Miguel Calderón’s first solo show in Mexico in eight years was met with both rumor and expectation. Some people thought he had dropped out of the art world and was focusing on music, films, or something else. His feature film, Zeus (2016), debuted at the Morelia Film Festival last year and touches on subject matter similar to that evoked by this exhibition, “Caída libre” (Free Fall), hosted by kurimanzutto off-site at a grimy warehouse space that Calderón once used as a studio. Not only did exhibition confirm Calderón’s presence in the Mexican art scene, it revealed how his work has matured

“We would reach a better understanding of the world,” says Fernando Palma Rodríguez, “if we accepted the indigenous concept of person that does not limit itself to individuals but that is also conferred to nature, animals, and human beings as a whole.” The works that made up Palma Rodríguez’s most recent exhibition, “Totlalhuan, Mictlantecuhtli, Chak-ek, Kan” (Our Land, Lord of the Underworld, Venus, Sky), fuse vision and language in the manner of an ancient codex. In Nahuatl—as opposed to many Western languages—grammatical subjects aren’t central to oral communication. Even the verb