The gallery space in the loft of Punto Gozadera, a trans-feminist community center, is rough and unfinished. Bare fluorescent lights hanging from wires provide the only illumination. Black fabric separates the gallery from the workshop and meeting rooms. Everything feels makeshift and in progress. During the opening of the current exhibition, Corpografías en Resistencía, a small group—mostly made up of queer and feminist activists—gathered in[…..]

If we googled the word “megalopolis,” it is most likely that an image of Mexico City would appear in the search. The capital of Mexico has 9 million inhabitants, and a floating population of almost 2 million people who travel every day from the adjacent suburbs to study, work, and shop. This concentration of humans turns the city into a bustling social and cultural center,[…..]

Juan Acha is finally getting some recognition. Try searching for his texts in English and you will find a handful of articles about his importance, but little directly from the man who remains one of Latin America’s most relevant contemporary art critics and theoreticians twenty-two years after his death in 1995. As a remedy, Juan Acha: Por una Nueva Problemática Artística (Toward a New Artistic[…..]

While nation-states elect or appoint internationally recognized power brokers, real politics emerge on the ground in the lived experiences of our communities, in the polis. In the face of shifting national and international politics, local communities must commit to uphold human rights. In that spirit, San Francisco’s Board of Supervisors recently dismissed threats of funding cuts by the President-elect and affirmed the city’s commitment to[…..]

Upon entering Carla Rippey’s retrospective, Resguardo y Resistencia,* at Museo de Arte Carrillo Gil, the viewer is confronted by a large-scale installation that presents a multiplicity of themes carried throughout the exhibition. The installation, Cuando Mi Sangre Aún No Era Mi Sangre [When My Blood Was Not Yet My Blood] (2008–16), consists of dozens of historical archive images transferred onto paper and intervened upon with sewn marks.[…..]

In keeping with this month’s Summer Session theme of labor, today we revisit Tania Puente’s essay on feminist artist Mónica Mayer’s retrocollective at Museo Universitario de Arte Contemporáneo. Among Mayer’s socially reflexive work is an emphasis on revealing women’s hidden labor, especially the emotional labor of motherhood, marriage, and sexual objectification. This article was first published on March 1, 2016.  Si Tiene Dudas… Pregunte [When in Doubt… Ask][…..]

Art travels. Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections. Although this wandering condition may enrich the experience of different public spheres by bringing them closer to popular works and major exhibitions, the accelerated speed at which these movements and spectacles take place commands a huge[…..]