India (Commonwealth Union)_ Every year on November 19, the world observes World Toilet Day, a reminder that having access to a clean, safe toilet is much more than a convenience. It is an essential component of public health, basic dignity, and environmental conservation. The day originated in 2001, when Singaporean philanthropist Jack Sim formed the World Toilet Organisation to raise long-overdue attention to worldwide sanitation issues. The cause gathered momentum over the years, especially after the United Nations formally recognized access to water and sanitation as a human right in 2010. Three years later, on July 14, 2013, the UN officially declared November 19 as World Toilet Day.
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The theme for 2025, “Sanitation in a Changing World,” focuses on how climate change, expanding urbanization, and altering demographics require sanitation infrastructure that can meet future demands. And the figures are a harsh reminder of how far the world still has to go. Approximately 3.4 billion people live without basic sanitation, and 354 million continue to practice open defecation, increasing the risk of disease and violence, particularly among girls and women. Every day, around 1,000 children under the age of five die as a result of poor sanitation, contaminated water, and inadequate hygiene. Simultaneously, sanitation-related methane emissions contribute to glacier melting and increasing sea levels, affecting coastal residents and their already fragile infrastructure. According to WHO and UNICEF projections, 3 billion people may still lack access to safe toilets by 2030 if progress is not accelerated.
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Against the backdrop of these sobering realities, World Toilet Day also brings forward striking stories meant to start conversations: among them is the story of the world’s most valuable toilet. This 102-kilogram, fully functioning lavatory, crafted from 18-karat solid gold, is the creation of Italian artist Maurizio Cattelan, known for blending satire with sharp social commentary. Weighing 220 pounds, the toilet carries the title “America,” a deliberate nod to the excesses of wealth and consumer culture. Cattelan is no stranger to headline-grabbing works; his infamous piece “Comedian,” a banana taped to a wall, sold for $6.2 million. This month, Sotheby’s announced that “America” will go under the hammer, with bidding expected to start at $10 million, though its final price may shift depending on gold rates at the time of the auction.
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The golden toilet has been displayed at Sotheby’s New York headquarters for auction since November 18. Sotheby’s has described the work as a sharp reflection on the intersection of fine art, consumerism, and raw material value. Furthermore, two nearly identical versions of the piece were created in 2016. One became a sensation when it was installed in a public restroom at New York’s Guggenheim Museum, where more than 100,000 visitors used it as part of an interactive exhibit. That same piece later made global headlines in 2019 after being stolen from Blenheim Palace in England. The version now heading to auction is the second known copy, its existence only recently made public.
Marking this year’s World Toilet Day, the UN Secretary-General emphasized the urgency of expanding access to safe, resilient sanitation. In a statement, he noted that rising climate stresses, widening inequality, and aging infrastructure threaten to slow or even reverse progress. “The humble toilet is an icon of progress,” he said, stressing that without sanitation, communities face preventable disease, environmental degradation, and lost opportunities. While 1.2 billion people gained access to safe sanitation in the past decade, billions remain unserved. The Secretary-General urged accelerated investment in systems that are accessible, climate-resilient, low-emission, and built to last. As the world commemorates the occasion, the contrast between a multimillion-dollar golden toilet and the billions who lack basic sanitation serves as a sharp reminder that access to a toilet is a fundamental human right and a matter of survival.
