Felix Gonzalez-Torres' mirror works, such as "Untitled" (March 5th) #1, "Untitled" (Orpheus, Twice), "Untitled" (Fear), and another "Untitled" (Fear) from 1991 and 1992, respectively, embody the artist's innovative approach to blending visual art with conceptual themes​ (Felix Gonzalez-Torres Foundation)​​ (Felix Gonzalez-Torres Foundation)​. These works are characterized by their use of mirrors, sometimes tinted in colors like blue, and vary in dimensions, reflecting Gonzalez-Torres' interest in space, perception, and the viewer's interaction with the artwork.

One of the unique aspects of Gonzalez-Torres' art is his manipulation of the mirror as a medium to explore ideas around presence and absence, identity, and the passage of time. For example, "Untitled" (Orpheus, Twice) involves mirrors installed in a way that they directly engage with the space and the viewer, thereby merging the artwork with its environment and inviting the audience to become part of the piece itself​ (Felix Gonzalez-Torres Foundation)​.

The use of a blue mirror in works like "Untitled" (Fear) from 1991 and 1992 adds a layer of depth to the exploration of these themes, as the color can evoke various emotions and associations, further enriching the viewer's experience. The specific dimensions and the choice of color in these mirrors are not merely aesthetic decisions but are imbued with conceptual significance, emphasizing the reflective and introspective qualities inherent in Gonzalez-Torres' work​ (Felix Gonzalez-Torres Foundation)​.

Gonzalez-Torres' mirror pieces are exemplary of his broader artistic practice, which often challenged traditional notions of art and the role of the viewer. By incorporating everyday materials and objects into his work and blurring the lines between art and life, he invited audiences to engage in a personal and collective dialogue, reflecting on their own experiences and the shared human condition.