Born on August 10.
Moves to Paris and enrolls at the École des Beaux- Arts.
Works as sculptor Piotr Kowalski’s assistant.
Returns to Barcelona and completes compulsory military service.
Moves to Chicago.
Has his first solo exhibition, entitled Two Exercises, at the Illinois Center in Chicago. Also has exhibitions at the Francis Parker School in Chicago and the Evanston Arts Center in Evanston, Illinois.
Moves to New York, where he will live until 2001 (except for the two years he spent in Berlin). Galería Redor in Madrid organizes an exhibition of Torres’s work.
Torres’s Almost Like Sleeping is displayed at Artists Space in New York. Exhibits at 112 Greene Street Gallery in New York. Takes part in the Biennale de Paris.
Presents his work at Galerie St. Petri in Lund, Sweden; the Akumulatory 2 in Poznan, Poland; and the Institute of Contemporary Art in Friedrichsfehn, Germany. Participates in the XXXVII Biennale di Venezia.
Residual Regions, an exhibition of Torres’s work, is shown at the Whitney Museum of American Art in New York.
The Los Angeles Institute of Contemporary Art presents Residual Regions.
The Whitney Museum of American Art in New York presents a solo show entitled The Head of the Dragon.
Exhibits at the Herbert F. Johnson Museum of Art at Cornell University in Ithaca, New York, and at Elise Meyer Gallery in New York. Receives a grant from the National Endowment for the Arts. He will receive two further NEA grants, in 1988 and 1993.
Damon Brandt Gallery in New York and the Sala Metrònom in Barcelona present exhibitions of Torres’s work. Torres’s video When Boys Play Rough… is projected on an electronic screen in Times Square in New York.
Lives in Berlin for two years on an academic exchange grant from the DAAD Berliner Künstlerprogramm.
Takes part in the Whitney Biennial at the Whitney Museum of American Art in New York. He will participate in the Whitney Biennial again in 1991 and 1993.
Exhibits his work Destiny, Entropy and Junk at the Capp Street Project in San Francisco.
The Museo Nacional Centro de Arte Reina Sofía in Madrid organizes a retrospective of his work entitled La cabeza del dragón. Receives the Premi Nacional de Belles Arts from the Catalan government.
Exhibits at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution in Washington, D.C., the Bohen Foundation in New York, and the Instituto de Cooperación Iberoamericana in Buenos Aires.
Creates Demasiado tarde para Goya, a multimedia montage with seven channels, including video, sound, and a sculpture.
The Museo de Arte Contemporáneo in Mexico City exhibits Torres’s Demasiado tarde para Goya.
Takes part in Los límites del museo at the Fundació Antoni Tàpies in Barcelona.
Exhibits at the Centro del Carme of the Institut Valencià d’Art Modern in Valencia, Spain.
The solo exhibition The Repository of Absent Flesh is shown at the List Visual Arts Center at the Massachusetts Institute of Technology in Cambridge, Massachusetts. This exhibition catalog contains an essay by critic Arthur C. Danto.
Torres’s Demasiado tarde para Goya is included in Spanish and Basque Contemporary Art at the Guggenheim Museum Bilbao.
Three installations by Torres are presented at the Fundación Telefónica in Madrid, in an exhibition titled Circuitos cerrados.
Moves back to Barcelona from New York. Exhibits at Galeria Metrònom in Barcelona. Curates the exhibition Memoria de un espejismo: Los Pegasos deportivos y de competición de los años cincuenta at the Centro de Cultura Contemporánea de Barcelona.
Appointed president of the Associació d’artistes visuals de Catalunya, a position he will hold until 2005.
Takes part in the exhibition Tinieblas at the Espai d’Art Contemporani de Castelló in Castelló, Spain, but removes his work in protest against alleged censorship by Valencia authorities.
Torres’s work is featured in El arte sucede: Origen de las prácticas conceptuales en España (1965-1980) at the Museo Nacional Centro de Arte Reina Sofía in Madrid.
Work by Torres is included in Salvador Dalí and a Century of Art from Spain: Picasso to Plensa at the Salvador Dalí Museum in Saint Petersburg, Florida, and Catharsis: Rituals of Purification at Artium, Centro Museo Vasco de Arte Contemporáneo in Vitoria, Spain.
The solo exhibition Dark Is the Room Where We Sleep is shown at the International Center of Photography in New York. Torres’s work is included in MACBA at Frankfurter Kunstverein: A Selection of Works from the Museu d’Art Contemporani de Barcelona at the Frankfurter Kunstverein in Frankfurt.
The Museu d’Art Contemporani de Barcelona presents Francesc Torres: Da capo. Torres’s work is featured in The Discreet Charm of Technology: Arts in Spain at the Zentrum für Kunst und Medientechnologie Karlsruhe in Karlsruhe, Germany. The exhibition later travels to the Museo Extremeño e Iberoamericano de Arte Contemporáneo in Badajoz, Spain.
Artium, Centro Museo Vasco de Arte Contemporáneo in Vitoria, Spain, presents the exhibition Dark Is the Room Where We Sleep: Francesc Torres . Participates in the group exhibition From Private to Public: Collections at the Guggenheim at the Guggenheim Museum Bilbao.
The sculptural installation Lluvia uniforme o más de una gota de agua is presented at the 20th anniversary of Galería Elba Benítez, Madrid. The artist exhibits his work in an exhibition called Francesc Torres (en colaboración) at Galería Ana Vilaseco, in A Coruña, Galicia.
The artist gives a lecture at the Centre de Cultura Contemporània de Barcelona (CCCB) as part of a course entitled Los lenguajes itinerantes de la fotografía. Participates in the exhibition Ejercicios de memoria at the Centre d’Art La Panera, Lleida.
Torres’s work can be seen as part of Selections from the Collection of the Guggenheim Museum Bilbao II.
Memory Remains: 9/11 Artifacts at Hangar 17 opens at the Imperial War Museum in London, and then travels to the International Center of Photography in New York and CentroCentro-Palacio de Cibeles in Madrid.
What Does History Know of Nail Biting? opens at the David Museum, Wellesley College in Wellesley, Massachusetts, USA, and later travels to Centro Cultural Puertas de Castilla in Murcia and the Museo de Teruel, Spain.
The exhibition of works by Francesc Torres, Què en sap, la història, de mossegar-se les ungles? and Santiago Ydáñez, Troquel, is held at Centre d’Art la Panera in Lleida, Spain, and later travels to Arts Santa Mònica in Barcelona, Spain.
The exhibition Instalaciones de sobremesa, at Galería T20 in Murcia, includes works that have never been shown before.
Francesc Torres. La caja entrópica [El museo de objetos perdidos] can be seen at MNAC – Museu Nacional d’Art de Catalunya, Barcelona, Spain.
Shows huge installation The Hermetic Bell (La campana hermética) at MACBA – Museu d’Art Contemporani de Barcelona, Spain.