“…Aesthetics are about politics, they are politics.” This statement by Felix Gonzalez-Torres can be read in the catalogue of the retrospective exhibition dedicated to him by the CGAC in 1995; a comprehensive tour of a body of work that was already partially known in Spain, where the artist had exhibited in 1991. At the end of 1992, Pepe Espaliú published “Portrait of an evicted artist,” in the El País newspaper, a text in which he would manifest a silenced homosexuality and speak of the disease AIDS, which would lead to his death. Gonzalez-Torres would die in 1996 of the same disease. Until that time, there were virtually no references to the possibility of an artist being homosexual in the Spanish context, and even fewer in the case of lesbians. Aesthetics should not be tainted by “private” experiences; there was no empathy for the wretchedness of “abnormality.” Art had to aspire to universality, which had to be removed from the particular, because what was personal was not aesthetic. But for Gonzalez-Torres, connoisseur of feminisms, the aesthetic was political and personal.