), p. 114.
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- ^ a b c d Elger (1997), p. 113.
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- ^ ""Untitled" (False Hope - Bloodwork)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (A Walk in the Snow)". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 22 November 2022.
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- ^ a b Elger (1997), p. 116.
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- ^ a b Elger (1997), p. 117.
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- ^ a b c Elger (1997), p. 119.
- ^ a b c d e Elger (1997), p. 120.
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- ^ "Untitled (Blood Work--Steady Decline)". ArtIC. Art Institute of Chicago. 1993. Archived from the original on 19 November 2021. Retrieved 12 June 2022.
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- ^ ""Untitled" (Portrait of Elaine Dannheisser)". MoMA. Museum of Modern Art. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ ""Untitled" (Portrait of Elaine Dannheisser)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 20 November 2022.
- ^ ""Untitled" (Portrait of Ingvild Goetz)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Portrait of the Magoons)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Strange Bird)". AGO. Art Gallery of Ontario. Archived from the original on 12 October 2022. Retrieved 22 November 2022.
- ^ a b c Elger (1997), p. 123.
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- ^ ""Untitled" (Placebo - Landscape - for Roni)". SKD (in German). Staatliche Kunstsammlungen Dresden. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ a b Elger (1997), p. 127.
- ^ ""Untitled" (Placebo - Landscape - for Roni)". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 21 November 2022.
- ^ a b c d e Elger (1997), p. 122.
- ^ ""Untitled" (Lovers - Paris)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ Elger (1997), p. 121.
- ^ ""Untitled" (Passport #II)". Felix Gonzalez-Torres Foundation. Archived from the original on 19 October 2021. Retrieved 22 November 2022.
- ^ ""Untitled" (Arena)". SKD (in German). Staatliche Kunstsammlungen Dresden. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
{{cite web}}: CS1 maint: unfit URL (link) - ^ ""Untitled" (Arena)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 October 2021. Retrieved 21 November 2022.
- ^ a b c d e Elger (1997), p. 124.
- ^ ""Untitled" (9 Days of Bloodwork - Steady Decline and False Hope)". Felix Gonzalez-Torres Foundation. Archived from the original on 20 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (7 Days of Bloodwork - Steady Decline)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Portrait of Robert Vifian)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
- ^ a b c d e Elger (1997), p. 126.
- ^ ""Untitled" (Portrait of Austrian Airlines)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Strange Music)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
- ^ a b c d e f g h i Elger (1997), p. 125.
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- ^ "National Museum of Art Collection". National Museum of Art, Osaka. Retrieved 16 November 2022.
- ^ ""Untitled" (Last Light)". WalkerArt. Walker Art Center. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
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- ^ ""Untitled" (Leaves of Grass)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Summer)". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Ischia)". AFMuseet. Astrup Fearnley Museum of Modern Art. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
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- ^ a b c d e Elger (1997), p. 128.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Portrait of the Rosenbergs)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (For Parkett)". AGSA. Art Gallery of South Australia. Archived from the original on 31 October 2020. Retrieved 21 November 2022.
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- ^ "Gonzalez-Torres Artwork to Come Down with Long's Bookstore Demolition". OSU. Ohio State University. 27 September 2016. Archived from the original on 19 December 2022. Retrieved 19 December 2022.
- ^ a b Elger (1997), p. 129.
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- ^ ""Untitled" (Portrait of MOCA)". MOCA. Museum of Contemporary Art, Los Angeles. Archived from the original on 29 June 2016. Retrieved 20 November 2022.
- ^ a b Elger (1997), p. 131.
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- ^ a b c d e Elger (1997), p. 130.
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- ^ a b Elger (1997), p. 132.
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- ^ ""Untitled" (Portrait of the Cincinnati Art Museum)". Cincinnati Art Museum. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
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- ^ ""Untitled" (Sand)". Colección Jumex (in Spanish). Archived from the original on 15 May 2021. Retrieved 21 November 2022.
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- ^ a b ""Untitled" (Sand)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 133.
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- ^ a b c Elger (1997), p. 134.
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- ^ ""Untitled" (Beginning)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 22 November 2022.
- ^ a b c d Elger (1997), p. 135.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
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- ^ a b c d e Elger (1997), p. 136.
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- ^ "Untitled (America)". Whitney. Whitney Museum. Archived from the original on 29 January 2022. Retrieved 12 June 2022.
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- ^ ""Untitled" (Bloodwork - Steady Decline)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Portrait of the Fabric Workshop, a gift to Kippy)". Félix Gonzalez-Torres Foundation. Archived from the original on 27 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 26 May 2022. Retrieved 22 November 2022.
- ^ ""Untitled"". Whitney. Whitney Museum. Archived from the original on 4 July 2022. Retrieved 20 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 20 January 2021. Retrieved 21 November 2022.
- ^ a b c Elger (1997), p. 138.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled" (Oscar Wilde)". Allen Memorial Art Museum. Oberlin College. Archived from the original on 16 November 2022. Retrieved 21 November 2022.
- ^ "Culture and The People: El Museo Del Barrio 1969-2019". ElMuseo. Download checklist for work listing: El Museo del Barrio. Archived from the original on 30 July 2022. Retrieved 21 November 2022.
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- ^ "Untitled (Golden)". ArtIC. Art Institute of Chicago. 1995. Archived from the original on 19 November 2021. Retrieved 12 June 2022.
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- ^ ""Untitled" (Golden)". Felix Gonzalez-Torres Foundation. Archived from the original on 21 January 2022. Retrieved 21 November 2022.
- ^ Elger (1997), p. 137.
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- ^ ""Untitled" (Water)". ArtBMA. Baltimore Museum of Art. Archived from the original on 18 June 2022. Retrieved 13 November 2022.
- ^ a b c d Elger (1997), p. 139.
- ^ ""Untitled" (Water)". Felix Gonzalez-Torres Foundation. Archived from the original on 6 October 2022. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ ""Untitled"". BAMPFA. University of California, Berkeley. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ ""Untitled"". DMAC. Des Moines Art Center. Archived from the original on 16 November 2022. Retrieved 16 November 2022.
- ^ a b Elger (1997), p. 140.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 28 July 2021. Retrieved 21 November 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 22 November 2022.
- ^ a b Steer, Emily (17 January 2023). "A Guide to the Pioneering Conceptual Artwork of Felix Gonzalez-Torres". AnOtherMag. Another Magazine. Archived from the original on 20 January 2023. Retrieved 20 January 2023.
- ^ Cotter, Holland (2 February 2023). "Felix Gonzalez-Torres, a Master of Mutability". The New York Times. Archived from the original on 2 February 2023. Retrieved 2 February 2023.
- ^ a b ""Untitled" (Sagitario)". Felix Gonzalez-Torres Foundation. Archived from the original on 7 November 2022. Retrieved 22 November 2022.
- ^ a b Graves, Jen (14 June 2007). "The One That Got Away". The Stranger. Archived from the original on 19 December 2022. Retrieved 19 December 2022.
- ^ "Versiones del Sur: Cinco propuestas en torno al arte en América. No es sólo lo que ves: Pervirtiendo el minimalismo". Museo Reina Sofia (in Spanish). Museo Nacional Centro de Arte Reina Sofía. Archived from the original on 19 October 2022. Retrieved 3 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 28 May 2022. Retrieved 21 November 2022.
- ^ "FELIX GONZALEZ-TORRES AT THE 52ND VENICE BIENNALE". e-flux. 5 June 2007. Archived from the original on 19 December 2022. Retrieved 19 December 2022.
- ^ a b "Sociedad". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "Wrapped". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "10 años, 10 horas, 10 madres". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Autorretrato 3". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Cívicas 5 P.M." Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Delante/Detras". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Jeff-November". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "New York, New York!". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "TV Vacío-Vacío". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "Contaminación ambien/mental". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Division #2". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "He dicho". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "APRENDIENDO". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "CESAR". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "HOGAR". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Olimpia". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "Unforgettable Winds". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "La imagen como producto/poder". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "Óxido, sueños sobre una cama de hielo". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "Felix Gonzalez-Torres, 'Rust, dreams on an ice bed', Casa Aboy, San Juan Puerto Rico, January 23, 1982". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Untitled (Still Life: Newspapers, Dinosaurs, Dolls, Cloths...)". Google Arts & Culture. Retrieved 1 January 2024.
- ^ a b "No recorded title". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b "No recorded title". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ "Sin Título". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Will I Lie to You?"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b c d e f g h i j k l Elger (1997), p. 146.
- ^ ""For the Birds"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b c d e f g h i j k l m n o p q r s t u v w Elger (1997), p. 147.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Quatrenium" Sculpture Project". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""White Legal"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Rough Draft"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b ""Untitled" (Mirage)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b ""Untitled" (I Spoke to your God)". Felix Gonzalez-Torres Foundation. Archived from the original on 27 January 2022. Retrieved 3 December 2022.
- ^ a b ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled" (We Love George)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b ""Untitled" (Blue Wall)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b ""Untitled" (Light Blue Wall)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled" (Supreme Majority)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled" (1980-1982)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled" (Go-Go Dance Platform)". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b c d e f g h i j k l m Elger (1997), p. 148.
- ^ Messler, Norbert (May 1992). "The Carpet Project". Artforum. Archived from the original on 16 August 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ a b c d e f g h i Elger (1997), p. 141.
- ^ a b c d e f g h i j k l m n o p q Elger (1997), p. 142.
- ^ "No title". MetMuseum. Metropolitan Museum of Art. Archived from the original on 7 July 2021. Retrieved 21 November 2022.
- ^ "No Title". Felix Gonzalez-Torres Foundation. Archived from the original on 21 November 2022. Retrieved 21 November 2022.
- ^ a b c d e f g h i j k l m n o p q r s t u v Elger (1997), p. 143.
- ^ ""Perfect Lovers"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled"". Felix Gonzalez-Torres Foundation. Archived from the original on 13 December 2022. Retrieved 13 December 2022.
- ^ ""Untitled" (Paris)". ArtIC. Art Institute of Chicago. Archived from the original on 15 May 2021. Retrieved 20 November 2022.
- ^ ""Untitled" (Paris)". Felix Gonzalez-Torres Foundation. Archived from the original on 18 April 2021. Retrieved 4 December 2022.
- ^ a b c d e f g h i j k l m n o p q r s t Elger (1997), p. 144.
- ^ a b c d e f g h Elger (1997), p. 145.
Cited references
edit- Elger, Dietmar, ed. (1997). Felix Gonzalez-Torres. Vol. 2. Ostfildern: Hatje Cantz Verlag. ISBN 9783893228836.