reviews

“The Age of Discrepancies”

Universidad Nacional Autónoma de México

IN THE EARLY 1990S, Mexico City played the role more recently occupied by Berlin: peripheral to the art market, yet home to a vital, seemingly organic local art scene and inexpensive rents that drew an international crowd. The market follows the scene, of course, and many of the artists who gathered there soon rose to global visibility, a process that tended to sever them from a Mexican context and history. Such is the contention of Olivier Debroise, Pilar García de Germenos, Cuauhtémoc Medina, and Álvaro Vázquez Mantecón, the curatorial team that organized the extraordinary exhibition “The Age of Discrepancies: Art and Visual Culture in Mexico 1968–1997” at the Universidad Nacional Autónoma de México (UNAM). In fact, they argue, the history of Mexican art has been invisible not only to the international audience but even inside Mexico itself, where the difficult art of the ’60s, ’70s, and

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