MINUJÍN, FERNANDA LAGUNA AND MIGUEL ÁNGEL ROJAS, PROTAGONISTS AT THE REINA SOFÍA

The Museo Reina Sofía in Madrid has presented its 2026–27 season and, in keeping with its established commitment to fostering connections with Latin America, it will feature a strong presence of Latin American art, with three exhibitions devoted to Fernanda Laguna, Miguel Ángel Rojas and Marta Minujín. All three form part of the discursive framework of the body, an essential element in structuring the program devised by the team of the public institution headed by Manuel Segade.

Although the three projects that reinforce the Latin American connection have their own distinctive nuances, in addition to the body, they address issues such as identity, memory, violence, popular culture and forms of counter-narrative within spaces and artistic production. Furthermore, the museum will deepen its engagement with a much more experiential and participatory reading of contemporary art, and seeks to explore the margins of traditional narratives of art history.

Miguel Ángel Rojas: Body and the Memory of Violence

Miguel Ángel Rojas (Bogotá, Colombia, 1946) will be the subject of La noche, a survey of more than five decades of artistic production, half a century that has established him as one of the key Colombian artists for understanding his generation. Through the use of photography, installation and other media, Rojas critically addresses, from the perspective of his own experience, issues within Colombian sociology, including violence, identity, sexuality, colonialism, drug trafficking and profound inequalities.

The exhibition, which will be on view from 11 November 2027 to 15 March 2027 and is curated by fellow Colombian María Wills, will provide an understanding of his trajectory through an analysis of his work and his approach to experimentation. In addition to the exhibition’s value in bringing together some of his principal works, La noche will bring closer and interpret the personal values through which Rojas works with images charged with memory, while reflecting on the body, vulnerability and the wounds left by conflicts.

Marta Minujín and the Recovery of La Menesunda

Delayed by one year due to budgetary problems, La Menesunda según Marta Minujín will arrive at the Reina Sofía in November and remain on view until 8 March 2027. One of the museum’s major projects, centered on the celebrated installation that the Argentine artist and Rubén Santantonín created in Buenos Aires in 1965, will serve as the framework for a retrospective of the Argentine artist’s performative practices from 1965 to 1985. Its inclusion in this season has made it possible to make the most of this year-long delay in order to develop the project more thoroughly.

Curated directly by Manuel Segade, with Beatriz Jordana and Cayetano Limorte as collaborators, the exhibition becomes one of the key events in Madrid. The project, designed to maximize interaction and to engage with an exhibition format that goes beyond archive and documentation, will have the added interest of observing how some of the reconstructions function in different environments. Ultimately, La Menesunda as a framework will embody that desire to erase boundaries so that the viewer becomes the protagonist of the work.

Fernanda Laguna: Art and Everyday Poetry

Mi corazón es un imán, devoted to Fernanda Laguna (Hurlingham, Argentina, 1972), will bring together more than two hundred works and materials that allow for an examination of Fernanda Laguna’s artistic production and trajectory. Bringing together different techniques and outcomes, from painting, collage, embroidery and sculpture to video, through a poetic perspective, the exhibition seeks to reflect the difficulty of categorizing an artist who cannot be confined to a single category.

The exhibition, a co-production with MALBA curated by Miguel A. López and Mariano Meyer—and which was exhibited this year at the Argentine institution—will enable audiences on the other side of the Atlantic to discover an essential figure within Buenos Aires’s independent art scene. Nevertheless, Laguna founded Belleza y Felicidad, a space that quickly became a meeting point for artists and writers in the city and evolved into an alternative form of knowledge based on community, experimentation and self-management. It will be on view from 3 March to 12 July 2027.

Other Exhibitions

In addition to Latin American art, the season will be completed by an exhibition devoted to Eli Cortiñas (Las Palmas de Gran Canaria, 1979), who will be responsible for inaugurating the academic year. In 2027, the minimalist art of Anne Truitt (Baltimore, USA, 1921–Washington D.C., USA, 2004) will be the subject of study, as will the connections between Sufi philosophy and the work of Monir Shahroudy Farmanfarmaian (Qazvin, Iran, 1922–Tehran, Iran, 2019). Piezas distinguidas will bring together, for the first time, the complete body of works that La Ribot (Madrid, Spain, 1962) produced in 1993 and 2024, while Durmiendo con el enemigo will delve into the work of Marlene Dumas (Cape Town, South Africa, 1953), and Urdir Solidaridades will do likewise with Pacita Abad (Basco, Philippines, 1946–Singapore, 2004).