Gaby Cepeda

  • picks December 31, 2018

    “La Cabeza que Mató a Todos”

    For this group exhibition—which includes nine artists, various media, and a wide generational scope—Agustina Ferreyra has facilitated works’ shifting and echoing reflections, providing a kaleidoscopic—joyous, multiple—view of the different ways in which we perform ourselves through our bodies.

    Among the high points is Madeline Santil’s gray canvases from her 2018 series “Sexualizar la geometría?” (Can Geometry Be Sexualized?). They are pierced by purple, vibrating sex toys, cheekily overlapping the playful possibilities of abstraction with the contemporary aesthetics of the optimized orgasm.

  • “Murales temporales”

    What? An all-male show about mural painting? Really? I wondered if “Murales temporales” (Temporary Murals) was a deliberate effort to keep with the gentlemen-only tradition of twentieth-century Mexican muralism. But even so, I couldn’t think of a decent reason for a team of three curators (Andrea Bustillos, Karen Huber, and Alejandro Romero) to put together a show about a whole genre of painting that leaves women artists out. In any case, the show was pretty indulgent, taking muralism and its long history in Mexico and relocating it within a gallery space to question ideas of permanence, ownership,

  • picks July 16, 2018

    “Memories of Underdevelopment”

    In addition to crowding nearly four hundred objects by more than sixty artists and art collectives from eight Latin American countries into a labyrinthine gallery on this museum’s second floor, this exhibition also boasts a thick catalogue, lectures, workshops, screenings, courses, and panels. Calling it massive would be an understatement. Twenty-five years of art are on view, all of it meant to address the prevalent economic underdevelopment of the subcontinent, and the multitude of practices that rose up to reject Western-imposed aesthetics and looked instead at cultural expressions born out

  • picks February 09, 2018

    Guillermo Gómez-Peña

    Viewers are welcomed into this exhibition by La Loca, 2010, an enlarged tarot card featuring a nude and saintly Guillermo Gómez-Peña, the performance artist, writer, activist, and educator whose experiences on both sides of the Mexico–United States border have fueled what he calls an “aesthetics of juxtaposition,” an art practice that points furiously at the contradictions of identity.

    The retrospective spans two large galleries and a video room, comprising photographs, books, pamphlets, mementos, and costumes in which pastiche is process and false opposites are confronted: documented and