Gabriel Orozco

Marian Goodman Gallery, New York
Acquired by the present owner from the above

This work is in very good condition overall. There is evidence of light wear and handling at the edges. There is a small pinpoint accretion in the top most gold shape, which fluoresces brightly under ultraviolet light. There is a small loss in the gold paint 9 inches from the right edge and 13 1/2 inches from the bottom edge. There are a few smudges noticeable in the white paint in the bottom left quadrant and very minor craquelure to some of the blue shapes, which fluoresce brightly, but appear inherent to the working method of the artist. Under ultraviolet light inspection there is no evidence of restoration. Unframed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"The most important issue, however, is perhaps not the battle between organic growth and inorganic geometry, but Orozco's stance against the vanishing point, which he sees as the anchor of a painterly way of thinking, a pictorial code, remnant of the past, from which he is intent, if not wholly cut loose his painting, at least to give it some slack."  (Yve-Alain Bois, "The Tree and the Knight," Gabriel Orozco, Cambridge, 2006, p. 282)