Offend Society Collective: Drawing Circle

  • La Nana (Mexico City)
  • June 14, 2019 — June 25, 2019

When we got to La Nana, tucked behind the Franz Mayer Museum in the blighted Guerrero neighborhood—forever cursed for having started as an indigenous neighborhood, divided and wrecked by city planners who slapped major thoroughfares, train tracks, power stations, and other “neutral” infrastructure on it—everybody was already sitting in an oval. We both peered at … Continue reading Offend Society Collective: Drawing Circle

Less Foucault, More Shakira

Who the fuck did it occur to that Foucault and whatever other colonist isn’t mass consumption in a world drawn by that colonialism and its capitalist effects? “What’s next, less Camus, more Maluma?” were the types of indignant questions that we were asked from the moment we appeared on social media.

Salón Silicón

When I asked them where they located queerness in their practice as a gallery, Salón Silicón responded: “in our butts.” It reminded me of the time when I was talking to a trans friend who worried that queer theory was theorizing her body out of existence.


  • Lodos (Mexico City)
  • May 9, 2019 — July 20, 2019

When I was young, I had a repeating dream where I was in the back seat of a car and the driver would disappear. The feeling was similar.

Lighting Matches

  • AE2 (Culver City, CA)
  • April 7, 2019 — June 1, 2019
  • In partnership with ROSEGALLERY

It is a disconcerting image with a disconcertingly matter-of-fact title, an image that feels strikingly contemporary from more than 40 years ago.

All of the Centuries Are a Single Instant

  • La Tallera (Cuernavaca, Mor.)
  • April 27 — July 14, 2019
  • Michele Fiedler, Silverio Orduña
  • Siqueiros Project, National Institute of Fine Arts, Secretary of Culture

The bus that we were on looked like it fell out of a 70s road movie: shining aluminum paneling, art-deco oval green glass windows.

Concerto for Tam-Tam

  • Emma Molina Gallery (Monterrey, Mexico)
  • April 4, 2019
  • Eliud Nava

One of the performers had one of Lee’s sculptures bent over his knee like an unruly child, whacking it repeatedly with his mallet.