Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
The artist stretched constructs of authority and authorship to impel the viewer’s awareness and participation.
Galleries David Zwirner and Andrea Rosen asked 1,000 participants to recreate a work consisting of a pile of fortune cookies. But staging the work with little context, amid a global pandemic and mounting anti-Asian sentiment, struck some as poorly thought-out.
Thirty years after its debut, the historic artwork will return to stop passersby in their tracks.
Reflecting on the use of the term Latinx is an opportunity to talk about art history, its canon, and the needs of artists.
The artist’s aim was to “elevate the physiological aspects of HIV to a level of reality that represents the pain, loss, and massive suffering caused by this plague.”
I remember David Zwirner Gallery back in the 1990s, before Chelsea, when the New York art world was much smaller and more manageable.
In three recent volumes, artists express nostalgia for the smaller, scrappier New York art world.
During a recent visit to David Zwirner, I was transfixed by the dancer performing on a Gonzalez-Torres sculpture, so I decided to track him down.
Artworld polymath Greg Allen has made an odd, ritualistic, perhaps metaphorical memorial.
LONDON — Every time Gonzalez-Torres’s work is exhibited, a critical opportunity arises.
PARIS — Take Me (I’m Yours) at the Monnaie de Paris revives and expands a 1995 exhibition curated by Christian Boltanski and Hans-Ulrich Obrist at London’s Serpentine Gallery, in which all the art is designed to be touched and taken away.