optional band of background color, is specified for each work. Puzzles The 59 puzzle works date from 1987 to 1992. In the process of making these works, Gonzalez-Torres sent snapshots to commercial photo labs that produced novelty items, such as puzzles, from personal photos. The imagery for the puzzle works ranges from photographs of Gonzalez-Torres’s personal life to re-photographed newspaper/magazine clippings. Most consist of one individual puzzle, although four works consist of multiple components. Most puzzle works are made in editions of three with one AP (55 puzzles). There are three unique puzzle works. Those puzzles that were made in an edition may not have been produced at the same time or by the same commercial photo lab; which resulted in variations in cropping and color tone within the same edition. This body of work illustrates Gonzalez-Torres’s interest in varying modes of photographic reproduction, the effects of commercial production processes on the form of the works, and his utilization of commonplace consumer products in his practice. The puzzles were received from the photo lab fully assembled with a piece of cardboard backing and sealed inside a fitted plastic bag. For the majority of the puzzle works (56 puzzles), the artist considered the plastic bags to be an important part of the works and he described a specific method of installation using map pins (originally pushed through and eventually positioned against the plastic bags). For owner’s who requested to frame these works, the artist provided a separate methodology for framing. Titling Works All of Gonzalez-Torres's works, with few exceptions, are titled "Untitled" in quotation marks, sometimes followed by a parenthetical portion of the title. This was an intentional titling scheme by the artist. Rather than limiting the artworks by ascribing any singular title, the artist titled his works in this way to allow for open-ended interpretations to unfold over time. In a 1991 interview with Robert Nickas, Gonzalez-Torres reflected on the titles of his artworks: “things are suggested or alluded to discreetly. The work is untitled because “meaning” is always shifting in time and place.” Dateline Installations Across several bodies of work, starting as early as 1987, González-Torres employed a strategy, described by some as a “dateline,” wherein he included lists of various events/dates in a purposeful but non-chronological order. The lists included the names of social and political figures and references to cultural phenomena or world events, many of which