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8

Felix González-Torres

"Untitled" (March 5th) #2

Property from the Collection of the Felix González-Torres Family

Felix González-Torres

Felix González-Torres

"Untitled" (March 5th) #2

"Untitled" (March 5th) #2

Authenticity guarantee

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Property from the Collection of the Felix González-Torres Family

Felix González-Torres

1957 - 1996

"Untitled" (March 5th) #2


Light bulbs, porcelain light sockets, and electrical cords

113 in. in height

287 cm.

Executed in 1991, this work is number 9 from an edition of 20, plus 2 artist's proofs.


This work is accompanied by a certificate of authenticity issued by the Andrea Rosen Gallery and signed by the artist.

This work is in very good and sound condition overall. All elements are present and stable. All electrical components are in working order. Please note this work uses 120 Volts.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Acquired directly from the artist by the present owner 

Ades, Dawn. Tate Latin American Acquisitions Committee: Celebrating 10 Years. New York: American Patrons of the Tate, 2011: 34 (ill.), 35.

Ault, Julie (ed.). Macho Man Tell It To My Heart. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 2016. Ault, Julie (ed.). Felix Gonzalez-Torres. Gottingen, Germany: Steidldangin, 2006.

Barrero, Manuela. Comer o no Comer. Salamanca, Spain: Centro de arte de Salamanca, 2002: 47 (ill.), 70.

Barson, Tanya. “Felix Gonzalez-Torres, “Untitled” (March 5th) #2 1991.” American Patrons of Tate Annual Report 2008. New York: American Patrons of Tate, 2008: 10 (ill.), 11, 23.

Bonami, Francesco. A Very Short History of Contemporary Sculpture. London: Phillips, 2014. Bourriaud, Nicolas. “Paradigmas de la cohabitación.” Página 12 [Argentina], 9 Sep. 2008: 37.

Bray, Natalie, and Cara Baldwin. Transformed. Virginia Beach, VA: the Contemporary Art Center of Virginia, 2008: 4, 9, 20 (ill.), 21 (ill.), 35, 38.

Buchholz, Daniel and Gregorio Magnani (ed.). Multiples. Köln:Verlang der Buchhandlung Walther König / Tokyo: Spiral / Wacoal Art Center, 1993: 81(ills), 82 (ills.).

Casanovas, Laura. “Invitan al público en el Malba a llevarse parte de las obras.” La Nación [Argentina], 9 May. 2008: 10.

Chambers-Letson, Joshua. After the Party: A Manifesto for Queer of Color Life. New York: New York University Press, 2018.

Chapman, Christopher. “Personal Effects: on aspects of work by Felix Gonzalez-Torres.” Contemporary Visual Arts + Culture Broadsheet 25.3 Spring 1996: 16 – 17 (ill.).

Claire Schneider ed. More Love: Art Politics, and Sharing since the 1990s. Chapel Hill: Ackland Art Museum, 2013: 13-56, 102-107, 194-196 (ill.).

Cué, Anna Laura and Katnira Bella, ed. Félix González-Torres: Somewhere/Nowhere [Algún lugar/Ningún lugar]. Mexico City: Universidad Nacional Autónoma de Mexico, Museo Universitario Arte Contemporáneo, 2010.

Delehanty, Suzanne. Dream Collection: Gifts and Just a Few Hidden Desires. Miami, FL: Miami Art Museum, 1996.

Désanges, Guillaume, and Mélanie Mermod. La Foule (Zéro – Infini): Chapitre 2 (chaos – contrôle) [The Crowd (Zero – Infinity): Chapter 2 (chaos – control)]. Clermont-Ferrand, France: L’Espace d’Art Contemporain La Tôlerie, 2008: cover (ill.), 13 – 15.

Desclaux, Vanessa (ed.). In a Sentimental Mood. Paris: La Galeries Des Galeries, 2012: 4-5 (ill.).

Elger, Dietmar, et al (ed). Felix Gonzalez-Torres: Catalogue Raisonné. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 1997. [Two volumes published to accompany an exhibition at the Sprengel Museum Hannover, Germany: Vol. 1: Text, with essays by Roland Wäspe, Andrea Rosen, Dietmar Elger, Rainer Fuchs, and David Deitcher; Vol. 2: Catalogue Raisonné].

Escalante, Mireya. Las Implicaciones de la Imagen [Implications of the Image]. Mexico City: Universidad Nacional Autónoma de México, Dirección General de Artes Visuales, Museo Universitario de Ciencias y Arte, 2008: 190, 191-193 (ill.), 208, 209 (ill.), 231, 241.

Felix Gonzalez-Torres. Montevideo, Uruguay: Museo Nacional de Artes Visuales, 2000.

Filipovic, Elena (ed.). Felix Gonzalez-Torres: Specific Objects Without Specific Form. London: Koenig Books, 2016.

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

Griffith, Phillip. "Felix Gonzalez-Torres." The Brooklyn Rail, 1 June 2017. Web.

Hinkson, Lauren. “Acquisitions: Gift.” Guggenheim Magazine Summer 2009: 4 (ill.).

Hort, Rema. “Reflecting on Felix Gonzalez-Torres During COVID-19.” White Wall Magazine, 20 Apr. 2020. Web. I’m Not Here. Harrisburg, PA: Susquehanna Art Museum, 2000: postcard cover (ill.), poster cover (ill.).

Kennedy, Randy. "Virus, Imposter, Infiltrator: Recent Work by Maximilian Schubert with a Visitation by Felix Gonzalez-Torres.” Doubles. New York: Hassla Books; 2020.

Kosiewski, Piotr. "Chlopiec z cukierkami." Art eon [Poland], 1 Apr. 2011: 6-8.

Lingwood, James (ed.). Inside: Artists and Writers in Reading Prison. London: Artangel, 2017. López, Antonio. "La Luz: Illuminating U.S. Latino Art." Pasatiempo 2 - 8 March 2001.

Love, Reeve, ed. La Luz: Contemporary Latino Art in the United States. Albuquerque, NM: National Hispanic Cultural Center of New Mexico, 2000: cover (ill.).

Lykins Reich, Megan. Dirge: Reflections on [Life and] Death. Cleveland: Museum of Contemporary Art Cleveland, 2014: 18-19 (ill.).

Macel, Christine and Rachael Thomas (eds.). What We Call Love: From Surrealism to Now. Dublin: Irish Museum of Modern Art, 2015: 60 (ill.), 61.

Mavor, Carol. Reading Boyishly: Roland Barthes, J.M. Barrie, Jacques Henri Lartigue, Marcel Proust, and D.W. Winnicott. Durham, NC and London: Duke University Press, 2007: 160 (ill.), 161.

Mclean, Matthew. "Felix Gonzalez-Torres." frieze, No. 181, Sept. 2016: 168-9 (ills.)

Menocal, Nina. 15 Artistas Cubanos [Fifteen Cuban Artists: The Diaspora of the 80's]. Mexico City: Ninart Centro de Cultura, 1991: 7, 11 (ill.), 36 (ill.), 37, 45.

Montornes, Frederic. “Dos simples bombillas.” Suite 32 (Feb. 2005): 28-29.

Montornés, Frederic. Lux/Lumen. Barcelona: Fundació Joan Miró, 1997: 11, 34 (ill.), 35, 41, 42-43 (ill.), 54-57, 59, 70, 71, 77-78, 85, 86, 92-93.

Poirier, Jean-Francois. “Felix Gonzalez-Torres.” Encyclopaedia Universalis, 1997: 477 – 478.

Prévost, Jean-Marc, et al. Propositions. Rochechouart, France: Musée Departmental d’Art Contemporain de Rochechouart, 1996: 8 – 13, 14 – 19 (ill.), 83-87.

Rivière, Jean-Loup, and Éric Mézil. Patrice Chéreau: Un Musée Imaginaire. Collection Lambert, Avignon; 2015. 164 (ill.).

Rondeau, James and Anne Rorimer. Contemporary Collecting: The Judith Neisser Collection: Minimal and Postminimal Innovation. Chicago, New Haven, CT, and London: The Art Institute of Chicago and Yale University Press, 2011: 58-59 (ill.), 156.

Rondeau, James. The Art Institute of Chicago: Museum Studies - The Lannan Collection at The Art Institute of Chicago. Chicago: Art Institute of Chicago, 1999: 84 – 85.

Sammlung Hauser und Wirth in der Lokremise St. Gallen. The Oldest Possible Memory. Koln: Oktagon, 2001: 81 (ill.), 84.

Schall, Jan, and Robert Storr. Sparks!: The William T. Kemper Collecting Initiative at the Nelson-Atkins Museum of Art. Kansas City, MO: The Nelson-Atkins Museum of Art, 2008: 7 (ill.), 80, 81 (ill.).

Searle, Adrian. "Felix Gonzalez-Torres review - holding a mirror up to love and loss" Guardian. 27 May 2016. Web. Sine, Tom. "A New View." The Dallas Morning News. 5 Nov. 2000. Web.

Spector, Nancy. Felix Gonzalez-Torres. New York: Guggenheim Museum Publications, 1995.

Thorson, Alice. "Art: There's always a little sense of danger." Kansas City Star. 1 Apr. 2007: G8.

Torp, Marianne. Reality Check. Copenhagen, Denmark: Statens Museum for Kunst, 2008: 90, 91 (ill.), 138, 141.

Untitled. Wettern, Belgium: Cultura, 2012: 202-203 (ill.).

Wagner, Frank, ed. Felix Gonzalez-Torres. Berlin: Neue Gesellshaft für Bildende Kunst (NGBK) and Hamburger Bahnhof, Museum für Gegenwart, 2006.

Brussels, Galerie Xavier Hufkens, Felix Gonzalez-Torres, Michael Jenkins, March – April 1991
Glen Falls, The Hyde Collection, Just what is it that makes today's home so different, so appealing?, September – November 1991
Tokyo, Wacoal Art Center, Three or More- A Multiple Exhibition, October 1992
Glasgow, Tramway, Read My Lips: New York AIDS Polemics, October – December 1992
New York, Fischbach Gallery, Absence, Activism and the Body Politic, June – July 1994
Washington D.C., Hirshhorn Museum and Sculpture Garden; The Smithsonian Institution, Los Angeles, Museum of Contemporary Art, Felix Gonzalez-Torres: Traveling, June – September 1994
New York, The Solomon R. Guggenheim Museum; Santiago de Compostela, Centro Galego de Arte Contemporánea (shown under exhibition title Felix Gonzalez-Torres (A Possible Landscape)); Paris, Musée d’Art Moderne de la Ville de Paris, [shown under exhibition title Felix Gonzalez-Torres (Girlfriend in a Coma)), Felix Gonzalez-Torres, December 1995 – June 1996
New York, Green Naftali, Broken Home, May – June 1997
Hannover, Sprengel Museum; St. Gallen, Kunstmuseum; Vienna, Museum Moderner Kunst Stiftung Ludwig Wien, Felix Gonzalez-Torres, June 1997 – November 1998
Barcelona, Fundació Joan Miró, Lux/Lumen, June – October 1997
Harrisburg, Susquehanna Art Museum, I'm Not Here: Constructing Identity at the Turn of the Century, December 1999 – February 2000
St. Gallen, Sammlung Hauser und Wirth, The Oldest Possible Memory, May – October 2000
New Mexico, National Hispanic Cultural Center of New Mexico, La Luz: Contemporary Latino Art in the United States, October – May 2001
Dallas, Dallas Museum of Art, Felix Gonzalez-Torres/Joseph Beuys, February – May 2001
Ann Arbor, University of Michigan Museum of Art, A Matter of Degree: Abstraction in Twentieth Century Art, November 2001 – January 2002
Avignon, Collection Lambert, Coolustre, May – September 2003
Paris, Galerie nationale du Jeu de Paume Eblouissement, June – September 2004
New York, Lehmann Maupin, L'Art Vivre, April – May 2005
Waltham, The Rose Art Museum, Brandeis University, Broken Home, January – April 2008 
Kansas City, Nelson-Atkins Museum of Art, Sparks! The William T. Kemper Collecting Initiative, May – July 2008
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
Paris, Passage du Retz; Petah Tikva, Petach Tikva Museum of Art, Insomniac Promenades: Dreaming/Sleeping in Contemporary Art, July 2008 – July 2009
Clermont-Ferrand, L’Espace d’Art Contemporain, La Foule (Zéro – Infini): Chapitre 2 (chaos – contrôle) [The Crowd (Zero – Infinity): Chapter 2 (chaos – control)], October – November 2008
Ann Arbor, University of Michigan Museum of Art, Permanent Collection Installation, December 2009 – January 2013
Brussels, Wiels Contemporary Art Centre; Basel, Fondation Beyler; Frankfurt, MMK Museum für Moderne Kunst, Felix Gonzalez-Torres: Specific Objects without Specific Form, January 2010 – April 2011
Miami, Miami Art Museum (MAM), Between Here and There: Modern and Contemporary Art from the Permanent Collection, February 2010 – April 2013
Mexico City, Museo Universitario Arte Contemporáneo, Somewhere/Nowhere: Felix Gonzalez-Torres, February – May 2010
Chicago, The Art Institute of Chicago, Contemporary Collecting: The Judith Neisser Collection, February – May 2011
New York, Pace Gallery, Burning, Bright: A Short History of the Lightbulb, October – November 2011
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
Paris, La Galerie des Galeries, In a Sentimental Mood, May - August 2013
Cleveland, Museum of Contemporary Art Cleveland, DIRGE: Reflections on [Life and] Death], March – June 2014
Metz, Centre Pompidou-Metz, 1984 -1999. La Décennie, May – March 2015
London, Phillips, A Very Brief History of Contemporary Sculpture, October 2014
Los Angeles, The Museum of Contemporary Art, Tongues Untied, June – September 2015
Avignon, Collection Lambert en Avignon, Patrice Chéreau, un musée imaginaire, July – October 2015
Dublin, Irish Museum of Modern Art, What We Call Love - From Surrealism to Now, September 2015 – February 2016 12, 2015 – February 7, 2016
Modena, Manifattura Tabacchi , The Mannequin of History: Art after Fabrications of Critique and Culture, September 2015 – January 2016
Ann Arbor, University of Michigan Museum of Art, Permanent Collection Installation, September 2015 – September 2020
Paris, Passage de Retz, Représenter l'Irreprésentable?, December 2015 – January 2016
Frankfurt, MMK Museum für Moderne Kunst , An Imagined Museum: Works from the Centre Pompidou, the Tate and the MMK Museum für Moderne Kunst, March – September 2016
London, Hauser & Wirth; New York, Andrea Rosen; Milan, Massimo De Carlo, Felix Gonzalez-Torres, May – July 2016
Reading, Reading Prison, Inside. Contemporary Artists and Writers in Reading Prison, September – December 2016
Cleveland, Cleveland Museum of Art, Permanent Collection Installation, February 2017 - ongoing
North Adams, Massachusetts Museum of Contemporary Art, The Half-Life of Love, May 2017 – January 2018
Genevra, Musée d’art moderne et contemporain, Cady Noland, Laurie Parsons, and Felix Gonzalez-Torres, May – September 2017
Los Angeles, Museum of Contemporary Art, Give and Take: Highlighting Recent Acquisitions, March – September 2018
Milan, Massimo De Carlo, MCMXXXIV, March – May 2019
Montpellier, Montpellier Contemporain, Intimate Distance, June – September 2019
Hong Kong, David Zwirner, Singing the Body Electric, July– August 2019
Ann Arbor, University of Michigan Museum of Art, Oh, Honey...A Queer Reading of the Collection, August 2021 – February 2002
Sint-Martens-Latem, Museum Dhondt-Dhaenens, Blindsight – Manon de Boer in dialogue with Latifa Laâbissi and Laszlo Umbreit, February – May 2022