mexico-city

Marcos Castro, El levantamiento de la Coatlicue (The Rise of the Coatlicue) (detail), 2018, acrylic and chalk on wall, dimensions variable. From “Murales temporales.”

“Murales temporales”

What? An all-male show about mural painting? Really? I wondered if “Murales temporales” (Temporary Murals) was a deliberate effort to keep with the gentlemen-only tradition of twentieth-century Mexican muralism. But even so, I couldn’t think of a decent reason for a team of three curators (Andrea Bustillos, Karen Huber, and Alejandro Romero) to put together a show about a whole genre of painting that leaves women artists out. In any case, the show was pretty indulgent, taking muralism and its long history in Mexico and relocating it within a gallery space to question ideas of permanence, ownership, compromises made for patrons, and the visibility of private versus public spaces. These are all valid questions, but they are also easily answerable: When murals are no longer permanent and can be displayed in a gallery—where they are likely to be seen only by art-world denizens, and, if

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