So much to answer for

Manchester.Oscar

Above is an image of Felix Gonzalez-Torres’s “Untitled” (Oscar Wilde’s Tombstone) from 1989. I posted it to show the inscriptions above and below Oscar’s name: “Manchester, so muc” and below, “Morrissey [illegible]”

About six months ago, I may have said, talking out of my ass: Gonzalez-Torres “may not have been aware of what these scribbles meant, but this confluence of Wilde’s tomb and the Smiths’ “Suffer Little Children” in the Gonzalez-Torres puzzle creates an unintentional triangle of elegy.”

Lies, damn lies. It turns out Morrissey and the Smiths popped up throughout FGT’s career, like a memory, or almost even a genuine theme. His first posthumous show was the last leg of his traveling retrospective, installed at the Musee d’Art moderne de la Ville de Paris. Just “Felix Gonzalez-Torres” at the previous venues, here its title was changed to “Felix Gonzalez-Torres (Girlfriend in a Coma)”. (Girlfriend in a Coma) was also the name of a stack he had made in 1990. The sheets of paper are embossed with the silhouette of a lung. It’s now owned by the Walker, who hasn’t put up an image yet.

That same year, 1990, he participated in a two-person exhibition in Vancouver with Donald Moffett, called “Strange Ways: Here We Come.” Catalogues are floating around the used-book market somewhere.

I am not aware if Morrissey has reciprocated yet.

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