Brussels, Galerie Xavier Hufkens, Felix Gonzalez-Torres, Michael Jenkins, March 20– April 20, 1991 (another example exhibited)
Glens Falls, The Hyde Collection, Just what is it that makes today's homes so different, so appealing?, September 7–November 17, 1991, pp. 13, 20 (another example exhibited)
Tokyo, Wacoal Art Center of Spiral Garden, Three or More- Multiplied art from Duchamp to the present, October 1–24, 1992, p. 82 (another example exhibited and illustrated)
Glasgow, Tramway, Read My Lips: New York AIDS Polemics, October 26–December 1, 1992 (another example exhibited)
New York, Fischbach Gallery, Absence, Activism and the Body Politic, June 9–25, 1994 (another example exhibited)
Washington D.C., Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Felix Gonzalez-Torres: Traveling, June 16–September 11, 1994 (another example exhibited)
New York, The Solomon R. Guggenheim Museum, Felix Gonzalez-Torres (pp. 183, 221; another example exhibited and illustrated, p. 182); then traveled as, Santiago de Compostela, Centro Gallego de Arte Contemporánea, Felix Gonzalez-Torres (A Possible Landscape); then traveled as, Paris, Musée d’art moderne de la Ville de Paris, Felix Gonzalez-Torres (Girlfriend in a Coma) (pp. 183, 222; another example exhibited and illustrated, p. 182), May 10, 1995–June 16, 1996
Miami Art Museum, Dream Collection Gifts and just a few Hidden Desires...part one, October 29, 1996–April 27, 1997 (another example exhibited)
New York, Greene Naftali Gallery, Broken Home, May 3–June 7, 1997 (another example exhibited)
Hannover, Sprengel Museum; Kunstverein St. Gallen; Vienna, Museum Moderner Kunst Stiftung Ludwig Wien, Felix Gonzalez-Torres, June 1, 1997–November 1, 1998, no. 118, vol. I, pp. 40, 56-57; vol. II, p. 163 (another example exhibited and illustrated, vol. II, p. 69)
Barcelona, Fundació Joan Miró, Lux/Lumen, June 19–September 7, 1997, pp. 11, 35, 55, 59, 70, 78, 85, 93 (another example exhibited; installation view illustrated, p. 34)
Harrisburg, Susquehanna Art Museum, I'm Not Here: Constructing Identity at the Turn of the Century, December 2, 1999–February 24, 2000 (another example exhibited)
St. Gallen, Sammlung Hauser und Wirth, The Oldest Possible Memory, May 14–October 15, 2000, p. 84 (another example exhibited and illustrated, p. 81)
Albuquerque, National Hispanic Cultural Center of New Mexico, La Luz: Contemporary Latino Art in the United States, October 21, 2000–May 27, 2001, n.p. (another example exhibited and illustrated on the cover)
Avignon, Collection Lambert Musée d’art contemporain, Coollustre, May 24–September 28, 2003, p. 186 (another example exhibited and illustrated, p. 187)
Paris, Jeu de Paume, éblouissement, June 24–September 12, 2004, p. 93 (another example exhibited and illustrated)
New York, Lehmann Maupin, L'Art de Vivre, April 15–May 14, 2005 (another example exhibited)
Waltham, The Rose Art Museum, Brandeis University, Broken Home: 1997/2007, January 23–April 13, 2008 (another example exhibited)
Kansas City, The Nelson-Atkins Museum of Art, Sparks! The William T. Kemper Collecting Initiative, May 3–July 20, 2008, pp. 54-55, 80 (another example exhibited and illustrated, pp. 7, 81)
Clermont-Ferrand, L’Espace d’Art Contemporain La Tôlerie, La Foule (Zéro – Infini): Chapitre 1 (unite – dualité – la meute – la masse), May 6–July 15, 2008 (another example exhibited)
Paris, Passage du Retz, Insomniac Promenades: Dreaming/Sleeping in Contemporary Art; then traveled as, Petach Tikva Museum of Art, Insomnia, July 11, 2008–March 7, 2009, pp. 57, 83 (illustrated, p. 23)
Clermont-Ferrand, L’Espace d’Art Contemporain, La Foule (Zéro – Infini): Chapitre 2 (chaos – contrôle), October 10–November 30, 2008 (another example exhibited)
Brussels, Wiels Contemporary Art Centre; Basel, Fondation Beyeler; Frankfurt, MMK Museum für Moderne Kunst, Felix Gonzalez-Torres: Specific Objects without Specific Form, January 16, 2010–April 25, 2011, p. 651 (another example exhibited and illustrated, pp. 536-539; Wiels Contemporary Art Centre, Basel, installation view illustrated, p. 61; Fondation Beyeler, Basel, installation view illustrated, p. 123; MMK Museum für Moderne Kunst, Frankfurt, installation view illustrated, pp. 251, 377)
Miami Art Museum, Between Here and There: Modern and Contemporary Art from the Permanent Collection, February 27, 2010–April 30, 2013 (another example exhibited)
Mexico City, Museo Universitario Arte Contemporáneo, Felix Gonzalez-Torres: Somewhere/Nowhere, February 27–May 23, 2010, no. 16, pp. 21, 91 (another example exhibited and illustrated, p. 64)
The Art Institute of Chicago, Contemporary Collecting: The Judith Neisser Collection, February 13– May 22, 2011, pp. 58, 156 (another example exhibited and illustrated, p. 59)
New York, Pace Gallery, Burning, Bright: A Short History of the Lightbulb, October 28–November 26, 2011 (another example exhibited)
Paris, La Galerie des Galeries, In a Sentimental Mood, May 28–August 24, 2013, pp. 9, 14-15, 25, 31 (another example exhibited and illustrated, p. 8)
Museum für Gegenwartskunst Basel; Lisbon, Culturgest, Tell it to My Heart: Collected by Julie Ault; then traveled as, New York, Artists Space, Macho Man, Tell it to My Heart: Collected by Julie Ault, February 2, 2013–February 23, 2014, vol. I, p. 55; vol. II, p. 115 (another example exhibited and illustrated, vol. II, p. 33)
Museum of Contemporary Art Cleveland, DIRGE: Reflections on [Life and] Death, March 7–June 8, 2014, p. 19 (another example exhibited and illustrated, p. 18)
Centre Pompidou-Metz, 1984 -1999. La Décennie, May 24, 2014–March 2, 2015 (another example exhibited)
London, Phillips, A Very Brief History of Contemporary Sculpture, October 6–31, 2014, n.p. (another example exhibited and illustrated)
Los Angeles, The Museum of Contemporary Art, Tongues Untied, June 6–September 13, 2015 (another example exhibited)
Avignon, Collection Lambert Musée d’art contemporain, Patrice Chéreau, un musée imaginaire, July 11–October 19, 2015, p. 369 (another example exhibited and illustrated, p. 164)
Dublin, Irish Museum of Modern Art, What We Call Love - From Surrealism to Now, September 12, 2015–February 7, 2016, pp. 9, 61, 101 (another example exhibited and illustrated, p. 60)
Modena, Manifattura Tabacchi, The Mannequin of History: Art after Fabrications of Critique and Culture, September 18, 2015–January 31, 2016, no. 45, pp. 74, 333 (another example exhibited and illustrated, n.p.)
Ann Arbor, University of Michigan Museum of Art, Permanent Collection Installation, September 22, 2015–2020 (another example exhibited)
Tate Liverpool; Frankfurt, MMK Museum für Moderne Kunst; Centre Pompidou-Metz, An Imagined Museum: Works from the Centre Pompidou, the Tate and the MMK Museum für Moderne Kunst, November 20, 2015–March 27, 2017 (another example exhibited)
Paris, Passage de Retz, Représenter l'Irreprésentable?, December 5, 2015–January 15, 2016 (another example exhibited)
London, Hauser & Wirth; New York, Andrea Rosen Gallery; Milan, Massimo De Carlo, Felix Gonzalez-Torres, May 27–July 30, 2016 (another example exhibited)
Reading Prison, Inside: Artists and Writers in Reading Prison, September 4–December 4, 2016, pp. 18, 166, 177 (another example exhibited and illustrated, p. 167)
Cleveland Museum of Art, Permanent Collection Installation, February 2017–2021 (another example exhibited)
North Adams, Massachusetts Museum of Contemporary Art, The Half-Life of Love, May 6, 2017–March 25, 2018 (another example exhibited)
Geneva, Musée d’art moderne et contemporain, Cady Noland, Laurie Parsons, and Felix Gonzalez-Torres, May 31–September 10, 2017 (another example exhibited)
Los Angeles, Museum of Contemporary Art, Give and Take: Highlighting Recent Acquisitions, March 4–September 3, 2018 (another example exhibited)
Milan, Massimo De Carlo, MCMXXXIV, March 8–July 13, 2019 (another example exhibited)
Montpellier Contemporain, Intimate Distance. Masterpieces from the Ishikawa Collection, June 29–September 29, 2019, p. 98 (illustrated, p. 99)
Hong Kong, David Zwirner, Singing the Body Electric, July 11–August 10, 2019 (another example exhibited)
New York, Off Paradise, Maximilian Schubert: Doubles, February 27–July 20, 2020 (another example exhibited)
Ann Arbor, University of Michigan Museum of Art, Oh, Honey...A Queer Reading of UMMA’S Collection, August 21, 2021–ongoing (another example exhibited)
Sint-Martens-Latem, Museum Dhondt-Dhaenens, Blindsight – Manon de Boer in dialogue with Latifa Laâbissi and Laszlo Umbreit, February 13–May 22, 2022 (another example exhibited)
Kyoto, Hongwanji Dendoin, Flowers of Time, November 10–20, 2022 (another example exhibited)
Nina Menocal, 15 Artistas Cubanos, Mexico City, 1991, p. 36 (another example illustrated)
Felix Gonzalez-Torres, Roni Horn, exh. cat., Sammlung Goetz, Munich, 1995, pp. 10, 12, 17, 20
Propositions, exh. cat., Musée Departmental d’Art Contemporain de Rochechouart, Rochechouart, 1996, p. 84
Christopher Chapman, “Personal Effects: on aspects of work by Felix Gonzalez-Torres,” Contemporary Visual Arts + Culture Broadsheet 25.3, Spring 1996, p. 16 (another example illustrated)
Dietmar Elger, ed., Felix Gonzalez-Torres, exh. cat. and catalogue raisonné, Ostfildern, 1997, no. 118, vol. I, pp. 40, 56-57; vol. II, p. 163 (another example exhibited and illustrated, vol. II, p. 69)
Jean-Francois Poirier, “Felix Gonzalez-Torres,” Encyclopaedia Universalis, Paris, 1997, p. 478
James Rondeau, Modern and Contemporary Art: The Lannan Collection at The Art Institute of Chicago, Chicago, 1999, p. 84
Felix Gonzalez-Torres, exh. cat., Museo Nacional de Artes Visuales, Montevideo, 2000, n.p. (illustrated)
Tom Sine, "A New View," The Dallas Morning News, November 5, 2000, p. 70
Antonio López, "La Luz: Illuminating U.S. Latino Art," Pasatiempo, March 2, 2001
Comer o no Comer, exh. cat., Centro de Arte de Salamanca, Salamanca, 2002, pp. 450, 522
Julie Ault, ed., Felix Gonzalez-Torres, Gottingen, 2006, no. 2, pp. 373, 410 (Fundació Joan Miró, Barcelona, 1997, installation view of another example illustrated, p. 360; Myriam and Jacques Salomon, Paris, 2004, installation view illustrated, p. 89)
Felix Gonzalez-Torres, exh. cat., Neue Gessellschaft für Bildende Kunst, Berlin, 2006, no. 2, pp. 32, 50, 177 (Fundació Joan Miró, Barcelona, 1997, installation view of another example illustrated, p. 164)
Carol Mavor, Reading Boyishly: Roland Barthes, J.M. Barrie, Jacques Henri Lartigue, Marcel Proust, and D.W. Winnicott, Durham and London, 2007, pp. 161, 444 (another example illustrated, p. 160)
Joan Gibbons, Contemporary Art and Memory: Images of Recollection and Remembrance, London, 2007, p. 27
Alice Thorson, "ART: There's always a little sense of danger," Kansas City Star, April 1, 2007, p. G8
Tanya Barson, “Felix Gonzalez-Torres, “Untitled” (March 5th) #2 1991,” American Patrons of Tate Annual Report, New York, 2008, pp. 11, 23 (another example illustrated, p. 10)
Reality Check, exh. cat., Statens Museum for Kunst Copenhagen, Copenhagen, 2008, p. 90
Las Implicaciones de la imagen, exh. cat., Museo de Arte de Sinaloa, Culiacán, 2008, p. 234 (another example illustrated, p. 193)
Transformed, exh. cat., Contemporary Art Center of Virginia, Virginia Beach, 2008, p. 9
Nicolas Bourriaud, “Paradigmas de la cohabitación,” Página 12, September 9, 2008, online
Frederic Montornes, “Dos simples bombillas,” Erratum: zeitgeist, variations & repetitions, Barcelona, 2010, p. 29
Dawn Ades, Tate Latin American Acquisitions Committee: Celebrating 10 Years, New York, 2011, p. 35
Piotr Kosiewski, "Chłopiec z cukierkami," Art eon [Poland], April 1, 2011, p. 8
Isabelle Loring Wallace and Jennie Hirsh, eds., Contemporary Art and Classical Myth, Surrey, 2011, p. 141
More Love: Art Politics, and Sharing since the 1990s, exh. cat., Ackland Art Museum, Univerity of North Carolina, Chapel Hill, 2013, p. 29
Alice Thorson, “QUEER: ‘Inclusive and possibly more provocative’,” Kansas City Star, July 14, 2013, p. D2
Jordan Riefe, “Tongues Untied: rarely seen works chart a city’s response to the Aids crisis,” The Guardian, June 19, 2015, online
Aaron Horst, “Tongues Untied at MOCA Pacific Design Center,” Carla, August 9, 2015, online
Adrian Searle, "Felix Gonzalez-Torres review - holding a mirror up to love and loss," The Guardian, May 27, 2016, online (another example illustrated)
Matthew McLean, "Felix Gonzalez-Torres," frieze, no. 181, September 2016, p. 169
Adair Rounthwaite, Asking the Audience: Participatory Art in 1980s New York, Minneapolis, 2017, p. 242, no. 4
Phillip Griffith, "Felix Gonzalez-Torres," The Brooklyn Rail, June 1, 2017, online
Joshua Chambers-Letson, After the Party: A Manifesto for Queer of Color Life, New York, 2018, pp. 161, 162, 290 (another example illustrated, p. 163)
Joan Kee, Models of Integrity: Art and Law in Post-Sixties America, Oakland, 2019, pp. 210, 296 (another example illustrated, p. 211)
Vivian Cheng, “Maximiliam Schubert’s Doubles,” office magazine, April 6, 2020, online
Rema Hort, “Reflecting on Felix Gonzalez-Torres During COVID-19,” White Wall Magazine, April 20, 2020, online
Tom Eccles and Amy Zion, eds., Hessel Collection, Annandale-On-Hudson, 2021, p. 360
Sean Kramer, “Is Queer Art with the Word ‘F*g’ In It Still Worth Celebrating?” Pride Source, September 2, 2021, online
Cecilia Duran, “Oh, honey... A delicately curated glimpse into UMMA’s collection of Queer Art,” The Michigan Daily, September 6, 2021, online
Elizabeth Smith, “At Odds: “Oh, Honey... A Queer Reading of UMMA’s Collection” Imagines a Place where LGBTQ+ Art can Thrive,” Pulp, October 25, 2021, online