Notes related to México

The Dominican-Mexican photographer explores the social and territorial transformations of Mexico through a critical and serial photographic practice in a major exhibition presented as part of PhotoEspaña.

The citizens' movement challenges the legality of an agreement authorizing the works to remain abroad until at least September 2030, in contradiction with existing legislation on the protection of artistic heritage.

Through a ritual ecosystem of materials, sound, and gesture, RojoNegro's proposal for the Mexican Pavilion opens a space of pause and listening in the face of the saturation of the contemporary world.

The Mexican artist explores the relationship between memory and identity in her exhibition in Seville through more than thirty large-scale paintings in which the visual language of pop culture invites viewers to recognize themselves and question socially constructed roles.

Tania Candiani arrives in Valencia with an immersive installation that reimagines the subsoil as a living, speculative organism, where nature, technology, and memory converge to configure a hybrid ecosystem.

The exhibition Leonora Carrington: el surrealismo sintomático will include a painting the artist made in 1940 during her stay in Santander, a work that has remained hidden for decades.

A new exhibition at Americas Society reclaims the work of a painter who defied muralism and held her own in dialogue with American Abstract Expressionism and European Informalism.

The current controversy highlights the difficult coexistence between the collection’s private ownership and the heritage protection that covers part of its works.

The Mexican artist reinterprets colonial-themed prints by Theodor de Bry to question the construction of otherness and denounce neocolonial violence and contemporary conflicts.

Director of the Museo Universitario del Chopo, Sol Henaro reflects on her role, the tensions within the institution, and the construction of communities from a curatorial perspective.

A major exhibition at C/O Berlin traces more than five decades of the Mexican photographer’s career, presenting over 250 works including her most iconic series.

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.

Lucía Sanromán and Aimee Harrison to co-curate the 14th edition of the festival, taking place from 5 June 2027 until 12 September 2027.

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

The museum presents the work of the Mexican artist through a journey that articulates her main interests, combining chronological and thematic perspectives.

The exhibition Antenas al vacío revisits the work of the Mexican artist and expands into a book that addresses contemporary art, experimental cinema, and Latin American visual thought.

La Tercera Nave brings together the practices of Linarejos Moreno and Vanessa Enríquez in a dialogue centered on the material and symbolic remnants of memory. Through the concepts of textiles and weaving, both artists address fragmentation from industrial and technological perspectives.

The Enlace Creativo 2026 call for proposals is now open. This fund is intended to support collaborative projects that strengthen cultural and creative exchange between the two countries. Application deadline: January 30, 2026.

Within the framework of Mexico City Art Week 2026,  MUAC continues to present the Colombian artist's exhibition, a proposal that invites visitors to inhabit the ritual.

The exhibition traces different moments and formal strategies in her practice, marked by a critical reflection on violence, denial, and the tensions that permeate the female experience in contemporary society.

The multidisciplinary exhibition by the Mexican artist, featuring installation, sculpture, painting, posters, and video, closes the Histories of Ecology cycle and highlights the environmental crisis as a social issue.

At a moment when the world unites around the ball, Football and Art. That Same Emotion invites us to reflect on the sport’s power to bring communities together, build imaginaries, and transcend borders.

The Centro de Creación Contemporánea de Andalucía (C3A) in Córdoba is presenting Me duelen los ojos de mirar sin verte, the first solo exhibition in Spain by Ana Segovia (Mexico City, Mexico, 1991), on view until January. Curated by Jimena Blázquez Abascal, the show features thirteen oil paintings on canvas and one work on wood, all created expressly for the occasion.

Bogotá and Mexico City are among the cities with the greatest bird diversity in the world: Bogotá is home to 550 species, while Mexico City has 365. Inspired by this observation, Mexican artist, poet, and educator Yunuen Díaz presented a series of ten habitable nests at the International Biennial of Art and the City, BOG25—a collaborative creation with basket weavers from Apulo, Colombia, installed in the plaza of the Gabriel García Márquez Cultural Center of the Fondo de Cultura Económica.

The Fundación Casa de México in Spain hosts Re/Generación, a new installation from the Black Mirror / Espejo Negro series produced by Pedro Lasch (Mexico City, Mexico, 1975) and curated by the National Institute of Anthropology and History of Mexico (INAH). Originating from an initiative originally produced by the Nasher Museum of Art in Durham, North Carolina, in 2007, the series has been transformed through various techniques, evolving its language toward a narrative that makes it impossible to separate past and present, as well as spectator and proposal.

As part of the exhibition Gran Basamento at the Chapel of Laboratorio Arte Alameda in Mexico City, artist Deborah Castillo and composer Lanza present on October 10 the nano-opera Discursos para las masas (Speeches for the Masses) as the closing act of the show.

The Cultural Institute of Mexico in Spain presents at its headquarters in Madrid the exhibition El silencio sedimenta (Silence Sediments), a look at the most recent production of Vanessa Enríquez (Mexico City, Mexico, 1973). The show revolves around six literary fragments that reflect on her work, materiality, and creative processes.

Opening on September 25, 2025, the exhibition examines drive, loss, and material transformation in the artist’s work.

The Museum of America is hosting an exhibition of paintings by Juan Carlos Santoscoy (Guadalajara, Mexico, 1973) in its La Tapada gallery, open until the end of the month. Titled Algoritmos del caos (Algorithms of Chaos), the show features a selection of the artist’s most recent large-scale works, which engage with pressing themes in contemporary art such as global warming and the overexploitation of natural resources.

The exhibition The Tiger’s Coat explores the many facets of the Italo-Mexican artist—photographer, militant, and enigmatic figure—through a constellation of historical documents and contemporary artworks.