Vasquez; his grandmother, Maria Torres; an aunt, Josifina Gutierrez, a sister, Maida Fernandez, and a brother, Mario Gonzalez, all of Miami; and another sister, Gloria Gonzalez.’ Selected Exhibitions González-Torres staged many solo exhibitions, installations, and shows at galleries and museums in the United States and internationally during his lifetime. His notable solo shows include Felix Gonzalez-Torres (1988), New Museum, New York; Untitled: An Installation by Félix González-Torres as part of the Visual Aids Program (1989-1990), Brooklyn Museum, New York; Felix Gonzalez-Torres (1993), Magasin III Museum for Contemporary Art, Stockholm; Felix Gonzalez-Torres: Traveling (1994), originating at the Museum of Contemporary Art, Los Angeles; and Felix Gonzalez-Torres (1995-1996), originating at the Solomon R. Guggenheim Museum, New York, exhibited as Felix Gonzalez-Torres (A Possible Landscape) at Centro Galego de Arte Contemporánea, Santiago de Compostela, and as Felix Gonzalez-Torres (Girlfriend in a Coma) at Musée d'Art Moderne de Paris. The artist also participated in numerous group shows during his lifetime, including the Whitney Biennial (1991); the 45th Venice Biennale (1993); and the Biennale of Sydney (1996). Selected posthumous exhibitions Felix Gonzalez-Torres (1997) Immediately following the artist's death in 1996, the Sprengel Museum in Hanover, organized a career retrospective of his work, in conjunction with the publication of a two-volume catalogue raisonné covering nearly all of the artist's output. U.S. Pavilion at the 52nd Venice Biennale (2007) In 2007, González-Torres was selected as the United States' official representative at the Venice Biennale, curated by Nancy Spector. The artist's previously controversial status influenced the 1995 decision to reject him for the Venice pavilion in favor of Bill Viola. His posthumous show (the only other posthumous representative from the United States was Robert Smithson in 1982) at the U.S. Pavilion featured, among others, "Untitled" (1992–1995), a never-before-realized sculpture in the courtyard of the pavilion: two adjoining, circular reflecting pools, the sides of which touch just enough at a single point to share an almost undetectable flow of water. Between 1992 and 1995 González-Torres sketched at least five variations of these pools, expanding upon his motif of paired rings. The first known sketch for the twin pools represents González-Torres' submission to an outdoor sculpture competition sponsored by Western Washington University in Bellingham, Washington in 1992. The drawing indicates that each pool should be twelve-feet in diameter, a detail that would remain constant in each subsequent drawing and description. González-Torres returned to the motif in 1994 when planning a