Silvia Benedetti

  • Roberto Gil de Montes, Boca Chica, 2022, oil on linen, 70 7⁄8 × 98 3⁄8".

    Roberto Gil de Montes

    “Temporada de lluvias” (Rainy Season) marked Roberto Gil de Montes’s first exhibition in Mexico, where he was born in 1950. Raised primarily in California and active in the Los Angeles art scene of the 1970s and ’80s, Gil de Montes relocated about twenty years ago to the small Pacific Coast town of La Peñita de Jaltemba, which has served as the setting for his depictions of the queer body since. The lush recent paintings exhibited here portrayed well-tanned men, in varying states of nudity, lounging, swimming, posing, or just hanging out amid the coastal enclave’s verdant tropical flora.

    Gil de

  • Fernanda Gomes, Untitled, 2022, linen, light, 35 1/2 x 71 x 1 1/2".
    picks September 23, 2022

    Fernanda Gomes

    Untitled enigmatic objects that are crafted from an array of evanescent or seemingly precarious materials—including light, linen thread, fabric, and slats of wood—make up Fernanda Gomes’s debut exhibition here. Although her process is intuitive, meticulous, and full of right angles, the artist frequently sources the items for her work from her immediate environment. Indeed, her art is highly economical, in both principal and practice. Gomes spent six grueling weeks in the gallery preparing for this show and transformed her surroundings into an extension of the domestic space she operates from

  • Beatriz González, Los papagayos (The Parrots), 1987, oil on paper, 29 ½ x 78".
    interviews November 30, 2020

    Beatriz González

    Organized by the Pérez Art Museum Miami and the Museum of Fine Arts, Houston, “Beatriz González: A Retrospective”—the most comprehensive US display of the Colombian artist’s output to date—makes its final stop at the Museo de Arte Miguel Urrutia (MAMU) in Bogotá, the city where the groundbreaking painter has long lived and worked. Spanning the early 1960s to the present, the exhibition’s more than one hundred paintings, drawings, and furniture pieces center on González’s trenchant, often playful commentary on life during Colombia’s five-decade war while tracing an aesthetic associated with Pop