each work's owner. Each sculpture can be arranged in any way a particular installer wishes, and thus holds the potential for unlimited variations. Over the course of any given installation, some of the bulbs are sure to burn out. In 1991 González-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, which often reference the organic and inorganic substances associated with battling AIDS. Each of González-Torres's works is governed by an accompanying certificate of authenticity that described the "ideal" materials and dimensions of each work, and outline the obligations of owners' of these works. Legacy In May 2002, the Felix Gonzalez-Torres Foundation was created. The Foundation "maintains, builds, and facilitates knowledge and understanding around the work of Gonzalez-Torres." The Foundation fields exhibition requests that include Felix Gonzalez-Torres's work or respond to the artist's practice in some way and offers ongoing guidance and support for these exhibitions. The Foundation maintains extensive exhibition and image archives and makes them accessible to anyone interested in learning about Gonzalez-Torres's work. The Foundation also facilitates publication projects and licenses copyright in Gonzalez-Torres's work. The Foundation assisted the Cuban Research Institute at Florida International University in the organization of the Felix González-Torres Community Art Project, a three-year initiative that sponsors visits of internationally renowned contemporary artists to the campus of the school. The Foundation initiated and funded the California Institute of the Arts (CalArts) Felix González-Torres Travel Grant Program, a five-year initiative that funds travel based projects for CalArts students. Since 1990, González-Torres' work has been represented by Andrea Rosen Gallery, which exhibited his work both before and after his death. Starting in 2017, the estate of Felix Gonzalez-Torres has been co-represented by Andrea Rosen Gallery and David Zwirner gallery, New York. In the second decade of the 21st century the critical legacy of González-Torres' work has continued to be expanded and challenged. In 2010 Artforum published an article by artist and critic Joe Scanlan titled "The Uses of Disorder" that took a darker look at the soft power and neoliberal economics at play in González-Torres' work. In 2017 there was public outcry over the fact that David Zwirner Gallery mounted an extensive exhibition of González-Torres' work but made no mention of the role that AIDS played in the works' conceptual formation, either in the exhibition proper or its press release. Art market González-Torres's 1992 piece "Untitled" (Portrait of Marcel Brient) sold