A Decolonial Atlas: Strategies in Contemporary Art of the Americas features works by 18 contemporary artists and collectives from the US and Latin America, plus a selection of works by Native American artists from the museum’s permanent collection
Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.
On paper, the Mexican artist Pablo Helguera may fit the mold of a neoconceptualist with a social agenda, but the more I see of his work, the more he resembles some kind of latter-day mystic, conjuring up improbable connections and unsettling dislocations.
Hypnotherapy, a group show at Kent Fine Art, gives David Lynch fans a chance to revisit the iconic filmmaker’s alarming artwork a year after his solo turn at Jack Tilton. But that’s only one, conspicuous though it is, of its strengths. What really matters is the opportunity to experience a museum-quality exhibition that approaches the pitfalls of latter-day surrealism with as much intelligence and refinement as this one does.
The Aperture Foundation publishes beautiful photography monographs that are designed to look more like a portfolio than a book; such is their emphasis on image plates over explanatory text. The Factory of Dreams: Inside Televisa Studios, one of Aperture’s recent publications featuring the Brooklyn-based photographer Stefan Ruiz, is a monograph that presents a single body of work. The Factory of Dreams is a collection of photographs Ruiz began working on eight years ago, depicting one of Mexico’s largest exports: televised fantasies of “love, wealth, and betrayal.”