Felix Gonzalez-Torres (1957-1996), "Untitled" (Last Light)

Felix Gonzalez-Torres (1957-1996)
"Untitled" (Last Light)
light bulbs, plastic light sockets, extension cord and dimmer switch
overall dimensions vary with installation
Executed in 1993. This work is from an edition of twenty-four plus six artist’s proofs, published by A.R.T. Press, Los Angeles and Andrea Rosen Gallery, New York, and is accompanied by a certificate of authenticity.

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Provenance
Andrea Rosen Gallery, New York
Private collection, New York
Andrea Rosen Gallery, New York
Acquired from the above by the present owner

Pre-Lot Text
Property of a Private American Collector

Literature
S. Dewan, "Quiet, Please," Houston Press, 3-9 October 1996, p. 45.
D. Elger, Felix Gonzalez-Torres: Catalogue Raisonné, Ostfildern-Ruit, 1997, vol. 1 p. 57; vol. 2, p. 125, no. 246 (another example illustrated).
D. Gonzalez-Foerster, et al., ed., Moment Ginza: City Guide, Stockholm, 1997, p. 1.
J. Rondeau, The Art Institute of Chicago: Museum Studies - The Lannan Collection at The Art Institute of Chicago, Chicago, 1999, p. 84-85.
F. Sanchez, Ellipse Foundation Contemporary Art Collection, Cascais, 2006, n.p. (another example illustrated in color).
“Openings This Week,” Time Out, 12-18 December 2008, p. 15.
D. A. Williamson, “Now You Don’t,” Time Out, 19-25 December 2008, pp. 8-9.
“Selected New Acquisitions,” Jerusalem Magazine, Winter 2008-Spring 2009, p. 36.
"Best Bets 01.2009,” Aspen Magazine, January 2009, p. 37 (another example illustrated).
K. MacMillan, "You may 'see' it at Aspen Art Museum and still not get it," Denver Post, 23 January 2009, pp. 1D, 5D and 16D.
S. Landau, Contemporary Art in the Israel Museum. Jerusalem, 2010.
“Principales acquisitions,” La revue des musées de France Acquisitions 2009-2010, Paris, 2011, p. 88 (another example illustrated).
W. Simmons, "William Tell All: Last Light in Harvard's Sackler Museum. (10/20)," Harvard Independent, 2011.
J. Grove and O. Viso, eds., Jim Hodges: Give More Than You Take, exh. cat., Minneapolis, Walker Art Center, 2013, pp. 56, 111 and 172-185 (another example illustrated).
Nuit Blanche, Paris, 5 October 2013, Paris, pp. 41 and 43 (another example illustrated).
C. Macel, ed., Une Historie. Art, architecture, design, dés annees 1980 à nos jours, Paris, 2014, pp. 124 and 127 (another example illustrated).
J. R. Wolin, ed. Open This End: Contemporary Art from the Collection of Blake Byrne, Los Angeles, 2014, pp. 21 and 54-55 (another example illustrated).
J. Canela, I Speak Knowing it's not About Speaking, Barcelona, 2015, p. 33 (another example illustrated)
S. Harris and M. Staniszewski, eds., Exit Art: Unfinished Memories: 30 Years of Exit Art, Göttingen, 2016.
J. Marks-White, "Imagine That," Westport Magazine, Westport, 2017.
A. Rounthwaite, Asking the Audience: Participatory Art in 1980s New York, Minneapolis, 2017.

Exhibited
Minneapolis, Walker Art Center, Portraits, Plots and Places: The Permanent Collection Revisited, January 1992-ongoing (another example exhibited).
New York, Exit Art/The First World, …it’s how you play the game, November 1994-February 1995 (another example exhibited).
New York, Betsy Senior Gallery, A.R.T. Press: Prints and Multiples, January-February 1995 (another example exhibited).
Santiago de Compostela, Centro Galego de Arte Contemporánea, Felix Gonzalez-Torres (A Possible Landscape), December 1995-March 1996 (another example exhibited).
New York, Feature, Inc., The Moderns, June-July 1995 (another example exhibited).
Cincinnati, The Contemporary Arts Center, Momento Mori, November 1996-January 1997 (another example exhibited).
Paris, Musée d’Art Moderne de la Ville de Paris, Felix Gonzalez-Torres (Girlfriend in a Coma), April-June 1996 (another example exhibited).
Houston, Lawing Gallery, Silence, September-October 1996 (another example exhibited).
London, 148 St. John Street, Blue Horizon, May-June 1998 (another example exhibited).
Los Angeles, Museum of Contemporary Art, Proliferation, March-June 1999 (another example exhibited).
San Angel, Museo de Arte Carillo Gil, Colección Jumex, April-August 1999, pp. 14-17 (another example exhibited and illustrated in color).
Paris, Galerie Jennifer Flay, Paris, Always Paris, November-December 2000 (another example exhibited).
Ecatepec, La Colección Jumex, Killing Time and Listening Between the Lines, March 2003-February 2004 (another example exhibited).
Art Institute of Chicago, Permanent Collection Installation, 2005 (another example exhibited).
Jerusalem, Israel Museum, Vanishing Point: Beauty in Contemporary Art, April-October 2005 (another example exhibited).
Minneapolis, Walker Art Center, Shadowland: An Exhibition as Film, April-September 2005 (another example exhibited).
Los Angeles, Museum of Contemporary Art, The Blake Byrne Collection, July-October 2005, pp. 17, 38 and 82 (another example exhibited and illustrated).
Virginia Beach, The Contemporary Art Center of Virginia, Transformed, July-September 2008, pp. 4, 9 and 20-21 (another example exhibited and illustrated).
Ecatepec, La Colección Jumex, An Unruly History of the Readymade, September 2008-March 2009, p. 114 (another example exhibited and illustrated).
Cambridge, Arthur M. Sackler Museum, Harvard University, Re-View: European and American Art Since 1900, September 2008-June 2013 (another example exhibited).
Cascais, Ellipse Foundation Art Centre, Listen, Darling…The World is Yours, October 2008-August 2009 (another example exhibited).
Aspen Art Museum, Now You See It, December 2008-February 2009, pp. 8-9, 58-61, 84-85 and 97 (another example exhibited and illustrated in color).
Los Angeles, Museum of Contemporary Art, Collection: MOCA's First Thirty Years, November 2009-May 2010 (another example exhibited).
Minneapolis, Walker Art Center, Event Horizon, November 2009-August 2011 (another example exhibited).
Minneapolis, Walker Art Center, Absentee Landlord, June 2011-July 2012 (another example exhibited).
Sigean, Lieu D'Art Contemporain Narbonne, Playtime: Works from the Klosterfelde Collection, June-September 2011 (another example exhibited).
Art Institute of Chicago, Felix Gonzalez-Torres in the Modern Wing, July 2011-January 2012 (another example exhibited).
Philadelphia, The Fabric Workshop and Museum, An Odyssey: A Narrative of The Fabric Workshop and Museum, September-December 2012 (another example exhibited).
Paris, Nuit Blanche 2013 [White Night 2013], October 2013 (another example exhibited).
Kunstmuseum Basel, Museum für Gegenwartskunst; Lisbon, Culturgest; New York, Artists Space, Tell It To My Heart: Collected by Julie Ault, February 2013-February 2014, pp. 56, 111 and 172-185 (another example exhibited).
Los Angeles, Fahrenheit, Far and High, January-April 2014 (another example exhibited).
Los Angeles, Museum of Contemporary Art, Selections From the Permanent Collection, February 2014-ongoing (another example exhibited).
Jerusalem, Israel Museum, Unstable Places: New in Contemporary Art. June 2014-January 2015 (another example exhibited).
Paris, Centre Georges Pompidou; Munich, Haus der Kunst, A History. Art, Architecture, Design from the 1980's Until Today, July 2014-September 2016 (another example exhibited).
Minneapolis, Walker Art Center, Art at the Center: 75 Years of Walker Collections, October 2014-September 2016 (another example exhibited).
Barcelona, Fundació Suñol, Perfect Lovers. Art in the Time of AIDS, October 2014-January 2015, pp. 6-11 (another example exhibited and illustrated).
Toronto, Scrap Metal, Somebody, Everybody, Nobody, October 2014-March 2015 (another example exhibited).
Durham, Nasher Museum of Art at Duke University, Open This End: Contemporary Art from the Collection of Blake Byrne, February-July 2015 (another example exhibited).
CaixaForum Barcelona, Hablo, sabiendo que no se trata de eso (I speak, knowing it´s not about speaking), October 2015-February 2016 (another example exhibited).
Westport Arts Center, MORE Than Words, September-October 2016 (another example exhibited).
Shanghai, Rockbund Art Museum, Felix Gonzalez-Torres, September-December 2016 (another example exhibited).
Los Angeles, Regen Projects, What I Loved: Selected Works from the 1990s, March-April 2017 (another example exhibited).