Dial Tone is one of a number of pieces that Gabriel made from the New York telephone directory.

Gabriel Orozco Dial Tone
Not just a number: Gabriel Orozco's Dial Tone 1992 made from cut and pasted phone book pages on Japanese paper.

It reflects the early years when he lived in various apartments with his wife Maria. Gabriel mentioned to me that the only thing in the apartment that was there when he moved in was a phone… and a phone book. Not much use when you don’t know anyone in the city - but he managed to make some great works. For this, he cut out every number (but not the names) in the phone book, creating a stream of numbers that he laid down on a scroll of Japanese paper.

Jessica Morgan’s book on Gabriel Orozco published by Tate Publishing is available from Tate shops.


Flavia Kentish

I took my daughter and granddaughter and we all loved the Exhibition. I particularly liked his sense of humour. Also, he is so thoughtful & meticulous. The information about each piece was very informative & helpful. We also enjoyed the short film about Orozko which made us love him even more. The only disappointment was that there were no postcards, posters, etc to buy in the shop. I wanted to spend my money but was given no opportunity. Well done Tate.

Alison Ridley

I visited on 18th March and loved the exhibition. In a commercial art world where size seems to ascribe worth and value dictated by monetary consideration dictated by dealers collectors etc and the urge to acquire and possess is the dominant factor it is wonderful to see work by someone whose artistic use of ordinary everday materials transforms the ordinary and the everday into the extraordinary - poetic and mysterious. By breathing life into the small and mundane he certainly made me look anew at myself and the world around me and I left with a sense of wonder. Surely no bad thing! Favourite piece - Yielding Stone - aren't we all transformed by our journeying through life? Thank you TATE!

Kun Song

Hi Jessica, I enjoyed the show very much. 'My hand is my heart' is a grand opening anchoring Orozco's art style and the show. 'Lintels' is a great end lingering long after the show. I would like to ask your methodology in curating the room 6 photographs. There are 20 photographs. I tried to understand how you edit and fix the sequence. Is it according to subjects, chronicle, just visual formal, personal taste, or there is no single linear but a combination of everything? Please could you shed some light on your curation decisions behind the 20 photographs in Room 6? Many thanks.