beginning, middle, beginning presents an installation by Brazilian artist Cinthia Marcelle, conceived specifically for the Central Gallery of the Serralves Museum. The work questions the linear conception of time and its relationship to colonial structures.

The exhibition by the Ecuadorian artist, featuring works created specifically for the Córdoba space, proposes a journey in which the viewer is invited to explore concepts such as migration, memory, and colonialism by moving through a space that brings together history and displacement.

Embajada presents in Madrid a group exhibition that traces a panorama of artistic practices from a Caribbean context exploring languages, identities, and cultural forms.

The Brazilian artist’s work starts from still life to reinterpret pictorial concepts, integrating references from art history into a distinctive visual language.

The textile work of Trine Ellitsgaard emerges between her Scandinavian origins and Mexican craft traditions, where materials and techniques construct a dialogue between memory, territory, and form. 

The Cuban employs the metaphor of chess to reflect on the tensions within the art industry, examining, from a postmodern perspective, originality, the commodification of aesthetics, and its impact on the artist.

Javier Marín’s first solo exhibition at Hilario Galguera in Madrid brings together nearly thirty works that investigate and rethink contemporary sculpture as a dialogue between technique, material, and technology.

La Neomudéjar presents over 130 works from the Fuentes Angarita Collection, mapping three decades of Latin American political art through themes of identity, gender, diaspora, and the memory of the body.

María Fernanda Cardoso explores, through macro photography and video, the performative dimension of the behavior of spiders of the genus Maratus in a body of work that connects science, chromaticism, and aesthetics through naturalistic observation.

The exhibition dedicated to the German-born photojournalist, featuring a selection from his archive—now safeguarded by the Fundación Televisa—focuses on documenting the transformation and growth of Mexico City in the mid-20th century, highlighting its social and urban contrasts.

The CAAM opens its new season with an exhibition showcasing five recent acquisitions, highlighting works by Carlos Garaicoa and Karlo Andrei Ibarra that explore memory, space, and transformation.

Lugar de estar: o legado Burle Marx (A Place to Be: The Legacy of Burle Marx) is the exhibition presented by Lisbon’s MAC/CCB – Museum of Contemporary Art and Architecture Center, showcasing an extensive selection of landscape projects for public spaces developed by Roberto Burle Marx (São Paulo, Brazil, 1909 – Rio de Janeiro, Brazil, 1994) and his collaborators over nearly seventy years.

Walter Otero is recognized for his unconventional approach to artist management and the Puerto Rican art ecosystem. His career is now compiled in Walter Otero. A Tropical Gallerist, a book in which he reviews his career and reflects on changes in the sector.

Glenda León creates a space where art, sound, and dance engage in dialogue in the face of the erosion of traditional systems of belief, through symbols that allow us to rethink the meaning of the contemporary from a ritual perspective.

ARCOmadrid 2026 appears to reinforce its position in the global art market by consolidating a distinctive identity in contrast to the major internationalized art fairs, with Latin America as its anchor. Its capacity to generate cultural and market narratives from this positioning has been key to understanding its current role and evaluating the potential risks of its model.

Contemporary Art Now in Madrid focuses on contemporary painting and highlights the value of Latin American art through the FOCO LATAM program. The proposals by regional artists presented at the fair reveal a diverse panorama, featuring material explorations, cultural memory, and contemporary imaginaries.

We propose an overview of Latin American art presented at ARCO through ten proposals that illustrate and outline current tendencies, where critical and experimental perspectives, nature, materiality and organic processes shape different languages through which to address key themes.

We explored the visions and practices of eleven Latin American galleries to gauge the pulse of the region’s art and its status at ARCO, with proposals that, without ignoring the commercial side, affirm tradition, experimentation, and diversity of languages as a common hallmark.

The curated program at ARCOmadrid once again provides a prominent space for Latin American galleries and artists at the fair. With José Esparza Chong Cuy leading the new edition, the program exudes a diversity of approaches and realities, raising questions while simultaneously serving as a key opportunity for visibility.

The curators present in their program at ARCOmadrid 2026 the exploration of the future as an open question. From theatrical play, where the dialogue between works and artists raises doubt and critique without certainties, the curators invite to “keep the eyes open” regarding what is to come.

Valeria Maculan presents an installation that turns the exhibition space into a stage shared with the audience. The work uses large, foldable textile figures to create a theatrical environment that evokes archetypes, myth, and ritual.

Giana De Dier presents an exhibition in Madrid that proposes a visual reflection on memory. Through archival imagery, appropriation, and the technique of collage, the Panamanian artist reconstructs the affective memory of El Terraplén in response to its recent transformation.

From the curatorship of the Foco LATAM program at CAN Art Fair Madrid, Christian Viveros-Fauné approaches surrealism as a tool for reading global uncertainty, while advocating for painting and Latin American artistic practices as spaces of resistance and the creation of new imaginaries.