[17] The project comprised photographs taken in the seventies, but the artist placed his work after the September 11 attacks, in an attempt to mingle different times and trigger the audience to question what it sees.
[18][19][20] With "Je ne sais si c'en est la cause", and "What Doesn't Kill You Makes You Stronger" García Torres gave documentation for two past works: Martin Kippenberger's Museum of Modern Art Syros, and Daniel Buren's in-situ mosaics in Saint Croix.
[21][22] His work "My Westphalia Days" is a road movie containing fictitious events of the four-day disappearance of Michael Asher's trailer, which was presented in Skulptur Projekte Münster since 1977.
[26] In 2015, inspired by Seth Siegelaub, an independent curator, gallerist, and publisher who was influential to the emergence of Conceptual art in the 1960s, the artist co-wrote with Alan Page "The Causality of Hesitance".
Centered on Siegelaub's interest in theories about time, this "thought-provoking performance" spans a range of topics, from the psychology of hesitating to the contradictory aspects of economic progress.
The lecture became latter a slide show piece presented afterwards at the Museo Nacional Centro de Arte Reina Sofía in Madrid, and latter became a fundamental part of the artist contribution to Documenta 13, Kassel.
The piece, which also exist as an installation presented at the Sharjah Biennial in the United Arab Emirates in 2017, chart and merge different stories of movement, migration, and fragmentation while drifting through a combination of images and popular music that make reference to small and large waterways.
[32] As his participation to "An Inquiry: Modes of Encounter", an exhibition at the Times Museum, in Guangzhou, China, in 2019, the artist wrote "If Only I'd Thought of The Right Words" a monologue for an Artificial Intelligence character.
and the Expansion of the Tropics" is a narrative of the last three decades in South Florida, combining elements on social issues in the area, climate change, and Robert Rauschenberg.
The exhibitions included both, interventions of avant-garde theater and film directors of the time like Alejandro Jodorowsky and Juan Jose Gurrola as well as works by prominent artists like Manuel Felguerez, Lilia Carrillo and Vicente Rojo.
[38] For "The Strange Things My Eyes See" the artist created an exhibition in the ruins of a utopian building designed and built in the 1980s by Agustín Hernández Navarro in Santa María Ahuacatitlán, México.
According to Caroline Dumalin he "uses sound to transmit ideas, and also examines its circulation, exploring the social and geopolitical circumstances that have influenced its particular resonance in a given time and place.
[45] Some of the García Torres’ works that feature original music are "Tea", "Je ne sais si c'en est la cause", "The Day Mankind Faded Away", "The Disjunction of Time"', "Il auriat bien pu le premettre aussi" and "Silence's Wearing Thin Here".
[46] In 2019 García Torres presented "Falling Together in Time"[47] a video-essay where the artist explores the themes of coincidence and happenstance, weaving together an incident in 1981 that involved Mohammad Ali with the development a number of popular songs surrounding Van Halen's 1983 hit "Jump".
Theoretically, the works in the show were exhibited in the geographic area that would be covered if you would superimposed the Museo de Arte Sacramento -a "museum without walls" in the state of Coahuila, Mexico, conceived by the artist between 2002 and 2004- over a section of the city.
According to Leslie Moody Castro "Within this fantastically complex exhibition, Garcia Torres blurs any standards regarding linear time or functional space, ultimately offering an opportunity to reconsider our understanding of reality".
Curated by Taiyana Pimentel, the exhibition established a parallel between the post-conceptual and immersive practices in historical construction for which García Torres has been known, and presented six new bodies of work created specifically for the exhibition: “This Sculpture” -the recreation of a massive sign announcing an influential avant-garde club in Monterrey from the 90´s decade, Kokoloco-; a series of colorful paintings where movie spoilers are written on; a silent and almost motionless performance where Xoco, The Kid Who Loved Being Bored is the only character, and the performatic-lecture “We Shall Not Name This Feeling” in collaboration with musician and artist Sol Oosel.
A daily live stream broadcast the image of the gallery during normal museum hours while the artist made use of the space as a private studio to create new work.
"Solo" was produced in response to the temporary closure of cultural institutions at that time and the abrupt changes to artists’ production as a result of that year's worldwide pandemic.
[57] The work consists of 164 letter-size photocopies pasted onto linen on stretchers equating the number of days the artist's studio was closed during the first pandemic lockdown in México City.
[64] Inhabiting a blurry space between curatorial work and his own work, during 2017 the artist presented “The Party Was Yesterday, and Noboby Remembers Anything” (La fiesta fue ayer y nadie recuerda nada) a presentation surrounding the early 1960s short-lived Museo Dinámico at Archivo;[65] and an 8-hour film-marathon at the Massimo Cinema in Turin as part of his solo show at the Galleria Franco Noero.