Maps drawn by Indigenous artists at the behest of the Spanish in the 16th century illustrate the amalgamation of visual traditions during the early years of contact between Indigenous groups and colonizers.
With the help of thousands of volunteers, Enrique Chiu is creating a large-scale mural on Mexico’s side of the border to spread a message of peace.
Carlos Reygadas’s Our Time has drawn heavy speculation over the fact that he and his wife play a couple experiencing trouble with their open relationship. But this says more about the commentators than the film itself.
In Mexico foregrounds Höfer’s images as records of a site’s architectural and sociopolitical history.
Artists often use whatever materials they can find, creating works that reflect on the socioeconomic realities of their surroundings.
Last year, a group of artists and activists developed a project satirizing Mexico’s mistreatment of the migrant “caravan” from Central America. When media outlets started broadcasting their satirical video, it triggered an outcry against what many cast as hypocritical racism and bigotry. Does it matter that the video was fake?
Because images of the West were created after 1848, we have few visual references to the region during its Mexican era. One artist wants to correct that art historical schism.
An exhibition at the Aperture Foundation gathers pictures taken by Alex Webb over more than 30 years, all across Mexico.
In a 16th-century triptych of the crucifixion at the Musée National de la Renaissance, north of Paris, Christ has wings. In fact the whole piece is made of feathers.
With a scythe in one hand and a skeleton’s face gazing out from a cloak, Santa Muerte appears like a cross between the Grim Reaper and the Virgin Mary.
A 400-year-old church drowned in 1966 has reemerged in Mexico.
Did a small town in Mexico bulldoze a historically protected chapel at the heart of its community last month?