Magalí Arriola


    Though she is perhaps best known for her quasi- architectural public sculpture, Helen Escobedo has also had a career as a leader of art institutions in Mexico City, with important tenures at galleries of the Universidad Nacional Autónoma de México, including the Museo Universitario de Ciencias y Arte and the long-gone Galería Universitaria Aristos. In these roles, she developed a reputation for supporting experimental local practices in close dialogue with international developments, at a time when independent artistic initiatives received little support.

  • Fernando Palma Rodríguez

    “We would reach a better understanding of the world,” says Fernando Palma Rodríguez, “if we accepted the indigenous concept of person that does not limit itself to individuals but that is also conferred to nature, animals, and human beings as a whole.” The works that made up Palma Rodríguez’s most recent exhibition, “Totlalhuan, Mictlantecuhtli, Chak-ek, Kan” (Our Land, Lord of the Underworld, Venus, Sky), fuse vision and language in the manner of an ancient codex. In Nahuatl—as opposed to many Western languages—grammatical subjects aren’t central to oral communication. Even the verb

  • Magalí Arriola

    1 “FOR A NEW WORLD TO COME: EXPERIMENTS IN JAPANESE ART AND PHOTOGRAPHY, 1968–1979” (MUSEUM OF FINE ARTS, HOUSTON; CURATED BY YASUFUMI NAKAMORI WITH ALLISON PAPPAS) Spanning media but focusing on photography and the moving image, this survey provided a unique opportunity to assess Japanese artists’ responses to the unrest that roiled their country in the 1960s. Daidō—Moriyama’s shadowy street photography and crucial collaboration with the magazine Provoke, Toshio Matsumoto’s psychedelic cinema, Hitoshi Nomura’s investigations of music and time, and other works on view—some 250 in all,