Judy Cantor

  • Rogelio Lopez Cuenca

    Leafing through an American magazine in Berlin in 1920, Raoul Hausmann cut out an anonymous face and crowned it with industrial headgear as the protagonist of his photomontage portrait of mechanized man, Tatlin at Home. Armed, as always, with Hausmann’s “invincible weapon”—irony—Rogelio Lopez Cuenca returns this image to its common source as a full-color magazine cover in Maison & Tatlin (all works 1990). It is one of a series of poster-size photocompositions based on various European magazine covers, which also includes Walter Benjamin posing for Uomo, and a working-class Maison & Travaux

  • Guillermo Paneque

    The centerpiece of Guillermo Paneque’s installation in La Máquina Española (all works 1990) is a structure that’s half dining-room table—informally set for the family meal—and half tabletop soccer game (what Americans sometimes call “foozball”). Bread and circuses are the subject of this exhibition as well as of a simultaneous one of drawings at Galería Estampa entitled “Holy Hooligan,” in which Paneque profiles the fanatical Spanish “futbol” fan, the game’s domestic, economic, and political prevalence in that culture today, and its relationship to other national pastimes—cocaine, corruption,