Timoney presents a kind of salon-style show, but all emerging from a single mind.
Ahead of Sunday’s presidential election in Mexico, the poet Luis Felipe Fabre has adapted Leonard’s poem and a collective reading will take place in Mexico City on Saturday.
Some galleries suffered severe damage, others turned their spaces into relief centers, and the city’s biggest art fair came under fire for going ahead with its scheduled VIP opening the night of the quake.
In his exhibition at at Galeria Mascota, Miguel Angel Salazar revives a cenotaph, showing that it’s both easier than ever to rewrite history, and more difficult to erase it.
Ana Pellicer used traditional copper jewelry techniques from the Mexican state of Michoacan, then makes her pieces contemporary by playing with scale.
In late July, a newspaper reported that the 14th edition of Mexico City’s revered SITAC contemporary art symposium had been cancelled, but it’s more complicated.
After being denied by US ad companies, Mitch O’Connell took his billboard depicting President Donald Trump as a sinewy alien to Mexico City, where it now prominently hangs.
In 2014, Manuel Solano lost his eyesight from an HIV-related infection. His new works treat that experience as the generative event for his art.
The government has asked how residents would express their city in symbols, with an open competition for the design of an emoji package representing this megalopolis.
Raúl Ortega Ayala’s new exhibition at Proyectos Monclova includes a buffet based on a historical image of the restaurant atop the World Trade Center and a model of the Tower of Babel sculpted out of lard.
The artist’s new installation in Mexico City, a functioning convenience store inside a gallery, peddles a false analogy between art and disposable commodities.
The latest iteration of artist and curator Willy Kautz’s Jippies Asquerosos (“dirty hippies”) project takes up themes of religion, capitalism, and communism with lightness and theatricality.