Abstract

This article presents an examination of two artworks by the late Cuban- American artist Félix González Torres, focusing primarily on the destructive strategies and theological potential of his work. After describing the activist and counter-monumental dimensions of «Untitled» (Portrait of Ross in L.A.) (1991) and «Untitled» (Lover Boys) (1991), the author examines these two pieces, as well as the artist’s life more generally, through the lens of queer martyrdom and queer theology to postulate a hagiographic take on González Torres’ life and oeuvre. Far from a definitive biographical study, this analysis is the result of interdisciplinary research mixed with queer imagination.