Frank Expósito

  • interviews September 22, 2015

    Allora & Calzadilla

    Artist duo Allora & Calzadilla’s latest project, Puerto Rican Light (Cueva Vientos), 2015, is the Dia Art Foundation’s first commission outside the continental United States since 1982. Here, the artists speak about the work, which incorporates one of Dan Flavin’s multicolored light sculptures and sets it in a prehistoric limestone cave located between the municipalities of Guayanilla and Peñuelas in Puerto Rico. The piece will be on view starting September 23, 2015.

    THIS PROJECT BEGAN years ago when we first encountered Dan Flavin’s Puerto Rican Light (to Jeanie Blake) from 1965 in an art history

  • diary April 26, 2015

    Head Above Water

    “PURCHASE POWER comes from optimism,” said SP-Arte fair director Fernanda Feitosa confidently on the second day of its eleventh edition. Fresh off Brazil’s reelection of President Dilma Rousseff and news of its shrinking economy, the national art market had yet to be tested under new conditions. The worst, I was told, was yet to come. Yet despite this, the fair had generously welcomed on its first day five thousand guests who had—optimistically or not—drunk one thousand bottles of champagne.

    “It has affected our mentality,” said dealer Alessandra d’Aloia of Galeria Fortes Vilaça, referring not

  • picks March 06, 2015

    Claudia Comte

    For her US debut, Swiss artist Claudia Comte uses the language of the palindrome to toy with the viewer’s sense of space: foreground and background are given equal primacy throughout the exhibition. It’s an apt motif for her American arrival that is based so much on a Euro-Brazilian past.

    “No Melon No Lemon” is the result of a month-long residency at the gallery, where the artist created a series of sculptures as well as monumental linear paneling/painting that wraps around the perimeter of the space. Historical references abound in her smooth, burled wooden curvilinear forms and jagged totems

  • interviews February 18, 2015

    Tania Bruguera

    Artist Tania Bruguera was detained in Havana on December 30, 2014, after announcing her intent to restage her 2009 work Tatlin’s Whisper (#6)—in which individuals are able to talk about freedom of speech at a public podium—in the city’s Plaza de la Revolución without being granted official approval. Here, Bruguera speaks from Cuba, her homeland, about the evolution of the project, which has now become, she says, an “endurance performance.” Bruguera cannot leave Cuba until her passport is released by Cuban authorities, which will not occur until after she stands trial for inciting public disorder

  • picks January 30, 2015

    Lucy Skaer

    “Under the shade I shall flourish,” reads the national motto of Belize. The Central American country is mostly covered in forest, and in the 1750s it was the site of the first export of logged mahogany to Europe from the New World. In Lucy Skaer’s second exhibition at this gallery, “Sticks & Stones,” which is concurrently on view with Skaer's other show at Peter Freeman, Inc. titled “Random House,” the artist uncovers the shadowed history of Belizean mahogany, a product that was later abandoned because of fluctuating market demand until the mid–twentieth century, by subverting its material

  • interviews November 18, 2014

    Iñaki Bonillas

    Mexican artist Iñaki Bonillas explores photography’s conceptual underpinnings. He speaks here about Words and Photos, a Web-based project commissioned by the Dia Art Foundation that digitizes the artist’s family photo archive. Bonillas’s latest exhibition, “La Idea Del Norte” (The Idea of North), is on view at ProjecteSD in Barcelona until November 19, 2014.

    IN 2003, I inherited a photographic archive made up of 3,800 images that belonged to my maternal grandfather, J. R. Plaza. My grandfather was not a professional photographer, but he took photography quite seriously because he was fascinated

  • diary November 15, 2014

    My Bo

    FOREIGNERS WERE ASSURED they would be safe. Amid the Bogotanos that went outside for a smoke during the blackout at a salsa club on the eve of ArtBO was María Paz Gaviria, ArtBO’s director. Her eyes widened as she spoke: “I’m very happy to have everyone here,” she said, referring to the dealers from twenty-some countries who had traveled to Colombia’s capital for the fair. Curator Emiliano Valdés had just arrived, at the party and also in the country, for his new post as chief curator at Museo de Arte Moderno de Medellín. He stood with María Mercedes González, director of the MAMM, which is

  • interviews November 07, 2014

    R. H. Quaytman

    R. H. Quaytman’s chapter-based works draw upon geometry and grammar to examine how paintings can function structurally. O Tópico, Chapter 27, her latest installation, is on view at Gladstone Gallery in New York until December 20, 2014, before it permanently moves to a pavilion—which, like the architecture in the show, is designed by Solveig Fernlund—at the contemporary art museum and botanical garden Inhotim in Minas Gerais, Brazil.

    AS THE CHAPTERS progress and the paintings accumulate, I am compelled to locate the direction they might lead. What are they adding up to—or, to put it bluntly, what

  • diary September 19, 2014

    The Rio Deal

    OPEN RELATIONSHIPS are racy; they reconsider the “you and I” in an otherwise closed system by granting foreigners entry, if only for a moment. For the fourth edition of ArtRio, the Cariocas once again opened their city to the Paulistas, their fellow Brazilians from São Paulo. “I don’t know what first went down between them,” mentioned fair director Brenda Valansi, addressing the fraught relationship between the country’s two largest cities. But Valansi’s sights for the fair are not domestic. “I didn’t decide to do ArtRio to compete with SP-Arte,” she continued. “I created ArtRio to compete with

  • interviews September 12, 2014

    Mario Garcia Torres

    The work of Mexico City–based artist Mario Garcia Torres addresses the ways in which art and information are constructed over time. Here he discusses I Am Not a Flopper, n.d., which is on view at the Hammer Museum, Los Angeles, from September 13, 2014 to January 4, 2015. New pieces by Garcia Torres are also included in a joint exhibition with Cildo Meireles, “Que Coisa É? A Conversation,” at Pivô, São Paulo, which runs until November 1, 2014.

    I AM NOT A FLOPPER is a new delivery of a stage monologue I cowrote with philosopher Aaron Schuster a number of years ago. In this thirty-minute one-act

  • picks August 21, 2014


    The two-part exhibition “Ultrapassado” exclusively includes the work of female geometric abstractionists. Taking its name from the Portuguese term for transcending, the show in its second iteration comprises multimedia works that do just that; they go beyond the normative conventions of Rio de Janeiro–based Neo-Concretist art of the 1960s that sought to overcome its inheritance of European rationalism. Instead, work by artists Paloma Bosquê, Rosemarie Castoro, and Lydia Okumura illustrate that lyrical geometric abstraction continued and still continues to be explored in New York and Sao Paulo,

  • interviews July 18, 2014

    Erika Verzutti

    Brazilian artist Erika Verzutti’s work investigates the role of the natural readymade in sculpture. She speaks here about her first solo museum exhibition, “Mineral,” which is on view at the Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York, through November 16, 2014, and includes an installation of a field of handmade gemstones. Verzutti’s work can also be seen in a solo exhibition at Galerie Peter Kilchmann, Zurich, on view through July 19, 2014, as well as the Guggenheim UBS Map Global Art Initiative’s “Under the Same Sun: Art from Latin America Today” group

  • interviews June 20, 2014

    Gabriel Kuri

    Mexican artist Gabriel Kuri is known for sculptures that mobilize contrasting dualities. Here he speaks about his current exhibitions in Los Angeles: a solo show at Regen Projects, which is on view until June 28, 2014, and the pieces he produced for the Hammer Museum’s “Made in LA 2014” biennial, which closes on September 7, 2014.

    WE LIVE IN A GLOBAL WORLD where it seems like everything is available at the click of a button, yet that’s not exactly the case. Everything that I made for these exhibitions I created in Los Angeles, where I currently reside. That is how I make sense of my life. I adjust

  • interviews April 08, 2014

    Renata Lucas

    The work of Rio de Janeiro–based artist Renata Lucas takes a form from its environment—be it a sidewalk, gallery facade, or museum flooring—and changes a common aspect of its recognizable structure. Lucas speaks here about her two latest interventions, collectively titled “[ ],” at Galeria Luisa Strina, which are on view from March 22 to April 26, 2014.

    IT IS ALWAYS TRICKY for an artist to describe the meaning of an artwork. In this case, we aren’t using a discursive mode at all, but other ways of talking about the subject, place, and space of a work as well as the environment that puts these

  • diary March 03, 2014

    Slow and Steady

    CONTEMPORARY ART FAIRS MOVE FAST. For those dealers, collectors, and curators who stick around for the whirlwind of ten-hour fair days, visits to remote private collections, and thumping social hours at neighborhood joints with names like “Why Not?” the fair is quickly supplanted by hazy memories. But ARCO, set thirty minutes out of centro, or downtown Madrid, takes a more measured pace than others, as if mandating a siesta within the normative frenzy. And why not?

    This year’s ARCOmadrid was pushed back a week to accommodate Mexico City’s ascending powerhouse, Zona Maco. But ARCO’s new dates

  • picks February 06, 2014

    Julio Le Parc

    The utopian, kinetic output of Julio Le Parc has found a temporary home in Latin America. Born in Argentina in 1928, Le Parc has lived in Paris since 1958, and this exhibition, curated by Hans-Michael Herzog, focuses on his earliest light works: twenty-one sculptures made between 1960 and 1971. The show also sets the stage for the artist’s profound interest in viewer participation: One often sees children and their equally mesmerized parents gazing at the flexing ephemera and activating the movement sculptures of the salle de jeux, or game room, including one with a wind machine and another with

  • interviews December 16, 2013

    Anthony McCall

    New York–based British artist Anthony McCall has had two artistic careers: one from 1973 to 1980, and another beginning in 2001. For the nearly twenty years in between, McCall worked as a graphic designer and editor, pursuing a different artistic trajectory. His current retrospective survey, “1970s Solid-Light Works” at Sprüth Magers in Berlin, reconsiders his earliest films, such as 1975’s Four Projected Movements, which he discusses here. The show is on view from November 22, 2013, to January 25, 2014.

    FOUR PROJECTED MOVEMENTS is produced from a single fifteen-minute reel of 16-mm film. In it,

  • interviews December 11, 2013

    Coco Fusco

    Cuban-American artist Coco Fusco is well known for addressing abjection in her work. For her latest piece, Observations of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist, which she will perform at the Studio Museum in Harlem on December 12 and December 13, 2013, Fusco will personify a popular film character—a chimpanzee psychologist who studies human behavior—in order to look at economic violence from an evolutionary perspective. Here, she speaks about the piece and her concurrent research project on contemporary Cuban performance that will result in a book to be published next

  • interviews November 23, 2013

    Pedro Reyes

    Mexico City–based artist Pedro Reyes works within public contexts to address social and utopian concerns. At the Queens Museum in New York, Reyes will present “The People’s United Nations (pUN),” an exhibition of new sculpture, on view from November 9, 2013 through March 30, 2014, and a performance sharing the same title, which will be staged on November 23 and November 24, 2013. Here he speaks about the project, which simulates and dissolves the structure of the UN through various interactive and unconventional activities, such as games, jokes, and therapy, in order to reinvigorate person-to-person