New York

“Cartographies”

Bronx Museum of the Arts

The Museum of Modern Art’s 1994 exhibition “Latin American Artists of the 20th Century” divided a wide range of work according to country of origin, at the same time that it rendered much of it subservient to European and North American models. Ivo Mesquita’s recent “Cartographies,” a much smaller show, rejected the colonizing stance of its predecessor, choosing not to emphasize geopolitical divisions, but rather something more elusive: an exploration of “territories under the rule of desire, sensibility, and knowledge.” Mesquita’s curatorial scheme, in which cartography becomes a metaphor for the curatorial process and desire is the common denominator, was at times too vague and elliptical to be useful in a show that presented 14 artists from seven countries. Though desire is as essential to Guillermo Kuitca’s work as it is to Alfred Wenemoser’s Caracus, 1993—an absurd two-part structure

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