Gonzalez-Torres first came to prominence in the early 1990s with his interactive site-specific installations of candy stacks and printed paper. These "antimonuments" parody the coldness and rigor of Minimalist sculpture while actively encouraging participation by the audience. This early work conveys the sense of exile that the artist felt in America after fleeing his native Cuba. It can also suggest a Romantic conception of the soul yearning for the Infinite (represented by the sea) despite the hemming-in of the razor-thin barbed wire that blocks our passage. On the back of this photograph, the artist collaged a printed fragment, possibly from a magazine advertisement, showing cut-off portions of the words "THE BO[?]" and "ANYMORE." Although made, signed, and dated by the photographer, Gonzalez-Torres thought of works such as this as lying outside his core oeuvre.
Inscription: Dated and signed in ink on printed ephemera attached to verso: "1985 // Felix G [illegible]"
From the artist to Carl George; Brent Sikkema (Lightgraphics)
The Metropolitan Museum of Art. "Photographs: A Decade of Collecting," June 5, 2001–September 4, 2001.
The Metropolitan Museum of Art. "Between Here and There: Passages in Contemporary Photography," July 2, 2010–February 13, 2011.
printed clipping attached to print verso reads: "THE BO-- [cut at lettering tops] // ANYMOR [cut at lettering tops]"
Artist: Felix Gonzalez-Torres (American (born Cuba), Guáimaro 1957–1996 Miami, Florida)Date: 1992–96Medium: Blind stamped leather album with interleaved paper pages bound with ribbons, paper, paper envelopes with ink stamps, stamps and pen, chromogenic prints with ink inscriptions on verso, photo mechanical prints on paperboard, newspaper and commercially printed paper with inkAccession: 2016.230a–ccOn view in:Not on view