FELIX GONZALEZ-TORRES (1957-1996)
FELIX GONZALEZ-TORRES (1957-1996)
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FELIX GONZALEZ-TORRES (1957-1996)

"Untitled" (March 5th) #2

Details
FELIX GONZALEZ-TORRES (1957-1996)
"Untitled" (March 5th) #2
light bulbs, porcelain light sockets and electrical cords, in two parts
height: 113 in. (287 cm.)
Executed in 1991. This work is number ten from an edition of 20 plus two artist's proofs and is accompanied by a certificate of authenticity signed by the artist.
Provenance
Andrea Rosen Gallery, New York
Private collection, Massachusetts
Private collection
Private collection, California
Acquired from the above by the present owner, 2010
Literature
15 Artistas Cubanos [Fifteen Cuban Artists: The Diaspora of the 80's], exh. cat., Mexico City, Ninart Centro de Cultura, 1991, p. 36.
Multiples, exh. cat., Köln, Verlag der Buchhandlung Walther König; Tokyo, Wacoal Art Center, 1993, p. 82.
Felix Gonzalez-Torres - Roni Horn, exh. cat., Munich, Sammlung Goetz, 1995.
Felix Gonzalez-Torres, exh. cat., New York, Solomon R. Guggenheim Museum, 1995, p. 182.
Propositions, exh. cat., Rochechouart, Musée Departmental d’Art Contemporain, 1996, pp. 10, 84.
Dream Collection: Gifts and Just a Few Hidden Desires, exh. cat., Miami Art Museum, 1996.
C. Chapman, “Personal Effects: on aspects of work by Felix Gonzalez-Torres,” Broadsheet vol. 25, no. 3, Spring 1996, p. 16 -17 (illustrated).
J. Poirier, “Felix Gonzalez-Torres,” Encyclopaedia Universalis, 1997, p. 477 - 478.
Lux/Lumen, exh. cat., Barcelona, Fundació Joan Miró, 1997, p. 34 (illustrated), 35, 70, 85.
D. Elger, et al., eds., Felix Gonzalez-Torres: Catalogue Raisonné, Ostfildern-Ruit, 1997, p. 69 (illustrated).
J. Rondeau, “Untitled (Last Light), 1993 by Felix Gonzalez-Torres,” The Art Institute of Chicago: Museum Studies vol. 25, no. 8, 1999, p. 84 - 85.
La Luz: Contemporary Latino Art in the United States, exh. cat., Albuquerque, National Hispanic Cultural Center of New Mexico, 2000, cover (illustrated).
Im Not Here, exh. cat., Harrisburg, Susquehanna Art Museum, 2000 (illustrated).
Felix Gonzalez-Torres, exh. cat., Montevideo, Museo Nacional de Artes Visuales, 2000, p. 10.
"La Luz," Albuquerque, National Hispanic Cultural Center of New Mexico, October 2000-May 2001, p. F5.
T. Sine, "A New View," The Dallas Morning News, November 2000.
The Oldest Possible Memory, exh. cat., St. Gallen, Sammlung Hauser und Wirth in the Lokremise, 2001, p. 81 (illustrated).
L. Antonio, "La Luz: Illuminating U.S. Latino Art," Pasatiempo, March 2001.
Comer o no Comer, exh. cat., Salamanca, Centro de arte de Salamanca, 2002, p. 47.
F. Montornés, “Dos simples bombillas,” Suite 32, February 2005, p. 28-29.
J. Ault, ed., Felix Gonzalez-Torres, Gottingen, 2006, pp. 89, 360, 373.
Felix Gonzalez-Torres, exh. cat., Berlin, Neue Gesellschaft für Bildende Kunst; Berlin, Hamburger Bahnhof, Museum für Gegenwart, 2006, p. 164.
A. Thorson, "Art: There's always a little sense of danger," Kansas City Star April 2007, p. G8.
La Foule (Zéro - Infini): Chapitre 2 (chaos - contrôle) [The Crowd (Zero - Infinity): Chapter 2 (chaos - control)], exh. cat., Clermont-Ferrand, L’Espace d’Art Contemporain La Tôlerie, 2008, p. 15.
Las Implicaciones de la Imagen [Implications of the Image], exh. cat., Mexico City, Universidad Nacional Autónoma de México, Dirección General de Artes Visuales, Museo Universitario de Ciencias y Arte, 2008, p. 193.
Sparks!: The William T. Kemper Collecting Initiative at the Nelson-Atkins Museum of Art, exh. cat., Kansas City, The Nelson-Atkins Museum of Art, 2008, pp. 7 (illustrated), 80, 81 (illustrated).
Reality Check, exh. cat., Copenhagen, Statens Museum for Kunst, 2008, p. 90.
Transformed, exh. cat., Virginia Beach, Contemporary Art Center of Virginia, 2008, p. 9.
T. Barson, “Felix Gonzalez-Torres, ‘Untitled’ (March 5th) #2 1991,” American Patrons of Tate Annual Report, 2008, p. 10 (illustrated), 11, 23.
L. Casanovas, “Invitan al público en el Malba a llevarse parte de las obras,” La Nación, May 2008, p. 10.
N. Bourriaud, “Paradigmas de la cohabitación,” gina 12, September 2008, p. 37.
L. Hinkson, “Acquisitions: Gift,” Guggenheim Magazine, Summer 2009, p. 4 (illustrated).
Félix González-Torres: Somewhere/Nowhere [Algún lugar/Ningún lugar], exh. cat., Mexico City, Universidad Nacional Autónoma de Mexico, Museo Universitario Arte Contemporáneo, 2010, p. 64.
P. Kosiewski, "Chlopiec z cukierkami," Art eon April 2011, p. 6-8.
D. Ades, Tate Latin American Acquisitions Committee: Celebrating 10 Years, New York: 2011, p. 35.
Contemporary Collecting: The Judith Neisser Collection: Minimal and Postminimal Innovation, exh. cat., Art Institute of Chicago, 2011, p. 59.
In a Sentimental Mood, exh. cat., Paris, La Galeries Des Galeries, 2012, p. 4-5 (illustrated).
Untitled, Wetteren, 2012, p. 202.
More Love: Art Politics, and Sharing since the 1990s, exh. cat., Chapel Hill, University of North Carolina, Ackland Art Museum, 2013, p. 29.
M. Lykins Reich, Dirge: Reflections on [Life and] Death, exh. cat., Cleveland, Museum of Contemporary Art Cleveland, 2014, p. 18-19 (illustrated).
A Very Short History of Contemporary Sculpture, exh. cat., London, Phillips, October 2014.
What We Call Love: From Surrealism to Now, exh. cat., Dublin, Irish Museum of Modern Art, 2015, p. 60 (illustrated), 61.
Patrice Chéreau: Un Musée Imaginaire, exh. cat., Avignon, Collection Lambert, 2015, p. 164 (illustrated).
Felix Gonzalez-Torres: Specific Objects Without Specific Form, exh. cat., Brussels, Wiels Contemporary Art Centre; Basel, Fondation Beyeler; Frankfurt, Museum für Moderne Kunst, 2016, pp. 60-1, 251, 378-79, 380-81.
Macho Man Tell It To My Heart, exh. cat., Basel, Kunstmuseum; Basel, Museum für Gegenwartskunst; Lisbon, Culturgest; New York, Artists Space, 2016, pp. 33, 108, 123.
A. Searle, "Felix Gonzalez-Torres review - holding a mirror up to love and loss," Guardian, May 2016.
M. Mclean, "Felix Gonzalez-Torres," frieze, No. 181, September 2016, p. 168-9 (illustrated).
Inside: Artists and Writers in Reading Prison, exh. cat., London: Artangel, 2017, pp. 18, 167.
P. Griffith, "Felix Gonzalez-Torres," The Brooklyn Rail, June 2017.
J. Chambers-Letson, After the Party: A Manifesto for Queer of Color Life, New York: New York, 2018.
R. Hort, “Reflecting on Felix Gonzalez-Torres During COVID-19,” White Wall Magazine, April 2020.
Doubles, exh. cat., New York, Maximilian Schubert, 2020.
Exhibited
Brussels, Galerie Xavier Hufkens, Felix Gonzalez-Torres, Michael Jenkins, March-April 1991 (another example from the edition exhibited).
Glens Falls, Hyde Collection, Just what is it that makes todays home so different, so appealing?, September-November 1991 (another example from the edition exhibited).
Tokyo, Wacoal Art Center, Three or More- A Multiple Exhibition, October 1992 (another example from the edition exhibited).
Glasgow, Tramway, Read My Lips: New York AIDS Polemics, October-December 1992 (another example from the edition exhibited).
Washington D.C., The Smithsonian Institution, Hirshhorn Museum and Sculpture Garden; Los Angeles, Museum of Contemporary Art, Felix Gonzalez-Torres: Traveling, April-September 1994 (another example from the edition exhibited).
New York, Fischbach Gallery, Absence, Activism and the Body Politic, June 1994 (another example from the edition exhibited).
New York, Solomon R. Guggenheim Museum; Santiago de Compostela, Centro Galego de Arte Contemporánea; Musée d’Art Moderne de la Ville de Paris, Felix Gonzalez-Torres (Girlfriend in a Coma), March 1995-June 1996 (another example from the edition exhibited).
New York, Greene Naftali Gallery, Broken Home, May-June 1997 (another example from the edition exhibited).
Hannover, Sprengel Museum; St. Gallen, Kunstmuseum; Vienna, Museum Moderner Kunst Stiftung Ludwig Wien, Felix Gonzalez-Torres, June 1997-November 1998 (another example from the edition exhibited).
Barcelona, Fundació Joan Miró, Lux/Lumen, June-September 1997 (another example from the edition exhibited).
Harrisburg, Susquehanna Art Museum, Im Not Here: Constructing Identity at the Turn of the Century, December 1999-February 2000 (another example from the edition exhibited).
St. Gallen, Sammlung Hauser und Wirth, The Oldest Possible Memory, May-October 2000 (another example from the edition exhibited).
Albuquerque, National Hispanic Cultural Center of New Mexico, La Luz: Contemporary Latino Art in the United States, October 2000-May 2001 (another example from the edition exhibited).
Dallas Museum of Art, Felix Gonzalez-Torres/Joseph Beuys, February-May 2001 (another example from the edition exhibited).
Ann Arbor, University of Michigan Museum of Art, A Matter of Degree: Abstraction in Twentieth Century Art, November 2001-January 2002 (another example from the edition exhibited).
Avignon, Collection Lambert, Coolustre, May-September 2003 (another example from the edition exhibited).
Paris, Galerie nationale du Jeu de Paume, Eblouissement, June-September 2004 (another example from the edition exhibited).
New York, Lehmann Maupin, LArt Vivre, April-May 2005 (another example from the edition exhibited).
Waltham, Brandeis University, Rose Art Museum, Broken Home, January-April 2008 (another example from the edition exhibited).
Kansas City, Nelson-Atkins Museum of Art, Sparks! The William T. Kemper Collecting Initiative, May-July 2008 (another example from the edition exhibited).
Clermont-Ferrand, L’Espace d’Art Contemporain La Tôlerie, La Foule (Zéro - Infini): Chapitre 1 (unite - dualité - la meute - la masse) [The Crowd (Zero - Infinity): Chapter 1 (unity - duality - the pack -the multitude)], May-July 2008 (another example from the edition exhibited).
Paris, Passage du Retz; Petach Tikva Museum of Art, Insomniac Promenades: Dreaming/Sleeping in Contemporary Art, July 2008-July 2009 (another example from the edition exhibited).
Clermont-Ferrand, L’Espace d’Art Contemporain La Tôlerie, La Foule (Zéro - Infini): Chapitre 2 (chaos - contrôle) [The Crowd (Zero - Infinity): Chapter 2 (chaos - control)], October-November 2008 (another example from the edition exhibited).
Ann Arbor, University of Michigan Museum of Art, Permanent Collection Installation, December 2009-January 2013 (another example from the edition exhibited).
Brussels, Wiels Contemporary Art Centre; Basel, Fondation Beyeler; Frankfurt, Museum für Moderne Kunst, Felix Gonzalez-Torres: Specific Objects without Specific Form, January 2010-April 2011 (another example from the edition exhibited).
Miami Art Museum, Between Here and There: Modern and Contemporary Art from the Permanent Collection, February 2010-April 2013 (another example from the edition exhibited).
Mexico City, Universidad Nacional Autónoma de Mexico, Museo Universitario Arte Contemporáneo, Somewhere/Nowhere, February-May 2010 (another example from the edition exhibited).
Art Institute of Chicago, Contemporary Collecting: The Judith Neisser Collection, February-May 2011 (another example from the edition exhibited).
New York, Pace Gallery, Burning, Bright: A Short History of the Lightbulb, October-November 2011 (another example from the edition exhibited).
Basel, Kunstmuseum; Basel, Museum für Gegenwartskunst; Lisbon, Culturgest; New York, Artists Space, Tell It To My Heart: Collected by Julie Ault, February 2013-February 2014 (another example from the edition exhibited).
Paris, La Galerie des Galeries, In a Sentimental Mood, May-August 2013 (another example from the edition exhibited).
Cleveland, Museum of Contemporary Art, DIRGE: Reflections on [Life and] Death, March-June 2014 (another example from the edition exhibited).
Metz, Centre Pompidou, 1984-1999. La Décennie, May 2014-March 2015 (another example from the edition exhibited).
London, Phillips, A Very Brief History of Contemporary Sculpture, October 2014 (another example from the edition exhibited).
Los Angeles, Museum of Contemporary Art, Pacific Design Center, Tongues Untied, June-September 2015 (another example from the edition exhibited).
Avignon, Collection Lambert, Patrice Chéreau, un musée imaginaire, July-October 2015 (another example from the edition exhibited).
Dublin, Irish Museum of Modern Art, What We Call Love - From Surrealism to Now, September 2015-February 2016 (another example from the edition exhibited).
Modena, Manifattura Tabacchi, The Mannequin of History: Art after Fabrications of Critique and Culture, September 2015-January 2016 (another example from the edition exhibited).
Ann Arbor, University of Michigan Museum of Art, Permanent Collection Installation, September 2015-2019 (another example from the edition exhibited).
Paris, Passage de Retz, Représenter l'Irreprésentable?, December 2015-January 2016 (another example from the edition exhibited).
Frankfurt, Museum für Moderne Kunst, An Imagined Museum: Works from the Centre Pompidou, the Tate and the MMK Museum für Moderne Kunst, March-September 2016 (another example from the edition exhibited).
London, Hauser & Wirth; New York, Andrea Rosen Gallery; Milan, Massimo De Carlo, Felix Gonzalez-Torres, May-July 2016 (another example from the edition exhibited).
Reading, Artangel, Inside. Contemporary Artists and Writers in Reading Prison, September-December 2016 (another example from the edition exhibited).]
Cleveland Museum of Art, Permanent Collection Installation, February 2017-ongoing (another example from the edition exhibited).
North Adams, Massachusetts Museum of Contemporary Art, The Half-Life of Love, May 2017-January 2018 (another example from the edition exhibited).
Geneva, Musée d’art moderne et contemporain, Cady Noland, Laurie Parsons, and Felix Gonzalez-Torres, May-September 2017 (another example from the edition exhibited).
Los Angeles, Museum of Contemporary Art, Give and Take: Highlighting Recent Acquisitions, March-September 2018 (another example from the edition exhibited).
Milan, Massimo De Carlo, MCMXXXIV, March-May 2019 (another example from the edition exhibited).
Montpellier Contemporain, Intimate Distance, June-September 2019 (another example from the edition exhibited).
Central Hong Kong, David Zwirner, Singing the Body Electric, July-August 2019 (another example from the edition exhibited).
Ann Arbor, University of Michigan Museum of Art, Oh, Honey...:A Queer Reading of the Collection, August 2021-February 2022 (another example from the edition exhibited).
Special Notice

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
Post Lot Text
Other examples from the edition are housed in the collections of Tate Gallery, London; Museum of Contemporary Art, Los Angeles; University of Michigan Museum of Art; Nelson-Atkins Museum of Art, Kansas City and the Art Institute of Chicago.

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