Mexico City

Helen Escobedo, Eclipse, 1968, lacquered wood, 79 1⁄8 × 29 7⁄8 × 28 3⁄4".

Helen Escobedo

Proyectos Monclova

Most narratives of Mexican art from the late 1960s through the early ’80s focus on the collectives known as Los Grupos and describe an almost caricatural display of macho anti-institutionalism and political commitment. These dominant histories overlook the work of contemporaries who shared those groups’ critical views but expressed them with a lighter touch, among them Helen Escobedo (1934–2011). This exhibition, “The Potential of Sculpture,” delicately shattered such historical clichés, bringing together more than seventy newly restored works—maquettes, sculptures, paintings, drawings, and collages—that illuminated Escobedo’s sardonic inquiries into the interplay of monuments and public space.

The exhibition’s main room displayed clusters of works illustrating the diversity of Escobedo’s production: Geometric abstraction and visual poetry converge in Homenaje a octubre (Homage to October),

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