Reviews

Guillermo Iuso and FlorenciaBöhtlingk next to Sebastián Gordin present two exhibitions at the Buenos Aires gallery where text and painting coexist without translating each other.

Nombrar el mundo reconsiders painting through a political and affective perspective, expanding the canvas as textile toward sculptural and sonic dimensions as a gesture of resistance.

La lechuza de Minerva reflects on the power of cultural institutions in the contemporary context and creates a space where proposals by Dagoberto Rodríguez, Regina Silveira, and Los Carpinteros, among others, coexist in order to re-read the trajectory of the institution itself.

Today, those who walk through the galleries of the Museum of Modern Art or the Metropolitan Museum of Art in New York encounter a welcome surprise: canvases of undeniable visual strength hanging alongside figures such as Rothko or Tàpies. These are works by Sarah Grilo, recently acquired by these institutions. Nearly two decades after her passing, the artist has finally assumed the place of honor her career deserved.

“From a distance (while living in Europe), I saw another Bolivia through the ways it was (self-)represented on social media and in the press, and I consumed images produced in the country that did not fall within the sphere of ‘culture,’ yet in my view revealed a much richer complexity. The Cedición projects emerged from these collections of images, or from texts and representations that were not official, so to speak.” (Coloma, 2025).

“From a distance (while living in Europe), I saw another Bolivia through the ways it was (self-)represented on social media and in the press, and I consumed images produced in the country that did not fall within the sphere of ‘culture,’ yet in my view revealed a much richer complexity. The Cedición projects emerged from these collections of images, or from texts and representations that were not official, so to speak.” (Coloma, 2025).

Malba presents the most comprehensive survey of the Argentine artist’s work, featuring nearly 200 paintings, drawings, collages, embroideries, sculptures, installations, and videos; an exhibition that invites making without fear.

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.

Jun Martínez uses artistic practice as a space for reflection; the Mexican gallery adhesivo hosts one of them.

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 voice of a conceptual artist from the last century resonates as if his agenda were the same as today’s. Among works and sketches, the exhibition reminds us that “there is nothing more real than a potato.”

Part 2

“I think painting is the possibility of creating and materializing in the physical world something that did not exist before.” — Kate Araoz, 2025¹

The visual culture of the Caribbean and Latin America cannot be understood as a homogeneous or stable system; it is a territory shaped by flows, displacements, and symbolic overlaps in which images not only circulate, but constantly negotiate their meaning. Within this configuration, graphic design occupies a particularly distinctive position, as it does not function merely as a tool of mediation, but rather as a practice of judgment that intervenes in how the region represents, interprets, and projects itself.

The Complutense Art Center explores the work of Quisqueya Henríquez, a practice rich both technically and conceptually, which employs social critique, creolization, and multidisciplinary semantics as analytical tools for the discourse of the Caribbean.

By Mónica Sotos

What are the successive diasporas of Latin American artists to Spain about, from the final years prior to the turn of the twenty-first century to the present? Article 2 of a series of 3.

By Patricia Avena Navarro

The Cartier Foundation settles into Place du Palais-Royal in Paris to write a new chapter in its history at the heart of the capital, inaugurating its new space by exhibiting the “must-haves” of forty years of collecting.

The Marian Goodman Gallery in New York is presenting its inaugural exhibition Ana Mendieta Back to the Source. Thoughtfully and beautifully installed, the exhibition presents a significant body of work from 1972 to 1985 that includes photographs, the installation Ñañigo Burial, designs on leaves, drawings of hands and female figures on paper with ink, graphite and wash, ten films, and two vitrines with diverse personal items.

Between the exposed Misiones jungle and the revealed basin of the Río de la Plata, the museum proposes a journey through the work of Florencia Böhtlingk this summer.

It is not easy to compose a path through monumental works inside a monumental space. At the 36th São Paulo Biennial, the artists invited by Bonaventure de Soh Bejen Ndikung and his team, present large-scale works whose textures and forms sometimes speak to each other linearly, and other times through oblique movements.