Gonzalez-Torres, who died in 1996, was known for his ephemeral installations and sculptures, many of which call into question the nature of change and interpretation. In a work such as “Untitled” (USA Today), audiences are encouraged to take candies individually wrapped in red, silver, and blue cellophane from a pile, subverting, in the process, the notion of permanence and the anticipated relationship of the viewer to a work of art. And, as such a work can never be exactly replicated, especially when compared to the relatively static nature of a painting or photograph, it forces the issue of interpretation and responsibility in recreating these works from show to show. “One of the interesting things about Felix’s work is that when an owner lends them for exhibitions, they are lending the right to make decisions about those works,” says Rosen, who first began representing Gonzalez-Torres in 1989. “There’s this idea—what does it mean to take on the responsibility of curating? It adds this whole other element in terms of interpretation and reading and how the work transforms itself over time.”
Hay que morirse joven... No queda otra para ser eterno, para que los caramelos se hagan más dulce$. To subvert the Notion of permanence. And. The nature of change And interpretation... Art. in its pu rest form. Anticipated Static Ire responsability. For the world is no more a stash of candy. No more. And the viewer rather not. Art. Rather not.
