This is a documentation of the artist's entire career, placing his work in the context of the 1980s, a decade which saw a rich array of new art-making practices, from the psychoanalytical discourse of feminist art to collaborative public projects with a social agenda. Nancy Spector also explores the major themes running through his art: travel, the body, light, political activism, homosexual desire and a quest for formal perfection.

"In celebration of its 15th anniversary, Artpace presented a year-long, statewide exhibition featuring the work of one of its most renowned alums, Félix González-Torres (International Artist-in-Residence Spring 1995). Artpace sited billboards in Dallas, El Paso, Houston, and San Antonio for the first-ever comprehensive survey of González-Torres's Billboards in the United States, organized by past Executive Director Matthew Drutt. Thirteen images created by González-Torres between 1989 and 1995 were drawn from poetic moments in the artist's life, and rotated throughout the year on six billboards in each city." (Artpace).

Felix Gonzalez-Torres (1957-96) is one of the most significant artists to have emerged in the 1980s. An artist whose beautiful, restrained and often mutable works are abundant in compelling contradictions, Gonzalez-Torres was committed to a democratic form of art informed as much by the aesthetic and conceptual as by politics. His work challenges authority and our obeisance to it, dissolves the delineations between public and private, and creates a rich, open field into which the viewer is invited to complete works with her own inferences, imagination, and actions.00The photostats are a series of fixed works with white text on black fields framed behind glass to create a reflective surface bringing the viewers' reflection into the work. Made at the height of the AIDS crisis, these profoundly suggestive lists of political, cultural, and historical references disrupt hierarchies of information and linear chronology, asking how we receive and prioritize information, how we remember and forget, and how we continuously create new meaning. The photostats also recall the screens (the television, and now the computer) which furiously deliver information from which we must parse substance from surface and choose what to assimilate and what to reject.

W. G. Sebald meets Maggie Nelson in an autobiographical narrative of embodiment, visual art, history, and loss. How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzáles-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.

This dictionary of over 6000 terms is a comprehensive summary of vocabulary used across the building industry, from architectural design to construction technology. Contains over two thousand new or updated entries.

Transcripts of interviews by Hans Ulrich Obrist with architects, artists, curators, film-makers, musicians, philosophers, social theorists and urbanists.

The catalogue captures the works of these two prominent artists and the interplay between them. It includes texts by Bill Arning, Justin Bond, David Deitcher, Joel Wachs, and Jim Hodges, as well as installation images from the exhibition.