chromogenic print jigsaw puzzle in a sealed plastic sleeve, an Andrea Rosen Gallery, New York, label, signed in ink, on the reverse, 1991, no. 2 in the edition of 3 plus one artist's proof

Andrea Rosen Gallery, New York, 1997

Felix Gonzalez-Torres Catalogue Raisonné (Ostfildern-Ruit, 1997), no. 154

This chromogenic jigsaw puzzle has not been examined out of its sealed plastic bag, as issued by the artist. It appears, however, to be in intact and in generally excellent condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This work comes from a series in which Felix Gonzalez-Torres transformed photographic images—sometimes snapshots or, as in the piece offered here, fragments of handwriting—into jigsaw puzzles.  Easily separated into its constituent pieces, but held intact by a sealed plastic sleeve, the puzzle suggests the fragility and temporary nature of art.  The message gains greater resonance in this piece, in which the words of the puzzle seem to describe the dream of a loved one.  Gonzalez-Torres made the present object in the same year he lost his partner Ross Laycock to AIDS, a disease which would claim his own life five years later.  Like the Fox Talbot photogenic drawing negative offered in Lot 44, this Gonzalez-Torres work presents not a physical hand, but instead, writing made by a hand.  In this instance, the tenderness of the text and the work’s potential for disassembly combine to create a poetic meditation on love and loss.  In an interview with Tim Rollins, Gonzalez-Torres said of his work, ‘. . . it is about leaving a mark that I existed: I was here.  I was hungry.  I was defeated.  I was happy.  I was sad.  I was in love.  I was afraid.  I was hopeful.  I had an idea and I had a good purpose and that’s why I made works of art’ (Felix Gonzalez-Torres, 1993, p. 31).