N O T E S

Introduction

1. The following historical overview has been assembled from the followingsources: Alma Guillermoprieto’s essays on Mexico in Looking for History, theLibrary of Congress’s Mexico: A Country Study (1997), as well as articles fromReforma and La Jornada.

2. ‘‘The 10 Most Powerful Billionaires,’’ Forbes Global (March 17, 2003),accessed at http://www.forbes.com/global/2003/0317/050.html.

3. Alma Guillermoprieto, ‘‘Loosing the Future,’’ in Looking for History: Dis-patches from Latin America (New York: Pantheon Books, 2002), 178–184.

4. ‘‘The church, and its large conservative faction that includes Posadas’ssuccessor, Cardinal Juan Sandoval Iñiguez, has for years alleged that high-ranking officials in the Partido Revolucionario Institucional (PRI), the onceall-powerful party, and the former regime of President Carlos Salinas deGortari, plotted to have Posadas killed. They contend that the Salinasadministration tried to cover up the case because it feared that the investiga-tion would reveal the government’s alleged ties with the Tijuana-basedArellano Felix drug cartel.’’ Joseph Treviño, ‘‘A Cardinal Conspiracy: RenewedInterest in an Unsolved 1993 Killing in Guadalajara,’’ LA Weekly (May 21–June 6, 2002), available online at htttp://www.laweekly.com/ink/02/28/news-trevino.php.

5. Guillermoprieto, ‘‘Zapata’s Heirs,’’ in Looking for History, 185–206.6. Guillermoprieto, ‘‘Whodunnit?’’ in Looking for History, 239–254;

Guillermoprieto, ‘‘The Riddle of Raúl,’’ in Looking for History, 255–274.7. Banco de México, Informe anual 1994 (Mexico City: Banco de México,

1994), 154–156.8. Carlos Monsiváis, ‘‘The Museo Salinas and the Masks of the Mexican,’’ in

Vicente Razo, The Official Museo Salinas Guide (Santa Monica: Smart ArtPress, 2002), 9–10.

9. Daniel Lizárraga, ‘‘Indaga Suiza cuenta de hijo de Díaz Ordaz,’’ Reforma, 9July 1998. Unless otherwise noted, all translations are mine.

10. See the catalog El corazón sangrante: The Bleeding Heart (Boston:ICA, 1991).

11. Hal Foster, The Return of the Real (Cambridge: MIT Press, 2000).

161NOTES

12. See Kurt Hollander’s discussion of the influence of foreign artists on theMexican scene in his text for the exhibition catalog Así está la cosa (MexicoCity: Centro Cultural Arte Contemporáneo, 1997).

13. Other artists who participated in Temístocles include Damián Ortega, MelanieSmith, Fernando García, Hernán García Garza, Ulises Ponce, Miguel GonzálezCasanova, Diego Guitiérrez, Conrado Tostado, and Maria Teresa Gálvez.

14. Acné o el nuevo contrato Ilustrado (Mexico City: Instituto Nacional de BellasArtes, 1995).

15. Coco Fusco, ‘‘Art in Mexico after NAFTA,’’ in The Bodies That Were NotOurs and Other Writings (London and New York: Routledge, 2001), 64.

16. Foster, The Return of the Real.17. Lucy R. Lippard, ‘‘The Dematerialization of Art,’’ in Changing: Essays in Art

Criticism (New York: E. P. Dutton and Co., 1971), 255.18. Edward J. Sozanski, ‘‘Mexico Shines in Survey of Its Current Art Scene,’’ The

Philadelphia Inquirer, 21 September 2003.19. Parachute 104 (October–December, 2002); FlashArt 225 (July–September,

2002); Rim (March 2003); Felix (July 2003).20. Osvaldo Sánchez, et al., La colección Jumex (Mexico City: Carrillo Gil, 1999).21. Mary Schneider Enríquez, ‘‘Silvia Pandolfi: History and High Tech,’’ ARTnews

(April 1996): 126.22. Shifra M. Goldman, Dimensions of the Americas: Art and Social Change in

Latin America and the United States (Chicago: University of Chicago Press,1994), 273.

23. Itala Schmelz, personal communication with author, August 20, 2002.24. Cuauhtémoc Medina, ‘‘El ojo breve / Viajeros frecuentes,’’ Reforma, 25

September 2002.25. Elisabeth Malkin, ‘‘Mexico Is Warned of Risk from Altered Corn,’’ New York

Times, 13 March 2004, A5.26. Klaus Biesenbach, ed., Mexico City: An Exhibition about the Exchange Rates

of Bodies and Values (New York: P.S.1 Contemporary Art Center; Berlin:Kunst Werke, 2002), 32.

27. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de CulturaEconómica, 1993), 314–317.

Chapter One

1. Pablo Soler Frost, Cartas de Tepoztlán (Mexico City: Ediciones Era, 1997).Hugo Diego Blanco, Tinta china (Mexico City: Ediciones Heliópolis, 1995).

2. Edward Said, Orientalism (New York: Vintage Books, 1978), 343.3. Ibid., 144–145.4. Julia A. Kushigian, Orientalism in the Hispanic Literary Tradition: in

Dialogue with Borges, Paz, and Sarduy (Alburquerque: University of NewMexico Press, 1991), 1.

5. Ibid., 3.

162 NEW TENDENCIES IN MEXICAN ART

6. Said, Orientalism, 5.7. Olived Dunn and James E. Kelley, eds., The Diario of Christopher Columbus’s

First Voyage to America 1492–1493 (Norman and London: University ofOklahoma Press, 1989), 109.

8. Eliot Weinberger, an insightful critic of Mexican orientalism, gives thefollowing account of the San Felipe story: ‘‘The Shogun, having reluctantlypermitted Christian missionaries in Nagasaki, now believes they are thecause of a recent earthquake. Felipe and twenty-six other priests are crucifiedby Samurai. At that moment, back in Mexico, the dried branch of a fig treein the family’s patio are suddenly covered with leaves.’’ Eliot Weinberger,‘‘Paz in Asia,’’ in Outside Stories, 1987–1991 (New York: New Directions,1992), 24.

9. The following are among the few historical studies of anti-Chinese sentimentin Mexico: Humberto Monteón González and José Luis Trueba Lara, eds.,Chinos y antichinos en México: documentos para su historia (Guadalajara:Gobierno de Jalisco, Secretaría General, Unidad editorial, 1988); José JorgeGómez Izquierdo, El movimiento antichino en México (1871–1934): problemasdel racismo y del nacionalismo durante la Revolución Mexicana (Mexico City:Instituto Nacional de Antropología e Historia, 1991); Juan Puig, Entre el ríoPerla y el Nazas: la china decimonónica y sus braceros emigrantes, la coloniachina de Torreón y la matanza de 1911 (Mexico City: Consejo Nacional parala Cultura y las Artes, 1993).

10. José Juan Tablada, Poesía, vol. 1 of Obras, (Mexico City: UniversidadNacional Autónoma de México, Centro de Estudios Literarios, 1971), 402.

11. I thank Asa Satz for translating Tablada’s poem for this book.12. Tablada, Obras, 1:392.13. Weinberger, ‘‘Paz in Asia,’’ 27.14. In the past, orientalist scholars were often accomplices to imperialist designs

against the very people to whose culture they devoted their studies. Saidwrites that ‘‘there is a remarkable (but nonetheless intelligible) parallelbetween the rise of modern Orientalist scholarship and the acquisition of vastEuropean Empires by Britain and France.’’ Said, Orientalism, 343.

15. Lombardo Toledano, Diario de un viaje a la China nueva (Mexico City:Ediciones Futuro, 1950), 132.

16. Weinberger, ‘‘Paz in Asia,’’ 17–45.17. Eliot Weinberger has written a very poetic version of the china poblana story:

‘‘In the seventeenth century some six-hundred Asian immigrants arrive eachyear to Mexico. One of them is a twelve-year-old Mogul princess of Delhi,who was kidnapped by pirates off the Malabar Coast. Sold in the Manila slavemarket, she is shipped to Acapulco and sold again to a pious couple fromPuebla. Under the religious training of her owners, she soon becomes famousas an ascetic and mystic. She is known as Catarina de San Juan, la chinapoblana. Many miracles are attributed to her.’’ Ibid., 25.

163NOTES

18. Barthes, The Empire of Signs (New York: Hill and Wang, 1982), 3–4.19. Teresa del Conde, Historia minima del arte mexicano en el siglo XX (Mexico

City: Universidad Nacional Autónoma de México, 1994), 38–39.20. For more on neo-Mexicanism, see Sullivan, Aspects of Contemporary Mexican

Painting (New York: Americas Society, 1990).21. Olivier Debroise calls this phenomenon ‘‘a cultural nostalgia sui generis.’’ He

writes that, ‘‘although the search for idiosyncratic roots by Mexican-Americanartists from Texas and by the Chicanos and Cholos of California may be easilyunderstood, it is more difficult to grasp the motives of certain North-American artists like Michael Tracy, Ray Smith, and, to a lesser extent, TerryAllen and Jimmie Durham, who seem to have rejected the canons of the NewYork mainstream in order to place their work within the parameters ofcontemporary art in Mexico.’’ Olivier Debroise, ‘‘Heart Attacks: On aCulture of Missed Encounters and Misundertandings,’’ in El corazónsangrante / The Bleeding Heart (Boston: Institute of Contemporary Art,1991), 39.

22. David A. Greene, ‘‘Yishai Jusidman and the Reenchantment of Painting,’’ inInvestigaciones pictóricas / Pictorial Investigations (Cuernavaca: Instituto decultura de Morelos, 1995), 48.

23. David Miklos and Mario Bellatín, eds., Una ciudad mejor que ésta: antologíade nuevos narradores mexicanos (Mexico City: Tusquets, 1999).

Chapter Two

1. Nico Israel, ‘‘Daniela Rossell: Greene Naftali,’’ Artforum (April 2000): 143–44.2. Teresa del Conde, ‘‘Valencia: Bienal y diálogos II,’’ La jornada, 1 July 2001.3. Holland Cotter, ‘‘Art in Review: Daniela Rossell,’’ New York Times, 26

April 2002.4. Daniela Rossell, Ricas y famosas (Madrid: Turner, 2002).5. Juan Villoro, ‘‘Ricas, famosas y excesivas,’’ El país semanal 1341 (June 9,

2002): 42–50.6. Lorenzo Meyer, ‘‘Agenda ciudadana: el otro México profundo,’’ Reforma,

12 June 2002.7. Klaus Biesenbach, Mexico City: An Exhibition about the Exchange Rates of

Bodies and Values (New York: P.S.1 Contemporary Art Center; Berlin: KunstWerke, 2002), 34.

8. Marcela García Machuca, ‘‘Me interesa documentar cómo viven,’’ interviewwith Daniela Rossell, Reforma, 28 July 2002.

9. Marcela García Machuca and Ernesto Sánchez, ‘‘Exponen a mexicanas y suslujos,’’ Reforma, 28 July 2002; ‘‘Exhibe galleria de Nueva York a ricas yfamosas mexicanas,’’ Reforma, 28 July 2002.

10. Lorenzo Meyer, ‘‘Agenda ciudadana: Escándalo,’’ Reforma, 22 August 2002.11. César Güemes, ‘‘En Ricas y famosas de Daniela Rossell, el dinero sólo es la

mitad de la Mirada,’’ La jornada, 30 August 2002.

164 NEW TENDENCIES IN MEXICAN ART

12. Edgar Alejandro Hernández, ‘‘Ofende a Díaz Ordaz que publiquen susfotos,’’ Reforma, 30 August 2002.

13. Gaby Vargas, ‘‘Genio y figura: Ricas y famosas,’’ Reforma, 1 Septem-ber 2002.

14. Dallia Carreño, ‘‘Orgullosa de ser . . . ¡rica y famosa!’’ Reforma, 29August 2002.

15. Hernández, ‘‘Ofende a Díaz Ordaz.’’16. Daniela Rossell, ‘‘Aclara Rossell relación con Díaz Ordaz,’’ Reforma, 3

September 2002.17. Antonio Jáquez, ‘‘Autorretrato de la decadencia,’’ Proceso 1349 (September

8, 2002): 10–19.18. Guadalupe Loaeza, Las niñas bien (Mexico City: Cal y arena, 1990); and

Compro, luego existo (Mexico City: Alianza editorial, 1993).19. Guadalupe Loaeza, ‘‘Cursis y escandalosas,’’ Reforma, 10 September 2002.20. Cuauhtémoc Medina, ‘‘El ojo breve: Mundos privados, ilusiones públicas,’’

Reforma, 11 September 2002.21. Jo Tuckman, ‘‘Outrage as Mexico’s Super-rich Flaunt Their Tacky Life-

styles,’’ The Observer, 15 September 2002.22. ‘‘Photos of Wealthy Mexicans Prompt Outrage,’’ CNN, 22 September 2002.23. Guadalupe Loaeza, ‘‘Por los suelos,’’ Reforma, 26 September 2002.24. Ibid.25. Ginger Thompson, ‘‘The Rich, Famous, and Aghast: A Peep-Show Book,’’

New York Times, 25 September 2002, A2.26. Julieta Riveroll, ‘‘Rinden homenaje a Rossell a la ‘vieja usanza,’’’ Reforma, 11

November 2002.27. Larry Clark, Tulsa (New York: Grove Press, 2000); Nan Goldin, The Other

Side: 1972–1992 (Zurich: Scalo Verlag, 2000).28. Larissa MacFarquhar, ‘‘Photographs: Theater of Manners by Tina Barney,’’

Bookforum (spring 1998): 3, 6.29. Tina Barney, Friends and Relations (Washington and London: Smithsonian

Institution Press, 1991), 6–8.30. David Rimanelli, ‘‘People like Us: Tina Barney’s Pictures,’’ Artforum (Octo-

ber 1992): 70–73.31. Daniel Lizárraga, ‘‘Indaga Suiza cuenta de hijo de Díaz Ordaz,’’ Reforma, 9

July 1998.32. The author takes Mexico’s Green Party as a case study, noting that ‘‘during

the midterm elections last year, it received an average of more than$100,000 a day in public funds—more than $30 million—making it one ofthe richest Greent parties in the world.’’ Ginger Thompson, ‘‘Color ItGreen, and See How It Fills Politicians’ Pockets,’’ New York Times, 10March 2004, A4.

33. The inscription reads: ‘‘Para Don Manuel Suárez, con la más grande [unread-able] Siqueiros, 3–24-68’’ [‘‘for Don Manuel Suárez, with the greatest . . .Siqueiros, 3–24-68’’].

165NOTES

34. Fabrizio Mejía Madrid narrates the history of the Hotel de México in‘‘Insurgentes en días lluviosos,’’ in Pequeños actos de desobediencia civil(Mexico City: Cal y arena, 1996), 63–140.

35. Leah Ollman expands on Benjamin’s fears: ‘‘Worker photographers andespecially the editors of the AIZ [Worker’s Illustrated Journal] recognizedthe malleability and ambiguity of photographs and the subsequent need todirect their meaning through photo-sequences and photo-text combina-tions.’’ Leah Ollman, Camera as Weapon: Worker Photography between theWars (San Diego: The Museum of Photographic Arts, 1991), 25.

36. Walter Benjamin, ‘‘The Work of Art in the Age of Its TechnologicalReproducibility (Second Version),’’ in Selected Writings, vol. 3, edited byHoward Eiland and Michael W. Jennings (Cambridge: Harvard UniversityPress, 2002), 108.

37. Benjamin, ‘‘A Small History of Photography,’’ in One-way Street, and OtherWritings, translated by Edmund Jephcott and Kignlsey Shorter (London:New Left Books, 1979), 256. See also ‘‘Little History of Photography,’’ inSelected Writings, vol. 2, edited by Howard Eiland, Michael W. Jennings, etal. (Cambridge: Harvard University Press, 2002), 527. Jephcott and Shorteruse the term ‘‘caption,’’ but Eiland and Jennings translate the German termas ‘‘inscription.’’

38. Haacke’s Manet-Projekt ’74 (1974) traced the acquisition history of Manet’sBunch of Asparagus (1880), a painting that was owned by a wealthy Jewishfamily, seized by Nazi officials, and eventually sold to a prestigious Germanmuseum; Rossell could have presented a similar history of the Siqueirospaintings and other famous works that appear in her photographs. For adiscussion of Haacke’s critique of art institutions, see Rosalyn Deutsche,‘‘Property Values: Hans Haacke, Real Estate, and the Museum,’’ in Evictions:Art and Spatial Politics (Cambridge: MIT Press, 1996).

39. Carlos Fuentes, Where the Air Is Clear (New York: Farrar, Straus andGiroux, 1960).

Chapter Three

1. ‘‘Radio Pirata XCH—Sin Permiso’’ began broadcasting in 1995 from thesouthern district of Coyoacán on 92.1 FM. The station had a modest poweroutput ranging between 5 and 10 watts.

2. This lack of interest in radio is a recent phenomenon. Mexican artists of the1920s were fascinated by radio, and they devoted poems, essays, paintings,and drawings to the new invention.

3. Taniel Morales, Sin cabeza—Necropsia, Audio CD, Mexico City, 1999, track3. All quotes from Sin cabeza are courtesy of the artist.

4. Antonin Artaud, ‘‘To Have Done with the Judgment of God [1947],’’ inAntonin Artaud: Selected Writings, edited by Susan Sontag, translated byHelen Weaver (New York: Farrar, Straus and Giroux, 1976), 570–571.

166 NEW TENDENCIES IN MEXICAN ART

5. Morales, Sin cabeza, track 6.6. Ibid., track 8.7. Ibid., track 24.8. ‘‘Please tell the honorable about your diet / Uhm . . . I eat twinkies and coca

cola . . . and coca cola . . . and also a ham sandwich with a bit of avocadosometimes.’’

9. Arnheim, Radio (London: Faber and Faber, 1936), 265.10. Georges Duhamel, In Defense of Letters (New York: Graystone Press,

1939), 30, 35.11. Marinetti devotes a section to ‘‘The Wireless Imagination’’ in his ‘‘Technical

Manifesto of Futurist Literature,’’ in Marinetti: Selected Writings, edited byR. W. Flint (New York: Farrar, Straus and Giroux, 1972); Apollinaire’s‘‘Lettre-Océan’’(1914) is based on a radiotelegraphic communication sentby the poet’s brother from Mexico. Guillaume Apollinaire, ‘‘Lettre-Océan,’’in Œuvres poétiques (Paris: Gallimard, 1956), 183–185.

12. Salvador Novo, ‘‘Radioconferencia sobre el radio,’’ Antena 2 (August 1924):10; reprinted in El Universal Ilustrado 399 (January 1, 1925): 4–5;anthologized in Toda la prosa (Mexico City: Empresas Editoriales, 1964).

13. ‘‘With an army of rancheros / composed of ten strapping fighters and riding afrisky nag / for which reins are useless / Guadalupe la chinaca goes in searchof Pantaleon.’’ Amado Nervo, ‘‘Guadalupe,’’ in Poesías completas (Barcelona:Teorema, 1982), 269–271.

14. Luis Quintanilla, Radio: poema inalámbrico en trece mensajes (Mexico City:Editorial Cultura, 1924). Reprinted in Luis Mario Schneider, ed., ElEstridentismo o una literatura de la estrategia (México City: Consejo Nacionalpara la Cultura y las Artes, 1997).

15. ‘‘Is it true that Zapata said that the earth belongs to those who work itbecause he was an alien? / He wanted to take away the earth to outerspace.’’

16. Arnheim, Radio, 232–233.17. Velimir Khlebnikov, ‘‘The Radio of the Future,’’ in Snake Train: Poetry and

Prose, edited by Gary Kern (Ann Arbor: Ardis, 1976), 238.18. ‘‘I run, I get on, I get on again, Universidad, Copilco, Miguel Angel de

Quevedo, I walk, I walk, I keep on walking, Viveros, Coyoacán, Zapata, I trip,División del Norte, Eugenia, Etiopía, I stop, Centro Medico, I change trains,Lázaro Cárdenas, Chabacano, Jamaica, Mixuca, Unidad deportiva, Puebla,Pantitlán, . . . I change trains, I climb in, I run, I fly, I rush, I go on, Rosario,Aquiles Serdán, Camarones, Tacuba, I fall asleep, I dream, San Joaquín,Polanco, Auditorio, Constituyentes, Tacubaya, San Pedro de los Pinos, SanAntonio, Mixcoac, Barranca del Muerto, I get woken up, I get off, I take a bus,it’s packed, Taxqueña, General Anaya, Ermita, Portales, Natitivitas, Villa deCortés, Xola, Viaducto, Chabacano, San Antonio Abad, Pino Suárez, I getpushed, make room, I get squashed, . . . Obervatorio, Tacubaya, Juanacatlán,Chapultepec, Sevilla, Cuauhtémoc, Balderas, Salto del Agua, Isabel la Católica,Pino Suarez, La Candelaria, San Lázaro, Moctezuma, Balbuena, Aeropuerto,

167NOTES

Gómez Farias, Zaragoza, Pantitlán, I change trains, I get off, I get on, I scream‘AAAAAAAHHHH.’ I get off and I take a cab.’’ Morales, Sin cabeza, track10. Italics mine for emphasis.

19. Arnheim, Radio, 232.20. ‘‘Make a deep incision on the left side of the chest. Insert your hand into the

slit. Break the thorax to pieces without hesitation. Extract the dead heart.Observe it. Lick it. Smell it. Press the sinoventricular nodule between yourfingers.’’

21. Morales, Sin cabeza, track 20.22. Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis:

Hackett Publishing Company, 1987), 200.23. ‘‘We want,’’ said Goebbels in this crucial speech, ‘‘a radio that reaches the

people, a radio that is an intermediary between the government and thenation, a radio that also reaches across our borders to give the world a pictureof our life and our work.’’ Josef Goebbels, ‘‘Der Rundfunk als achteGroßmacht,’’ Signale der neuen Zeit. 25 ausgewählte Reden von Dr. JosefGoebbels (Munich: Zentralverlag der NSDAP, 1938), 197–207.

24. Artaud, ‘‘To Have Done with the Judgment of God,’’ 570–571.25. Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophre-

nia (Minneapolis: University of Minnesota Press, 1983), 8.26. Jaime Sánchez Susarrey, ‘‘Ingobernabilidad,’’ Reforma, 10 August 2002.27. Allen S. Weiss, Phantasmic Radio (Durham: Duke University Press, 1995).28. ‘‘And the ocean seems small enough to drink it in a sip.’’29. Juan Villoro, ‘‘La ciudad es el cielo del metro,’’ Número 10 (June–August

1996): 43–46.30. ‘‘The air belongs to those who work it.’’31. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura

Económica, 1993), 318.

Chapter Four

1. Salvador Novo, Nueva grandeza mexicana: Ensayo sobre la ciudad de México ysus alrededores en 1946 (Mexico City: Editorial Hermes, 1946), 23.

2. Marshall Berman, All That Is Solid Melts into Air (New York: Penguin Books,1982), 6–7.

3. Rem Koolhaas, S, M, L, XL (New York: Monacelli Press, 1995), 1249–50.4. Analysts estimate that the informal sector of the economy ‘‘represents from

30 to 40 percent of the urban workforce in the mid-1990s . . . They faceconsiderable job instability, and, unlike those in the formal sector, areeffectively excluded from IMSS [health insurance] benefits. The informalsector includes street vendors, domestic servants, pieceworkers in smallestablishments, and most construction workers.’’ Mexico: A Country Study(Washington D.C.: Library of Congress, 1997).

5. ‘‘Tal como lo recomendó Rudolph Giuliani,’’ Reforma, 21 August 2003.

168 NEW TENDENCIES IN MEXICAN ART

6. See Alejandra Bordón, ‘‘Limpia de ambulantes el DGF al Eje Central,’’Reforma, 12 September 2003; ‘‘Toman ambulantes el centro,’’ Reforma, 16September 2003.

7. Arturo Páramo, ‘‘Usan como tendedero edificios históricos,’’ Reforma, 13September 2003. The author accuses vendors of nailing tarpaulins to thewalls of historic buildings: Every day, he argues, their actions hurt about 400buildings.

8. Enrique Krauze, ‘‘Cara y cruz de la Ciudad de Mexico,’’ Reforma, 14September 2003.

9. See Francis Alÿs, Walks / Paseos (Mexico City: Museo de Arte Moderno,1997) and Francis Alÿs, The Prophet and the Fly (Madrid: Turner, 2003).

10. Alma Guillermoprieto, ‘‘Mexico City, 1990,’’ in The Heart That Bleeds (NewYork: Alfred A. Knopf, 1994), 55.

11. Harper Montgomery, ‘‘Francis Alÿs’s Modern Procession,’’ Projects 76 (NewYork: Museum of Modern Art, 2002).

12. Though this piece took place in Stockholm, it can be read as an effort by theartist to perform an allegory of the experience of impoverished Mexicans foran international art audience.

13. José Joaquín Blanco, ‘‘Una limosna para la Diana,’’ in Álbum de pesadillasmexicanas (Mexico City: Era, 2002), 9–14.

14. Cuauhtémoc Medina, ‘‘Zones de Tolérance: Teresa Margolles, SEMEFO et(l’) au-delà / Zones of Tolerance: Teresa Margolles, SEMEFO and Beyond,’’Parachute 104 (October-December 2001): 50–52.

15. Carlos Monsiváis, ‘‘La hora del transporte. El metro: viaje hacia el fin delapretujón,’’ in Los rituales del caos (Mexico City: Era, 1995), 111–113.

16. Yazmín Juandiego, ‘‘Critican con arte al neoliberalismo,’’ Reforma, 6July 2000.

17. Frédéric Rouvillois, ‘‘Utopia and Totalitarianism,’’ in Utopia: The Search forthe Ideal Society in the Western World, edited by Roland Schaer et al. (NewYork: New York Public Library, 2001), 316.

18. Georges Bataille, ‘‘La notion de dépense,’’ La part maudite (Paris: Éditionsde Minuit, 1967), 28. All translations from the French are mine unlessotherwise indicated.

19. Ibid., 32.20. Cuevas has used this ‘‘Trojan horse’’ strategy in recent works that straddle the

line between political activism and experimental art. Del Montte (2002)consists of a series of labels modeled after the stickers found on Del Montebananas. Though her piece masquerades as a corporate marketing device,Cuevas writes a mock advertisement to expose the transnational company’sless-than-stellar labor practices: One of her texts, for example, reads ‘‘Guate-mala / Del Montte Criminal / Struggles for Land.’’

21. Rosa Martínez, Santiago Sierra: Pabellón de España, 50a Bienal de Venecia(Madrid: Turner, 2003), 116. I modified the English given in Martínez’sbook to make it more grammatically accurate.

169NOTES

22. See Jorge Ibargüengoitia, Instrucciones para vivir en México (México City:Joaquín Mortiz, 1990).

23. José Joaquín Blanco, ‘‘Panorama bajo el puente,’’ in Función de medianoche(Mexico City: Era, 1981), 62–65.

24. Martínez, Santiago Sierra, 63. I modified the English given in Martínez’sbook to make it more grammatically accurate.

25. Santago Sierra, ‘‘465 Compensated People’’ (Rufino Tamayo, Sala 7, MéxicoCity, October 1999).

26. Santiago Sierra, ‘‘Person compensated to shine, without permission, theshoes of guests attending an opening’’ (ACE, Mexico City, March 2000). Allpage numbers for Sierra’s works refer to Martinez’s Santiago Sierra.

27. Santiago Sierra, ‘‘3 People Paid to Lie Still Inside 3 Boxes During a Party’’(Vedado, Havana, Cuba, November 2000), 44; Santiago Sierra, ‘‘Ten PeoplePaid to Masturbate’’ (Tejadillo Street, Havana, Cuba, November 2000),126; Santiago Sierra, ‘‘10-Inch Line Shaved on the Heads of Two JunkiesWho Received a Shot of Heroin as Payment’’ (302 Fortaleza Street. San Juan,Puerto Rico, October 2000), 121.

28. Santiago Sierra, ‘‘30 cm Line Tattooed on a Compensated Person’’ (Regina51, May 1998), 117; Santiago Sierra, ‘‘133 People Paid to Have Their HairDyed Blond’’ (Arsenale, Vence, Italy, June 2001), 123; Santiago Sierra, ‘‘11People Paid to Learn a Phrase’’ (Casa de la Cultura de Zinacatán, México,March 2001), 139.

29. ‘‘They want a servant, a bath attendant, a toilet cleaner, and a humansyringe . . . damn life.’’ Ricardo Garibay, ‘‘Milusos,’’ in Novela, uno, vol. 2 ofObras reunidas (Mexico City: Océano, 2002), 282.

30. Martínez, Santiago Sierra, 47.31. Ibid, 17. I modified the English given in Martínez’s book to make it more

grammatically accurate.32. Cuauhtémoc Medina, ‘‘El ojo breve / Keynes en Polanco,’’ Reforma, 17

May 2000.33. Coco Fusco, ‘‘Art in Mexico after NAFTA[1994],’’ in The Bodies That

Were Not Ours and Other Writings (London and New York: Routledge,2001), 76.

34. Adriano Pedrosa, ‘‘Santiago Sierra,’’ in Cream 3 (London: PhaidonPress, 2003).

35. Sigmund Freud, An Outline of Psychoanalysis. The Standard Edition of theComplete Psychological Works of Sigmund Freud, translated James Strachey(London: Hogarth Press, 1953–1974), 23:176. Hereafter S.E.

36. Jean Laplanche and J. B. Pontalis, Language of Psycho-analysis (London:Hogarth Press, 1973).

37. Freud, ‘‘Remembering, Repeating, and Working-Through,’’ S.E., 12:151.38. Teresa Margolles, personal communication with author, October 12, 2003.39. In collaboration with SEMEFO, Margolles retrieved the coffin from one of

the city’s cemeteries, the Panteón francés. The artist explains that whenfamilies neglect their funeral plots for a number of years, the cemetery

170 NEW TENDENCIES IN MEXICAN ART

exhumes the grave, transfer the remains to a common grave, and throws thecasket in the garbage (Margolles, personal communication with author,October 12, 2003).

40. This piece, done in collaboration with SEMEFO, was exhibited in the show‘‘Accionismo,’’ held at Art & Idea in Mexico City, 1996. Margolles ex-plained that the city morgue donates bodies that are never claimed to thecity’s medical schools, where they are used for anatomy lessons. In someschools, the corpses are boiled in metal drums to produce a clean skeleton.The artist obtained the used drums through an ingenious ruse: She donateda set of new metal containers to the medical school. The old ones werethrown in a dumpster, and the artist merely retrieved them before thegarbage truck (Margolles, personal communication with author, October12, 2003).

41. This piece was shown in ‘‘Doméstica,’’ a day of ‘‘open studios’’ in Condesacurated by Tomás Ruiz Rivas in 1998.

42. Margolles produced some of these works as an individual artist, others as amember of the aptly named artists’ collective SEMEFO.

43. SEMEFO, Lavatio corporis (Mexico City: Museo de arte contemporáneoAlvar y Carmen T. Carrillo Gil, 1994).

44. Upon approaching the metal drums, many visitors to the exhibition Accionismoexpressed their disappointment that ‘‘there was nothing there.’’ (Margolles,personal communication with author, October 12, 2003).

45. Quoted in Alma Guillermoprieto, ‘‘The Riddle of Raúl,’’ in Looking forHistory: Dispatches from Latin America (New York: Pantheon Books,2002), 256–257.

46. Ibid., 273–274.47. Alma Guillermoprieto, ‘‘Letter from Mexico: A Hundred Women,’’ The New

Yorker (September 29, 2003): 82–93.48. Ibid., 86.49. Ibid., 92.50. Servicio Médico Forense, Informe Anual (Mexico City, 2000).51. Margolles, personal communication with author, October 12, 2003.52. Hollier, ‘‘Surrealist Precipitates: Shadows Don’t Cast Shadows,’’ October 69

(summer 1994): 111–32.53. Georges Bataille, L’Erotisme (Paris: Éditions de minuit, 1970), 50.54. Medina, ‘‘Zones de tolerance,’’ 46–48.55. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura

Económica, 1993), 63.56. In 1999 the university counted 269,516 students and 29,795 academics. See

‘‘Población escolar’’ and ‘‘Personal académico,’’ Agenda estadística (MexicoCity: Univesidad Nacional Autónoma de México, 1999).

57. Celia Esther Arredondo Zambrano, ‘‘Modernity in Mexico: The Case of theCiudad Universitaria,’’ in Modernity and the Architecture of Mexico, edited byEdward R. Burian (Austin: University of Texas Press, 1997), 92.

171NOTES

58. The plan for the university, writes Valerie Fraser, ‘‘was influenced by the LeCorbusian ideas of the CIAM’s 1933 Charter of Athens [and its] utopiandeclaration.’’ Fraser, Building the New Mexico: Studies in the Modern Archi-tecture of Latin America, 1930–1960 (New York, London: Verso, 2000), 66.

59. Guillermo Sheridan, Allá en el campus grande (Mexico City: TusquetsEditores, 2000), 96–97.

60. ‘‘Can I drive to my office? / It’s closed here. Go to the main entrance / Themain entrance is six kilometers away and my office is just ahead / And what doyou expect me to do? / To use your common sense and let me through /No / Look, I realize that I’m just a lowly academic and that you’re a veryimportant employee, but please, let me through / No / Why not? / Cause Isaid no / Why don’t you use your walkie-talkie to call the main office and seeif they let me go through? / No / Why not? / Cause the walkie-talkie is foremergencies / And if I get a heart attack, do I qualify as an emergency? / Uhhuh / Look: I’m having a heart attack / I don’t believe you.’’ Ibid., 44.

61. Ibid., 45.62. Elena Poniatowska, Massacre in Mexico, translated by Helen R. Lane (Co-

lumbia and London: University of Missouri Press, 1992), 290.

Chapter 5

1. Instituto Nacional de Estadíastica, Geografía e Informática, Institutio Mexicanode Cinematografía, Instituto Nacional de la Senectud, Instituto Nacional dela Juventud, Instituto Nacional Indigenista.

2. Consejo Nacional de la Fauna, Consejo Nacional Agropecuario, ConsejoNacional para la Prevención y Control del SIDA en México (CONASIDA).

3. Comisión Federal de Electricidad, Comisión Federal de Telecomunicaciones,Comisión Federal de Competencia.

4. Asociación Nacional de Actores (ANDA), Asociación Nacional de Porristas,Asociación Nacional de Matadores de Toros y Novillos de México, AsociaciónNacional de Cunicultores de México.

5. See ‘‘Santos, amuletos y pistolas ‘regalos’ para el Museo del Narco,’’ Elimparcial, 1 June 2002.

6. André Malraux, The Museum without Walls, trans. Stuart Gilbert and FrancisPrice (Garden City, N.Y.: Doubleday, 1967).

7. Theodor Adorno, ‘‘Valéry Proust Museum,’’ in Prisms (Cambridge: MITPress, 1981), 182.

8. Douglas Crimp, On the Museum’s Ruins (Cambridge: MIT Press, 1993), 52.9. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura

Económica, 1993), 316.10. Ibid., 317.11. Vicente Razo, The Official Museo Salinas Guide (Santa Monica: Smart Art

Press, 2002), 64.12. Ibid., 35–38.

172 NEW TENDENCIES IN MEXICAN ART

13. Prado explains that the name ‘‘Aurora Boreal’’ came from a short dialoguefound in a novel by the Spanish writer Jardiel Poncela: ‘‘¿Conoces la AuroraBoreal?’’ asks a character. ‘‘Yo no conozco poetisas venezolanas,’’ respondsthe other. Prado, personal communication with author, September 1, 2003.

14. Gustavo Prado, untitled talk given at the symposium ‘‘Políticas de identidadcultural: arte e identidad sexual,’’ X-Teresa, Mexico City, 1999.

15. ‘‘Aurora,’’ explains Gustavo Prado, ‘‘was a tele-suppository aimed at cura-tors; it had all the right elements [to make her work a hit in the art world]: 1)gender identity; 2) a pastiche of foreign work (equal doses of YasumasaMorimura and Cindy Sherman); 3) the appropriation of others’ work; 4) itlooked trendy.’’ Prado, untitled talk presented at X-Teresa.

16. Gustavo Prado, personal communication with author, September 1, 2003.17. Gustavo calls his museum ‘‘una megainstalacionsota . . . un pequeño museo

personal, con un cuarto para los recuerdos y otro para los demonios’’ [‘‘ahuge megainstallation . . . a small personal museum with a room for memoriesand another one for demons’’]. Elsewhere he writes: ‘‘mi departamento esuna recreación culterana de las casas de esas señoras de la colonia escuadrón201, o chance como me dijo un amigo: ‘es la casa de interés social que leregalaría el Marqués de Sade a su mamá.’’’ [‘‘my apartment is a cultishrecreation of a house of some lady from Colonia Escuadrón 201, or, as afriend once said, ‘it is the public housing project that the Marquis de Sadewould give to his mother’’’]. Gustavo Prado, ‘‘El Museo del Prado,’’unpublished text, Mexico City, 2002.

18. Miguel Calderón, personal communication with author, August 20, 2003.19. Ibid.20. See the articles in Reforma, 7 January 1999.

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Blanco, José Joaquín. Función de medianoche. Mexico City: Era, 1981.———. Álbum de pesadillas mexicanas. Mexico City: Era, 2002.Burian, Edward R., ed. Modernity and the Architecture of Mexico. Austin: Univer-

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Deleuze, Gilles and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia.Minneapolis: University of Minnesota Press, 1983.

Deutsche, Rosalyn. Evictions: Art and Spatial Politics. Cambridge: MIT Press, 1996. Duhamel, Georges. In Defense of Letters. Translated by E. F. Bozman. New York:

Graystone Press, 1939.Dunn, Oliver and James E. Kelley, eds. The Diario of Christopher Columbus’s First

Voyage to America 1492–1493. Norman and London: University of Okla-homa Press, 1989.

Foster, Hal. The Return of the Real. Cambridge: MIT Press, 2000. Fraser, Valerie. Building the New Mexico: Studies in the Modern Architecture of

Latin America, 1930–1960. New York, London: Verso, 2000.Freud, Sigmund. The Standard Edition of the Complete Psychological Works of

Sigmund Freud. Translated by James Strachey, in collaboration with AnnaFreud, assisted by Alix Strachey and Alan Tyson. London: Hogarth Pressand the Institute of Psycho-Analysis, 1953–1974.

Fusco, Coco. The Bodies That Were Not Ours and Other Writings. London andNew York: Routledge, 2001.

Garibay, Ricardo. Novela, uno, vol. 2 of Obras reunidas. Mexico City:Océano, 2002.

Goldin, Nan. The Other Side: 1972–1992. Zurich: Scalo Verlag, 2000.Goldman, Shifra M. Dimensions of the Americas: Art and Social Change in Latin

America and the United States. Chicago: University of Chicago Press, 1994.Gómez Izquierdo, José Jorge. El movimiento antichino en México (1871–1934):

problemas del racismo y del nacionalismo durante la Revolución Mexicana.Mexico City: Instituto Nacional de Antropología e Historia, 1991.

Greene, David A. ‘‘Yishai Jusidman and the Reenchantment of Painting.’’ InInvestigaciones pictóricas / Pictorial Investigations. Cuernavaca: Instituto decultura de Morelos, 1995. An exhibition catalog.

Guillermoprieto, Alma. The Heart That Bleeds. New York: Alfred A. Knopf, 1994.———. Looking for History: Dispatches from Latin America. New York: Pantheon

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Ibargüengoitia, Jorge. Instrucciones para vivir en México. Mexico City: JoaquínMortiz, 1990.

Kant, Immanuel. Critique of Judgment. Translated by Werner S. Pluhar. Indian-apolis: Hackett Publishing Company, 1987.

Khlebnikov, Velimir. ‘‘The Radio of the Future.’’ In Snake Train: Poetry andProse. Edited by Gary Kern. Ann Arbor: Ardis, 1976.

Koolhaas, Rem. S, M, L, XL. New York: Monacelli Press, 1995.Kushigian, Julia A. Orientalism in the Hispanic Literary Tradition: In Dialogue

with Borges, Paz, and Sarduy. Albuquerque: University of New MexicoPress, 1991.

Laplanche, Jean and Jean-Baptiste Pontalis. Language of Psycho-analysis. London:Hogarth Press, 1973.

Lippard, Lucy R. Changing: Essays in Art Criticism. New York: E. P. Dutton andCo., 1971.

Lombardo Toledano, Vicente. Diario de un viaje a la China nueva. Mexico City:Ediciones Futuro, 1950.

Malraux, André. The Museum without Walls. Translated Stuart Gilbert and FrancisPrice, Garden City, NY: Doubleday, 1967.

Marinetti, Filippo Tommaso. Marinetti: Selected Writings. Edited by R. W. Flint.Translated by R. W. Flint and Arthur A. Coppotelli. New York: Farrar,Straus and Giroux, 1972.

Martínez, Rosa, ed. Santiago Sierra: Pabellón de España, 50a Bienal de Venecia.Madrid: Turner, 2003. An exhibition catalog.

Medina, Cuauhtémoc. ‘‘El regreso de los mutantes.’’ In Acné o el Nuevo contratoIlustrado. Mexico City: Institution Nacional de Bellas Artes, 1995. Anexhibition catalog.

———. ‘‘Teratología de la comparación.’’ In Eduardo Abaroa. Engendros del ocioy la hipocresía. Santa Monica: Smart Art Press, 1999, 52–68. An exhibitioncatalog.

———. ‘‘Recent Political Forms: Radical Pursuits in Mexico. Santiago Sierra,Francis Alÿs, Minerva Cuevas.’’ Trans>alt.cultures.media 8(2000): 146–163.

———. ‘‘Zones de Tolérance: Teresa Margolles, SEMEFO et (l’) au-delà /Zones of Tolerance: Teresa Margolles, SEMEFO and Beyond.’’ Parachute104 (October-December 2001): 31–52.

———. ‘‘El museo fantasmal para un personaje vampiresco.’’ In Vicente Razo,The Official Museo Salinas Guide, 25–32. Santa Monica: Smart ArtPress, 2002.

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Mejía Madrid, Fabrizio. Pequeños actos de desobediencia civil. Mexico City: Cal yarena, 1996.

Miklos, David and Mario Bellatín, eds. Una ciudad mejor que ésta: antología denuevos narradores mexicanos. Mexico City: Tusquets, 1999.

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Official Museo Salinas Guide. Santa Monica: Smart Art Press, 2002. Monteón González, Humberto and José Luis Trueba Lara, eds. Chinos y antichinos

en México: documentos para su historia. Guadalajara: Gobierno de Jalisco,Secretaría General, Unidad editorial, 1988.

Morales, Taniel. Sin cabeza—Necropsia. Unpublished audio CD. MexicoCity, 1999.

Nervo, Amado. Poesías completas. Barcelona: Teorema, 1982.Novo, Salvador. ‘‘Radioconferencia sobre el radio.’’ Antena 2 (August 1924): 10;

reprinted in El Universal Ilustrado 399 (January 1, 1925): 4–5; anthologizedin Toda la prosa. Mexico City: Empresas Editoriales, 1964.

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Ollman, Leah. Camera as Weapon: Worker Photography between the Wars. SanDiego: The Museum of Photographic Arts, 1991.

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Poniatowska, Elena. Massacre in Mexico. Translated Helen R. Lane. Columbia andLondon: University of Missouri Press, 1992.

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Razo, Vicente. The Official Museo Salinas Guide. Santa Monica: Smart ArtPress, 2002.

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Ideal Society in the Western World. Edited by Roland Schaer et al. New York:New York Public Library, 2001.

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World. New York: New York Public Library, 2001.Sheridan, Guillermo. Allá en el campus grande. Mexico City: Tusquets

Editores, 2000.SEMEFO. Lavatio corporis. Mexico City: Museo de arte contemporáneo Alvar y

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Autónoma de México, Centro de Estudios Literarios, 1971.Villoro, Juan. ‘‘La ciudad es el cielo del metro.’’ Número 10 (June–August

1996): 43–46.Weinberger, Eliot. Outside Stories, 1987–1991. New York: New Directions, 1992. Weiss, Allen S. Phantasmic Radio. Durham: Duke University Press, 1995.

Index

1968 see Tlatelolco student massacreAbaroa, Eduardo 7–8, 10, 13, 14, 20,

31, 33–4, 45, 52; Elotes/maíztrangénico, 13; Invasión metafísicade los hombres desperdicio, 8;Vicisitudes iniciáticas, 34, 35; Vidainstantánea, 34

Acceso A, 111, 114Acconci, Vito, 106ACE Gallery, 111Acné, 8acting out, 115–6, 125Adorno, Theodor, 136Aitken, Doug, 11Alatorre, Antonio, 52Aldana, Rodgrigo, 20, 33–4; Con título

(después de Shi T’ao), 34; Mi peloestá cano, 34; Por un Méxicomejor, 20, 33

Allá en el campus grande (Sheridan,Guillermo), 130–1

Allen, Woody, 73; Radio Days, 73Álvarez Bravo, Manuel, 56Alÿs, Francis, 7, 10, 15–16, 83, 93–101,

107, 112, 111, 115, 114, 132,133; Ambulantes, 94–98, 95, 96,97, 98; The Collector, 96–98, 99;The Leak, 98; The loser/the winner,98; Paradox of Praxis, 97; Re-enactments, 83, 100; Turista, 112;Walks, 16, 96, 100

Ambulantes (Alÿs, Francis), 94–98, 95,96, 97, 98

Amores Perros (González Iñárritu,Alejandro), 154

Anti Œdipus (Deleuze and Guattari), 86anti-Chinese movement, 26–7Apollinaire, Guillaume, 77; ‘‘Lettre-

Océan,’’ 77Arnheim, Rudolf, 76, 80, 82Artaud, Antonin, 74, 85–7; To Have

Done with the Judgment ofGod, 74, 85–6

Artificial History (Calderón,Miguel), 152-153

Asiain, Aurelio, 21Aspects of Contemporary Mexican

Painting, 41Aunt Julia and the Scriptwriter (Vargas

Llosa, Mario), 73‘‘Aventuras en Revolución’’ (González,

Rockdrigo), 75, 84Axis Mexico, 10Balbuena, Bernardo de, 91; Grandeza

mexicana, 91Banuet, Beto, 62Barney, Tina, 57–8; Friends and

Relations, 57; Theater of Manners,58; Watch, The, 57

Barrera, Lizzie, 55Barthes, Roland, 14, 32–3, 38; The

Empire of Signs, 14, 32–3, 38Bataille, Georges, 105–6, 125, 126Batman, 75Beatles, The, 74, 78, 79Beckett, Samuel, 87Bellatín, Mario, 45; Una ciudad mejor

que ésta, 45Benjamin, Walter, 66–7Berman, Marshall, 92, 93, 94Biesenbach, Klaus, 13, 50–1Blanco, Hugo Diego, 20; Tinta

china, 20Blanco, José Joaquín, 99, 107Blin, Roger, 82body without organs, 15, 86–7Boreal, Aurora see Prado, GustavoBorges, Jorge Luis, 23Breton, André, 79Brüggemann, Stefan, 8Brunet, Fernanda, 20, 21Buendía, Manuel, 42Bundle of 1,000 x 400 x 250 cm

Composed of Waste Plastic andSuspended from the Front of a

INDEX 179

Building. 5 Isabel la Católica Street,1997 (Sierra, Santiago), 106

Burial (Margolles, Teresa), 117, 119Calderón, Miguel, 8, 10, 16–17, 151–7,

159; Artificial History, 152-3; Employee of the Month,154–6, 155, 157

Calles, Plutarco Elías, 135Calzado Canadá, 65Cantoral, Itati, 52Cárdenas, Cuauhtémoc, 2, 5, 158–9Cárdenas, Lázaro, 2Cards for Cutting Cocaine (Margolles,

Teresa), 117, 119, 122–3Carranza, Venustiano, 61Carrillo Gil see Museo de Arte

Contemporáneo Alvar y Carmen T.Carrillo Gil

Cartas de Tepoztlán (Soler Frost,Pablo), 20

Cartier Bresson, Henri, 56Casares, Maria, 86Castañón, Paulina, 5, 59Centro Cultural Arte

Contemporáneo, 153Centro de la Imagen, 149Centro Histórico, México City, 92, 93,

94–5, 98–100, 101, 106, 146Chiapas uprising see Zapatistaschina poblana, 31China poblana (Galán, Julio), 7, 42, 43chupacabras, 138–9Cioran, E. M., 73City of Palaces: Chronicle of a Lost

Heritage, The (Tovar y de Teresa,Guillermo), 55

Ciudad Juárez, 120, 122, 125ciudad mejor que ésta, Una (Bellatín,

Mario), 45Ciudad Nezahualcóyotl, 71Clark, Larry, 56–7Cobos, Wendy de los, 52, 61Colección Jumex, La, 10–11, 109–10Collector, The (Alÿs, Francis), 96–8, 99Colosio, Luis Donaldo, 4, 42, 119–20Columbus, Christopher, 25Communist Manifesto, The (Marx,

Karl), 90Compro, luego existo (Loaeza, Guada-

lupe), 54Conde, Teresa del, 38, 49Conjunctions and Disjunctions (Paz,

Octavio), 29constructivism, 104

Con título (después de Shi T’ao) (Aldana,Rodrigo), 34

Credencial sordomudos (Hernández,Jonathan), 127–32

Crimp, Douglas, 136–7Critique of Judgement (Kant,

Immanuel), 84Cruzvillegas, Abraham, 7–8Cuevas, Minerva, 1, 9–10, 11, 15–16,

17, 101–6, 107, 114, 116, 132–3,156; see also Mejor VidaCorporation

Debroise, Olivier, 7Defense of Letters (Duhamel,

Georges), 76del Conde, Teresa, 38, 49Deleuze, Gilles, 15, 86Dermis (Margolles, Teresa), 117,

122, 124, 125Diario de un viaje a la China nueva

(Lombardo Toledano, Vicente), 28Díaz Ordaz, Gustavo, 5, 14, 52, 59–60Díaz Ordaz, Paulina, 52, 58–60, 62, 66Díaz, Porfirio, 55, 153Doy Fe (Kuri, Gabriel), 65Duchamp, Marcel, 90, 126, 158Duhamel, Georges, 76–7; Defense of

Letters, 76Echeverría, Luis, 2ejemplo de sonora, El (Espinoza, José

Ángel), 27Elotes/maíz trangénico (Abaroa,

Eduardo), 13Empire of Signs, The (Barthes, Roland),

14, 32, 38Employee of the Month (Calderón,

Miguel), 154–7, 155, 157‘‘Eres tú’’ (Molina, Adriana), 75Espinoza, José Angel, 27; El ejemplo de

sonora, 27; El problema chino enMéxico, 27

Estridentismo, 78expenditure, 105–6Faro de Oriente, El, 71Fernández Garza, Mauricio, 55, 63Finale (Vargas Lugo, Pablo), 34, 36flâneur, 15, 92, 93, 104, 107, 126Flaubert, Gustave, 23Fondo Nacional para la Cultura y las

Artes (FONCA), 8Fonseca, Gonzalo, 8; La Torre de los

Vientos, 8Foster, Hal, 7, 9, 45Fox, Vicente, 6Freud, Sigmund, 116, 151

INDEX180

Friends and Relations (Barney,Tina), 57–8

Fuentes, Carlos, 67; La región mástransparente, 68

Fusco, Coco, 8, 114Galán, Julio, 7, 40, 41, 42, 43; China

poblana, 7, 42, 43Galerie Chantal Crousel, 103Galerie Peter Kilchmann, 10Gallery Burned with Gasoline (Sierra,

Santiago), 114Galván, Carlos, 132Gandhi, 79garbage pickers, see pepenadoresGaribay, Ricardo, 111; El milusos, 111Garza, Javier de la, 40Geishas al descubierto (Jusidman,

Yishai), 42, 44Giuliani, Rudolph, 56, 94Goebbels, Josef, 84Goldin, Nan, 56–7Goldman, Shifra, 11, 138González Iñárritu, Alejandro, 154González, Rockdrigo, 75, 84;

‘‘Aventuras en Revolución,’’ 75, 84González Torres, Félix, 17Gordon, Douglas, 11Grandeza mexicana (Balbuena,

Bernardo de), 91Greene Naftali Gallery, 10, 49Guattari, Félix, 15, 86Guillermoprieto, Alma, 96, 121Guzmán, Daniel, 11Haacke, Hans, 68; Shapolsky et al.

Manhattan Real Estate Holdings; AReal Time Social System, as of May,1971, 68; Solomon R. GuggenheimMuseum Board of Trustees, 68

Hank González, Carlos, 49Havana Biennale, 117Helguera, Pablo, 136Hello Kitty (Orlaineta, Edgar), 35Hernández, Jonathan, 11, 15–16,

127–32; Credencial sordomudos,127–32; Se busca recompensa, 127

Hollier, Denis, 125Hotel de México, 63–4Ibargüengoitia, Jorge, 107INBA, see Instituto Nacional de

Bellas ArtesInfinita compasión (Vargas Lugo,

Pablo), 34In Light of India (Paz, Octavio), 29

Institutional Revolutionary Party seePartido RevolucionarioInstitucional (PRI)

Instituto Nacional de Bellas Artes,11, 12, 144

Invasión metafísica de los hombresdesperdicio (Abaroa, Eduardo), 8

‘‘. . .IU IIIUUU IU. . .’’ (Quintanilla,Luis), 78–80

Jaffe, Jana, 55Juárez see Ciudad JuárezJuicio a Salinas (Rodríguez, Jesusa), 5Jumex see Colección Jumex, LaJusidman, Yishai, 14, 22, 34, 41–2, 44;

Geishas al descubierto, 42, 44Kahlo, Frida, 144Kant, Immanuel, 84; Critique of

Judgement, 84Kawara, On, 90Khlebnikov, Velimir, 80Koolhaas, Rem, 92–3Krauze, Enrique, 95Kristeva, Julia, 28Kuri, Gabriel, 11, 65; Doy Fe, 65Kuri, José, 11Kurimanzutto, 11Kushigian, Julia A., 23–4; Orientalism

in the Hispanic Literary Tra-dition, 23

Labyrinth of Solitude, The (Paz,Octavio), 16, 126, 137

Language of Psycho-Analysis (Laplancheand Pontalis), 116

Lankenau, Marien, 63Laplanche, Jean, 116; Language of

Psycho-Analysis, 116Larvario (Margolles, Teresa), 117Leak, The (Alÿs, Francis), 98Le Corbusier, 129‘‘Lettre-Océan’’ (Apollinaire, Guil-

laume), 77Lipard, Lucy, 10Li Po (Tablada, José Juan), 27–8Lisson Gallery, 10, 103Littman, Robert, 153Loaeza, Guadalupe, 54, 55; Compro,

luego existo, 54; Las niñas bien, 55Lombardo Toledano, Vicente, 28–9, 31;

Diario de un viaje a la Chinanueva, 28

López, Sonia, 75López Portillo, José, 2, 54, 56López Rocha, Aurelio, 2López Rocha, Eugenio, 10–11, 63López Rocha, Sandy, 65

INDEX 181

loser/the winner, The (Alÿs, Francis), 98Madona Tsunami (Vargas Lugo,

Pablo), 34Madrid, Miguel de la, 2, 42Maldonado, Rocío, 40Manzutto, Mónica, 11Mao Tse-tung, 28–9Margolles, Teresa, 1, 9–10, 15–16,

116–26, 132, 146; Burial, 117,119; Cards for Cutting Cocaine,117, 119, 122–3 ; Dermis 117,122–3, 124; Havana Biennale,117; Larvario, 117, Tatuajes 117,Tongue, 118, 117; Vaporiza-tion, 117

Marian Goodman Gallery, 11Marinetti, Filippo Tommaso, 77Martín, Patricia, 10Martínez, Rosa, 114Marx, Karl, 90; Communist Mani-

festo, The, 90Massenet, Jules, 77Matta Clark, Gordon, 106McCarthy, Paul, 11Medina, Cuauhtémoc, 12–13, 55, 100,

114–5, 126Mejía Madrid, Fabrizio, 64Mejor Vida Corporation, 1, 9,

17, 101–106, 107; see alsoCuevas, Minerva

metro, Mexico City, 74,81–2, 88, 101–2

Mexican Arts Council, see FondoNacional para la Cultura y lasArtes (FONCA)

Mexican Revolution, 1, 2, 15, 26, 58–9,63, 105, 131, 135

Mexico City: An Exhibition about theExchange Rates of Bodies andValues, 10, 50 Mexico Illus-trated, 10

Meyer, Lorenzo, 50, 51milusos, El (Garibay, Ricardo), 111Mi pelo está cano (Aldana, Rodrigo), 34Moffat, Tracey, 49Molina, Adriana, 75; ‘‘Eres tú,’’ 75Monkey Grammarian, The (Paz,

Octavio), 29Monsiváis, Carlos, 5, 52, 101Montes de Oca, José Maria, 26Morales, Taniel, 15, 71, 73–90, 91,

158, 159; Sin cabeza-Necropsia, 15,73–90, 158

morgue see SEMEFO (Servicio MédicoForense)

MUNAL, see Museo Nacional de ArteMuñoz Rocha, Manuel, 4, 119–20muralism, 104–5Museo de Antropología, 16, 137, 144,

149–51, 152Museo de Arte Contemporáneo Alvar y

Carmen T. Carrillo Gil, 11, 117Museo de Historia Natural,

151–3, 153–7Museo del Prado, El, 146–51, 147–50 ;

see also Prado, GustavoMuseo Nacional de Arte, 16,

153–4, 156Museo Rufino Tamayo, 111Museo Salinas (Razo, Vicente), 9,

138–44, 139–143, 157Museum of Anthropology, 16, 137,

144, 149–51, 152Museum of Natural History,

151–3, 153–7My Melody (Orlaineta, Edgar), 38, 40NAFTA, see North American Free Trade

AgreementNational Action Party see Partido Acción

Nacional (PAN)National Autonomous University of

Mexico see Universidad NacionalAutónoma de México

National Institute of Fine Arts seeInstituto Nacional de Bellas Artes

National Museum of Art, 16,153–4, 156

Napoleon, 23neo-Mexicanism, 7–8, 17,

38–42, 65, 153Nervo, Amado, 77niñas bien, Las (Loaeza, Guadalupe), 55North American Free Trade Agreement,

1, 2–3, 13, 65Novo, Salvador, 77–8, 91–3, 100;

Nueva grandeza mexicana, 92Nuevo León, 63Núñez, Dulce María, 7, 40Obregón, Alvaro, 135Obstruction of a Freeway with a Trailer

Truck (Sierra, Santiago), 110, 110Official Museo Salinas Guide, The (Razo,

Vicente), 11, 138O’Gormann, Juan, 127Okón, Yoshua, 8Oldenburg, Claes, 20Orientalism (Said, Edward), 14, 21–4Orientalism in the Hispanic Literary

Tradition (Kushigian, Julia), 23

INDEX182

Orlaineta, Edgar, 8, 14, 20, 35, 40;Hello Kitty, 35; My Melody, 38, 40

Orozco, Gabriel, 11, 13, 65Ortíz, Rubén, 13; Elotes/maíz

trangénico, 13PAN, see Partido Acción

Nacional (PAN)Panadería, La, 8, 138, 151, 152Pandolfi, Silvia, 11Pani, Mario, 127Paradox of Praxis (Alÿs, Francis), 97Parque de la Lama, 63Partido Acción Nacional

(PAN), 6, 58, 63Partido Revolucionario Institucional

(PRI), 1, 2–6, 9, 11–12, 14–15,16, 42, 48, 49, 54, 58, 61, 62–3,69, 85, 119, 129, 135–8, 139, 144

Paz, Octavio, 16, 20, 23, 29, 31, 72,90, 126, 130, 136, 137, 144, 149,151; Conjunctions and Disjunctions,29; In Light of India, 29; TheLabyrinth of Solitude, 16, 126, 137;The Monkey Grammarian, 29;Posdata, 90

‘‘Paz in Asia’’ (Weinberger, Eliot), 29Pecados (Rossell, Daniela), 35, 38, 39Pedestrian Bridge Obstructed with

Wrapping Tape (Sierra,Santiago), 105, 108

Pedrosa, Adriano, 114Pelli, Cesar, 51pepenadores, 96–8Pérez Prado, Dámaso, 74, 84Periférico, 75, 109–10, 116Plaza Santa Catarina, 93, 99, 107Polyforum Siqueiros, 54, 63–4Pontalis, J. B., 116; Language of Psycho-

Analysis, 116Pornografía infantil (Prado,

Gustavo), 148, 150Por un México mejor (Aldana,

Rodrigo), 20, 33Posadas, Juan Jesús Cardinal, 3, 119Posdata (Paz, Octavio), 90Prado, Gustavo 16, 144–51, 152, 156;

El Museo del Prado, 146–51,147–50 ; Pornografía infantil, 148,150; Yo ni existo, 146

PRI see Partido RevolucionarioInstitucional (PRI)

problema chino en México, El (Espinoza,José Ángel), 26

P.S.1 Contemporary Art Center, 10,13, 50, 65

Punkenhofer, Robert, 8Quintana, Georgina, 40Quintanilla, Luis, 78–80; ‘‘. . .IU

IIIUUU IU. . .,’’ 78–80; Radio:poema inalámbrico en trecemensajes, 78

‘‘Radioconferencia sobre el radio’’(Novo, Salvador), 77–8

Radio Days (Allen, Woody), 73Radio Pirata XCH—Sin Permiso, 73Radio: poema inalámbrico en trece

mensajes (Quintanilla, Luis), 78Razo, Vicente, 1, 9, 12, 16,

138–44, 139–43 , 151, 156–8;Museo Salinas, 9, 138-43, 156;The Official Museo SalinasGuide, 12, 138

Re-enactments (Alÿs, Francis), 83, 100región más transparente, La (Fuentes,

Carlos), 68Revolución, Avenida, 73, 75, 81, 84Revolution see Mexican RevolutionReyes, Pedro, 8Ricas y famosas (Rossell, Daniela), 14,

47–69, 48, 53–4, 59–62, 67Río Churubusco, 107Rising Sun (Vargas Lugo,

Pablo), 34, 37Rivera, Diego, 11, 28, 29, 105, 127Rockdrigo, see González, RockdrigoRodchenko, Alexandr, 104–5Rodríguez, Jesusa, 5rosca de reyes, 158–9Rossell, Daniela, 1, 5, 7–9, 10, 14–15,

34–5, 38, 39, 47–69, 148, 159;Pecados, 35, 38, 39; Ricasy famosas, 14, 47–69, 48,53–4, 59–62, 67

Rossell de la Lama, Guillermo,55, 56, 63–4

Rossell, Guillermo, 61Rouvillois, Frédéric, 105Rovirosa Wade, Leandro, 54Ruiz Massieu, José Francisco, 4, 5,

119, 122, 126Ryman, Robert, 20Said, Edward, 14, 21–4, 32;

Orientalism‚14, 22–4Sala Siqueiros, 11, 144Salinas de Gortari, Carlos, 1, 2–5, 9, 14,

16, 54, 60, 138–44, 157Salinas, Emiliano, 55, 60–1, 66Salinas Museum, see Museo SalinasSalinas, Raúl, 5, 52, 59, 66, 119, 125San Felipe de Jesús, 25–6, 30, 31

INDEX 183

Santos, Alicia, 55Sarduy, Severo, 23Schwabsky, Barry, 49, 67Se busca recompensa (Hernández,

Jonathan), 127SEMEFO (Servicio Médico Forense), 9,

116–21, 124, 133SEMEFO artists’ collective, 117Shapolsky et al. Manhattan Real Estate

Holdings; A Real Time SocialSystem, as of May, 1971 (Haacke,Hans), 68

Sheridan, Guillermo, 130–1; Allá en elcampus grande, 130–1

Shitao, 34Sierra, Santiago, 1, 9–10, 15–16,

106–16, 125, 132–3; Bundle of1,000 x 400 x 250 cm Composed ofWaste Plastic and Suspended fromthe Front of a Building. 5 Isabel laCatólica Street, 1997, 106; GalleryBurned with Gasoline, 114;Obstruction of a Freeway with aTrailer Truck, 110, 110; PedestrianBridge Obstructed with WrappingTape, 107, 108; Wall of a GalleryTorn Out, Tilted at an Angle ofSixty Degrees, and Supported by 5People, 114, 113

Sin cabeza—Necropsia (Morales, Taniel),15, 73–90, 158

Siqueiros, David Alfaro, 12, 63; Cartasde Tepoztlán, 20

Smith, Melanie, 7Smith, Ray, 40Soler Frost, Pablo, 20Sollers, Phillipe, 28Solomon R. Guggenheim Museum Board

of Trustees (Haacke, Hans), 68Sonora Santanera, 75Stalin, Josef, 84Suárez, Manuel, 63–4subway see metro, Mexico CityTablada, José Juan, 27–8; Li Po, 27–8Táboas, Sofía, 7–8Taniya, Kyn, see Quintanilla, LuisTatuajes (Margolles, Teresa), 117Tel Quel, 28Temerarios, Los, 74Temístocles, 7–9, 12, 14, 19, 48, 138Tepito, 100Theater of Manners (Barney, Tina), 58Thompson, Ginger, 63, 67Tigres del Norte, Los, 73Tinta china (Blanco, Hugo Diego), 20

Tiravanija, Rikrit, 17Tlalpan, 107, 109Tlatelolco student massacre, 5, 14, 52,

59, 129, 132To Have Done with the Judgment of God

(Artaud, Antonin), 74, 85–6Tongue (Margolles, Teresa), 117Torre de los Vientos, La, 8Torre Latinoamericana, 101, 107Torreón, 26Tovar y de Teresa, Guillermo, 55; City

of Palaces: Chronicle of a LostHeritage, The, 55

Tracy, Michael, 40Turista (Alÿs, Francis), 112Twenty Million Mexicans Can’t Be

Wrong, 10UNAM see Universidad Nacional

Autónoma de MéxicoUniversidad Nacional Autónoma de

México, 5, 16, 74, 127–32Vaporization (Margolles, Teresa), 117Vargas, Gaby, 52Vargas Llosa, Mario, 6, 73; Aunt Julia

and the Scriptwriter, 73Vargas Lugo, Pablo, 7–8, 10, 14, 20,

31, 33–4, 36, 37, 45; Finale, 34,36; Infinita compasión, 34; MadonaTsunami, 34; Rising Sun, 34, 37

Velasco, José María, 65Venegas, Germán, 65Viaducto Miguel Alemán, 72Viaducto Tlalpan, 107, 109Vicisitudes iniciáticas (Abaroa,

Eudardo), 34, 35Vida instantánea (Abaroa, Eduardo), 34Villa, Pancho, 61, 62Villoro, Juan, 49–50, 63, 88, 89, 91Walks (Alÿs, Francis), 16, 96, 100Wall of a Gallery Torn Out, Tilted at an

Angle of Sixty Degrees, andSupported by 5 People (Sierra,Santiago), 114, 113

Watch, The (Barney, Tina), 57Weinberger, Eliot, 28; ‘‘Paz in Asia,’’ 29Weiss, Allen, 87Yo ni existo (Prado, Gustavo), 146Zapata, Emiliano, 15, 60, 61–2,

66, 80, 89Zapatistas, 1, 3–4, 7, 42, 136Zebra Crossing, 10Zedillo, Ernesto, 4–6, 120, 130Zenil, Nahúm, 7, 40, 41Zócalo, 88, 92, 93