Felix Gonzalez-Torres @ NPG

Selfie in “Untitled” (Fear), 1991, blue mirror, 30 5/8 x 25 7/8 in., embedded in the wall this time at the National Portrait Gallery

Felix Gonzalez-Torres: Always to Return, at and around the National Portrait Gallery is excellent in several precise and unexpected ways:

The inclusion of all 55 of the artist’s puzzle works [first shown like this at Art Basel 2019, including with five exhibition copies, which I didn’t know was a thing here.]

The inclusion of strong non-signature works like “Untitled” (Fear), above, and “Untitled” (A Portrait), the artist’s only video work.

The inclusion of two variants of the portrait [sic] of flowers on Gertrude Stein and Alice B Toklas’ grave. [n.b.: There are more.]

But the most intriguing and effective thing was the threading of Felix’s work throughout and among the collection of the NPG. It worked in small, even tiny ways, like reuniting a little Eakins portrait of an ancient Walt Whitman with a candy pour, “Untitled” (Portrait of Ross in L.A.), which had been shown together at the NPG’s 2010 Hide/Seek exhibition of queer portraiture.

But it hit hardest and most unexpectedly in the most intrusive installation: “Untitled” (Death by Gun), the stack of photos of Americans killed in one week of gun violence, on the floor of a heavily trafficked hall gallery, in front of two works that felt like the NPG’s 19th century bread and butter.

Felix Gonzalez-Torres: Always to Return installation view with “Untitled” (Death by Gun) installed in front of Christian Schussele’s Men of Progress at the National Portrait Gallery

The painting turns out to be Christian Schussele’s 1862 Men of Progress, an amalgamated portrait of various American inventors, including Samuel Colt, inventor of the revolver pistol that made shooting people easier, quicker, and more convenient.

Catlin the celebrated Indian traveler and artist, firing his Colt repeating rifle before a tribe of Carib Indians in South America, c. 1855-60, installed at the National Portrait Gallery

Next to them [in a way I could have photographed all three together, had I only realized the complexity of the connection] is a print after a George Catlin painting, where the artist shows off a Colt rifle to a group of Carib Indians. Turns out that after the economic failure of his massive “Indian Gallery” project, Catlin accepted a commission for a series of paintings for an aggressive marketing campaign promoting Colt’s new guns. That went well. For the gunmakers, at least.

Felix Gonzalez-Torres: Always to Return runs through June 2025 or until the end of the republic, whichever comes first [npg]
Previously, related: on Hide/Seek and the controversies around its censorship