There are two paper stack works by Felix Gonzalez-Torres where every sheet in the stack is a signed, numbered edition, and the whole thing constitutes one work. You can’t take those. [Though “Untitled”, from 1991, is made up of 161 signed prints from an edition of 250 the artist made with Public Art Fund in 1989, above. The other 89 prints, plus 10 APs, are all circulating as individual works, sold (and resold) separately.]
There is one paper stack work that was published as an edition of stacks: 17 8-inch tall stacks of embossed paper in archival boxes. You can’t take those, either. [Unless? HMU?]
And there are two classic paper stack works, with endless supplies of paper and ideal heights, etc., that were created as editions. Which is distinct from a stack being able to exist in two or more places at once; in this case, an edition is about the number of owners, not the number of stacks. One, “Untitled” (Ross in L.A.), is an edition of three, though there’s only one out there: the de la Cruzes gave one to what’s now ICA Miami, and the Raleses gave one to the NGA.
The other is “Untitled”, above, which is an edition of 1 plus an artist proof Felix gave to Michael Jenkins, an artist, friend and collaborator. [Their two-person show together in 1991 at Xavier Hufkens in Brussels included “Untitled” (Ross in L.A.) and Felix’s text portrait frieze of Jenkins, but not the stack they made together the year before with a naked sailor on it, “Untitled” (Join), which the Rubells whip out all the time.] Anyway, Chara Scheyer bought Jenkins’ little stack a while ago, and now it’s back. If there’s a more manageable stack out there, I haven’t seen it.