• Mónica Mayer, Lo normal (On Normality) (detail), 1978, offset and stamp-pad ink on paper, 25 1/2 × 28".

    Mónica Mayer

    Museo Universitario Arte Contemporaneo (MUAC)

    “And all of this is a . . . work of art?” talk-show host Guillermo Ochoa asks artists Maris Bustamante and Mónica Mayer, the two members of Polvo de Gallina Negra (Black Hen’s Powder), on an episode of Nuestro Mundo (Our World) that originally aired August 28, 1987, on Mexican television. Madre por un día (Mother for a Day), the artists’ intervention on the program, involved the temporary transformation of Ochoa into an expectant mother: The artists adorn him with a “pregnant” apron and a crown in honor of the “queen of her house—until the baby is born.” Initially he plays along, claiming

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  • View of “José León Cerrillo,” 2016. On floor: Double Fault (Dresde 2), 2016. On wall, from left: New Grammar (tie breaker), 2016; New Grammar (error forzado) (New Grammar [forced mistake]), 2016. Photo: Ramiro Chaves.

    José León Cerrillo

    joségarcía ,mx

    I arrived at the gallery to find the lights still off, the door locked. No matter. A look through the windows revealed an exhibition made to be seen from the outside looking in. From the street, I could see a blue tennis-court floor cutting through the space, landing like a slanted pancake on top of the rooms. In some ways, this piece—Double Fault (all works 2016)—presented a visual paradox. Because it traversed more than one room, it couldn’t fully be comprehended from outside; the only way to understand it was to move through the space. Yet the exterior perspective was in other ways

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