
The recent exhibition at the National Portrait Gallery in Northwest D.C., “Félix González-Torres: Always to Return,” was billed as a thought-provoking exploration of the artist’s conceptual work, and indeed, many audiences have viewed the work and have questions. The exhibition has many attendees questioning both the significance of the presentation and the museum’s decision to include it in such a prominent space.For those familiar with González-Torres’ minimalist approach, his work has always been imbued with profound symbolism. His famous “candy spills” and light strings have been seen as meditations on themes like loss, memory, and desire. Yet, at this exhibition, those elements felt stripped of their usual resonance. The viewer is left to wonder: Why was this considered a significant presentation? Why did the museum choose to present it this way?
Kim Sajet, the museum’s director, emphasized that the space provided for González-Torres is consistent with that given to other notable contemporary artists, such as Bill Viola, Kara Walker, Kumi Yamashita, and Hung Liu.
“For Félix González-Torres, the space around the works (often called the ‘negative’ space) is as important as the actual objects, and your body is considered a part of the piece,” Sajet explained. “Visitors are invited to walk around the lights, pick up the candies, and see themselves in the mirror, without interruption.”A conceptual installation by Felix Gonzalez-Torres features a scattering of lit light bulbs arranged in a loose pile on the floor. Alongside this, a strip of colorful candies lines the edge of the wall, inviting interaction. (Courtesy of Mark Gulezian)While the intention of engaging the audience physically with the work is clear, the execution was a bit more bewildering than bold, seemingly testing the limits of what visitors might accept as significant art.Anne Helmreich, director of the Archives of American Art, spoke to the uniqueness of this exhibition from an archival perspective.She explained that it allowed the audience to rethink traditional archival displays, opting to showcase fewer materials — such as postcards and documents — in a less crowded, more meditative environment.Audiences are left challenged, in part, due to the simplicity of the materials. In an era where exhibitions frequently use cutting-edge technology or intricate installations, the minimalism of González-Torres’ work can feel underwhelming — particularly when contrasted with past exhibitions in the same gallery, such as Viola’s immersive video works or Walker’s wall-covering silhouettes.
González-Torres’ aesthetic has always embraced the ordinary, however, this recent exhibit felt oddly detached from the emotional weight that usually underpins his celebrated pieces.Helmreich noted that González-Torres’ “puzzle works,” created through commercial printing processes, were also displayed without barriers like plexiglass cases, enabling direct engagement with the audience. Yet even this approach left some viewers asking: Does the presentation’s commercial feel diminish the complexity of the artist’s work?Ultimately, while the curatorial team clearly sought to highlight the importance of space and visitor interaction in González-Torres’ art, the result felt more like a minimalist provocation.Perhaps the forthcoming comprehensive catalog, set for release in 2025, will help illuminate the curatorial choices behind “Always to Return.” The book, filled with archival material and reflections from noteworthy scholars, may provide the depth that the physical exhibition lacked.Sajet acknowledged that exhibiting González-Torres in the 19th-century Old Patent Office Building, the current location of the National Portrait Gallery, was an intentional decision meant to challenge preconceived notions of what the museum can do.
“Just because we focus on history doesn’t mean we can’t be surprising and challenge the conventions of museology from the past,” she explained.“Félix González-Torres: Always to Return” is open to the public at the National Portrait Gallery, 8th Street NW and G Street NW, until July 6, 2025.
Source: Washington Informer