Felix Gonzalez-Torres

Massimo De Carlo | Milan/Lombardia

Felix Gonzalez-Torres’ works function well when the viewer is aware that they involve an implied invitation to participate; here, without explicit instructions, however, few viewers left the gallery sucking on candy or carrying off the sheets of paper, as the artist intended. A small C-print puzzle, Untitled (Lover’s Letter) (all works 1991), presents a fragmented manuscript from Oscar Wilde’s Salomé. The cropped text, in which Salomé describes the beauty of John the Baptist’s body, hair, mouth, and voice, is taken from her final declaration of love before his severed head. In this work, Gonzalez-Torres introduces notions of love, death, and revenge, which function as keys to the entire exhibition. He also installed one stack of virgin white paper, Untitled (Passport), on the floor at its junction with the wall like some solitary tooth, and another, Untitled (Double Portrait), in the center

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