Mexico City

Santiago Sierra


In his native Spain, Santiago Sierra’s stylish production took the form of post-Minimalist intervention (e.g. digging the floor of a medieval-cloister–turned-contemporary-art-space, or covering a gallery with pristine aluminum billboard supports.) When he headed to Mexico a couple of years ago, however, Sierra gave up his institutional and historical safety net, since the artistic establishment in amigo-country is notoriously wary of formalist—or post-formal—pyrotechnics. Whether by design or accident, Sierra’s site-specific works in Mexico City have ended up addressing the idiosyncracies of local attitudes toward public art.

Last November (after a requisite five-month-long, Kafka-esque adventure with the authorities responsible for granting permits) Sierra’s 15 Hexaedros de 250 cms de lado c/u (Fifteen 250 cm. cubes, 1996), built out of discarded material—cardboard, metal roofing sheets,

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