#nieves-barragan

#nieves-barragan

'Give them a smile, you know, something that can also be a deeper level of understanding,' Sara Ricciardi tells designboom, framing the installation as an immediate emotional trigger before it unfolds into something more layered.

Inframundo invites visitors to look inward and become a rock, drawing on the landscape shaped by cenotes, which are thought to be portals to the Maya underworld.

Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.

"After I first visited Mérida in 2013, I was amazed by the heritage, artists and its art school-now a university-yet I noticed a lack of local exhibiting programmes. Since then, I began dreaming of a biennial which would strengthen and draw visibility for contemporary art in the region."

Cezar Berje's visual approach is a mix of chaos-vibrant colours, symbols, and new age psychedelia. His illustrations often suggest universes within universes, with each part of the image telling its own story through symbols and references.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.

At first glance, this curatorial oversight is hardly surprising. After all, Picasso was an atheist and Communist supporter whose ever-shifting practice seemed to chafe against centuries of religious art. Indeed, in a well-known episode from the 1940s, Picasso personally confronted Henri Matisse for accepting the Vence chapel commission.

Taking over the colourful Casa Gilardi, Luis Barragán's last commissioned residence, built for the advertising executive Francisco Gilardi in the mid-1970s, the German artist Gregor Hildebrandt transforms the house's stylish rooms with an ever-expanding exhibition of his enigmatic works across various media. Known for transforming outmoded analogue recording media-including audio cassettes, VHS tapes and vinyl records-into paintings, sculptures and large-scale installations, the Berlin-based artist's conceptual works explore themes of memory, nostalgia and the physical representation of intangible sound and sight.

Galerie Nordenhake Mexico City is pleased to present Zigzags and Curves, an exhibition by Sarah Crowner that brings together her sustained research into geometry, abstraction, and the expanded language of painting. Presented across two sites - the gallery's Mexico City space and Casa Roja in Lomas de Chapultepec-the exhibition takes its title from the fundamental graphic elements that structure Crowner's visual vocabulary: the zigzag and the curve.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

"The new venue has allowed us to develop the experience of the fair-it lends itself to being more of a destination," Brett W. Schultz, the co-founder and director of Material, tells The Art Newspaper. The fair features over 70 exhibitors this year, with an especially strong contingent of Mexico City galleries that, like Material, have been around for a little over a decade.

OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.

Before Zona Maco's launch in 2003 consolidated Mexico City as a global arts capital, artist-run spaces like La Panadería and Temístocles 44 attracted a generation of Mexican artists-among them Minerva Cuevas, Sofía Táboas and Pablo Vargas Lugo-interested in developing their practices beyond a commercial context through installations, self-published periodicals and time-based media. In the 1990s, the city's artist-run spaces created important blueprints for dozens of independent and underground venues that animate the contemporary arts scene across Mexico today. Bold and unconventional works coming out of that ecosystem will be on display across the city at three important fairs during Art Week: Salón Acme, Clavo and Material Fair.

The project, titled 'From Desert Sand to Alpine Snow,' centers on twenty hand-knotted fiber panels first commissioned for the Tanweer Festival in 2025. Installed in a 10 by 10 meter steel frame rising six meters high, the work stood directly on desert ground, its saturated colors vibrating against the pale sand and rocky escarpments of Mleiha.