Mexico City

Rubén Ortiz Torres

Galeria OMR

Rubén Ortiz Torres looks for staples of national identity in foreign settings: a puny Statue of Liberty in a Guatemalan public school becomes a caricature of “liberty and the pursuit of happiness” (Guatemalan Liberty/Liberatad Chapina, 1995); two young Latinos at a Halloween party on Hollywood Boulevard pose as the “miscast” brown versions of horror-movie villains (Dios de la Guerra/Wargod, 1991); while two suburban blond kids wave at us from their taco-shaped cart in a parade (California Taco, 1995). Ortiz’s photographic series “The House of Mirrors,” 1990– , presents a cultural carnival of monuments, nightclubs, car shows, union demonstrations, fast-food joints, and parades. Whether working in the north, the south, or on the border between the US and Mexico, Ortiz captures manifestations of Latino and American culture metamorphosing from one into the other, yielding a mix that is equal

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