âUntitledâ (Portrait of Ross in L.A.) is a 1991 piece by Felix Gonzalez-Torres in the collection of the Art Institute of Chicago. Itâs a spilled pile of candy.Â
âUntitledâ (Portrait of Ross in L.A.) represents a specific body, that of Ross Laycock, Gonzalez-Torresâ partner who died of AIDS in 1991. This piece of art serves as an âallegorical portrait,â of Laycockâs life.Â
The pile of candy consists of commercially available, shiny wrapped confections. The physical form of the work changes depending on the way it is installed. The work ideally weighs 175 pounds (79 kg) at installation, which is the weight of Ross Laycock when healthy.Â
Visitors are invited to take a piece of candy from the work. Gonzalez-Torres grew up Roman Catholic and taking a candy is a symbolic act of communion, but instead of taking a piece of Christ, the participant partakes of the âsweetnessâ of Ross. As the patrons take candy, they are participants in the art. Each piece of candy consumed is like the illness that ate away at Rossâs body. Â
Multiple art museums around the world have installed this piece.
Per Gonzalez-Torresâ parameters, it is up to the museum how often the pile is restocked, or whether it is restocked at all. Whether, instead, it is permitted to deplete to nothing. If the pile is replenished, it is metaphorically granting perpetual life to Ross.
In 1991, public funding of the arts and public funding for AIDS research were both hot issues. HIV-positive male artists were being targeted for censorship. Part of the logic of âUntitledâ (Portrait of Ross in L.A.) is you canât censor free candy without looking ridiculous, and the ease of replicability of the piece in other museums makes it virtually indestructible.
As of late September 2022, the Art Institute of Chicago has changed their exhibit label on this piece to remove any mention of AIDS, Ross Laycock, death, or his relationship with Gonzalez-Torres (via willscullin on Twitter).
Left: old wall text. Right: new wall text as of 9/28/22.
The language theyâve changed to use, talking about âthe average body weight of an adult maleâ is the kind of careful language that art museums might use when we donât know for sure what something is about â but in this case we do know exactly what the Gonzalez-Torres intended this to be about. (Take it from the Smithsonian if you donât want it from me!) The museum hasnât attempted to offer any explanation why, although I cannot think of any unless they wanted to give in object lesson that erasure doesnât stop even in death.
