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Travis Boyer, Astrodome Hustle, 2017, cotton, wool, natural dyes, faux pearls, rhinestones, and sequins handwoven in Teotitlán del Valle, Oaxaca, with master dyer and weaver Mariano Sosa Martinez at the Biidaüü Weaving Collective, 96 x 42 x 42".

Travis Boyer

SIGNAL

Travis Boyer, Astrodome Hustle, 2017, cotton, wool, natural dyes, faux pearls, rhinestones, and sequins handwoven in Teotitlán del Valle, Oaxaca, with master dyer and weaver Mariano Sosa Martinez at the Biidaüü Weaving Collective, 96 x 42 x 42".

A fan who became a friend and an employee—and then an obsessed, disgruntled ex-employee—shot and killed the singer Selena Quintanilla-Pérez (known as Selena) in 1995, at a Days Inn in Corpus Christi, Texas, when the beloved “Queen of Tejano” was just twenty-three, and the Texas-born artist Travis Boyer was sixteen. He was a fan, too. For his exhibition at Signal Gallery in Brooklyn this summer, titled “Ahora y Nunca” (Now and Never), Boyer mined a long-standing daydream to present an array of Selena memorabilia, including an only partially visible treasure trove of Selena-related ephemera and merchandise neatly packed in six transparent storage bins (The Boyer Family Archive of Selena Quintanilla Miscellany, 1996–2017), alongside mysterious and richly textured original objects: vibrant saddle blankets, copper and silver hand mirrors, and luminous paintings on silk. There

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