WEB RESISTANCE

Ana Laura Alba (et al.)

Resistance: Cultural and Political Narratives in Mexican Art

MARCH 12 - MAY 31, 2026

The exhibition features works by contemporary Mexican artists whose practices primarily engage questions of freedom of expression, history, and social justice and serve as public channels of dissent. Through sculpture, installation, performance-based documentation, textiles, and printmaking, the exhibition considers how artists reflect on Indigenous knowledge, collective memory, and contemporary social contexts.

The exhibition includes work by Jacobo and María Ángeles, master Oaxacan wood carvers, best known for their sculptural interpretations of tonas and nahuales—vivid, fantastical wooden sculptures that blend imagination, folklore, and cultural symbolism, drawing on Zapotec cosmologies. Their works stand as both cultural continuity and political assertion in the face of erasure.

The exhibition also features work by Adela Goldbard, whose practice centers on collective memory, power, and the ways history is constructed, erased, or ritualized—often through acts that are both symbolic and materially destructive—and prints
by Mario Guzmán, who utilizes graphic art as a tool for social engagement with a strong emphasis on community,
labor, and political struggle, alongside members of Subterráneos, a collective he leads in Oaxaca, rooted in socially engaged printmaking traditions that address political and community-based concerns.

Renata Cassiano Alvarez presents sculptures from her ongoing series Siempre Voy a Volver (“I Will Always Return”), alongside related works that reflect on memory, migration, and the emotional pull of home. Using intimate materials and hand-built processes, Alvarez creates sculptural forms marked by touch, wear, and repetition. The works suggest bodies, vessels, and domestic gestures without resolving into literal representation, allowing absence and longing to remain central to their meaning.

Resistencia: Narrativas Políticas y Culturales en el Arte Mexicano

12 de Marzo - 31 de Mayo, 2026

La exposición presenta obras de artistas mexicanos contemporáneos cuyos prácticas encargan preguntas de la libertad de expresión, la historia, y la justicia social y sirven como fuentes públicas de disconformidad. A través de la escultura, la instalación, la documentación representada en vivo, los tejidos, e impresión, la exposición considera cómo los artistas reflexionan sobre el conocimiento indígena, memoria colectiva, y contextos sociales. 

La exposición incluye obras de Jacobo y María Ángeles, tallistas maestros oaxaqueños, mejor conocidos por sus interpretaciones esculturales de tonas y nahuales—vívidas, esculturas de madera fantásticas que se funden la imaginación, lo folklórico, y el simbolismo cultural, extrayendo de cosmologías zapotecas. Sus obras salen ambos como continuidad cultural y afirmación contra la desaparición. 

La exposición también presenta obras de Adela Goldbard, cuya práctica se centra en la memoria colectiva, el poder, y las maneras en que la historia sea construida, borrada, ritualizada—a menudo por actos tanto simbólicos como materialmente destructivos—e impresiones por Mario Guzmán, quien utiliza el arte gráfico como herramienta de compromiso social con un fuerte énfasis en comunidad, labor, y la lucha política, junto a miembros de Subterráneos, un colectivo que guía en Oaxaca, enraizado en las tradiciones comprometidas-sociales de la impresión que tratan de problemas comunitarios.

Renata Cassiano Alvarez expone esculturas de su serie en curso Siempre Voy a Volver, juntas con obras relacionadas que se reflexionan en la memoria, migración, y el tiro emocional del hogar. Utilizando materiales íntimos y procesos hechos a mano, Alvarez genera formas esculturales marcadas por el toque, el uso, y la repetición. Las obras sugieren a cuerpos, vasijas, y gestos domésticos sin resolver en representación literal, permitiendo que la ausencia y el anhelo permanezcan central de la significación.

Coyote
Rino

Coyote (Night Vision series) (2024-2025)

Adela Goldbard in collaboration with Blanca Miguel Doquiz & Xochitl Ruiz Nuñez (needlefelting workshop, San Agustín Etla, Oaxaca)

Needle felted textile

36.6 in.

Kurhirani no ambakiti (quemar al diablo / burning the devil): porque sólo así nos escuchan (since that’s the only way they listen to us) (2020)

Adela Goldbard in collaboration with Consejo Comunal Indígena de Arantepacua (Arantepecua's Comunal Indigenous Council)

HD video

Guzman Mural

Lucha Obrera (Workers’ Struggle), 2011

Mario Guzmán

Linocut on watercolor paper

62 x 23 in.

Collection of Andrew Mroczek

ARTIST STATEMENT
Artist Statement

Printmaking, for me, is not only a medium but a meeting place. It is where image and action come together, where art leaves the studio and enters the street. I work in graphic art because it is direct, reproducible, and historically rooted in collective struggle. In Mexico, print has long been a tool for education, resistance, and solidarity. I see my practice as part of that lineage. My work focuses on labor, migration, land, and the lived realities of working communities. I am interested in how images circulate—on walls, in marches, in community spaces—and how they can amplify voices that are often ignored or silenced. The process of making prints is inherently collaborative: carving, inking, pressing, and distributing are shared acts. Through Subterráneos, the collective I lead in Oaxaca, we create work that responds to immediate political and social concerns while remaining rooted in local histories. I believe art should not be neutral. It should ask questions, provoke dialogue, and create space for reflection and action. Printmaking allows me to produce images that belong to the public—images that can travel, multiply, and participate in ongoing struggles for dignity and justice.

Mural

14 de Junio: ¡Ni Perdon, Ni Olvido! (June 14: Neither Forgive, Nor Forget!), 2022

Subterráneos

Linocut on newsprint

16 x 8 ft.

Collection of Andrew Mroczek

ARMADILLO

Fusion #6 (Armadillo, Eagle, Iguana), 2026

Jacobo & María Ángeles Workshop (Taller Jacobo y María Ángeles)

Copal wood and paint

8 x 7.5 x 7 in.

Coyote Web

Coyote #12, 2026

Jacobo & María Ángeles Workshop (Taller Jacobo y María Ángeles)

Copal wood and paint

9 x 6 x 3 in.

Knifes

Cardumen de Mojarras Dientonas (3 Pieces), 2025

Renata Cassiano Alvarez

Wood, tile, and grout

23 x 6 x 3 in.

Rostros como Agua

Rostros Como Agua, 2024

Renata Cassiano Alvarez

Ceramic 

12 x 8 x 3 in.

ARTIST BIO
Artist Bio

Renata Cassiano Alvarez is a Mexican-Italian artist born and raised in Mexico City. Influenced by archeology and the collective Latin American experience, she believes in the power of the object as survival and witness to transformation and endurance over time. Objects that bound us in continuity. She has been the recipient of numerous awards and recognitions, most recently she was awarded the Louis Comfort Tiffany Foundation Biennial Grant of 2024. Her work has been exhibited internationally and can be found in public and private collections around the world. She works in her studio in Veracruz, Mexico.

ARTIST STATEMENT
Artist Statement

“I did not choose ceramics merely as a material, but as a way of thinking. Clay reflects the cycles that run through my practice: time conceived as a circle that returns, form as a continuous becoming. Like the obsidian mirror, a portal, threshold, an instrument for looking inward, ceramics offers a space where transformation is visible and inevitable. Clay is the memory of the earth made plastic. It records touch, pressure, hesitation. It contains history without needing to articulate it directly, much like the materials and mythologies I return to again and again in my work: obsidian, volcanic stone, caves, ruins. These are places where the ancient and the imagined coexist, where the world can be read through surfaces and fractures. Ceramics is a threshold practice. It inhabits the space between liquid and solid, fragile and enduring, object and artifact. Fire alters it irreversibly, yet each prior stage remains open, mutable, intimate. To work with clay is to work with slowness and breath, to negotiate with a material that demands presence and accepts imperfection. It is writing in another language: syntax in curvature, emphasis in weight, metaphor on the surface. I am drawn to materials that can break, not because of their fragility, but because of their truth. Ceramics is honest in its transformations; it reveals every mark and every mistake. Its vulnerability is a form of clarity. In choosing ceramics, I choose a medium that allows me to construct worlds that feel both ancient and newly imagined at once, worlds where touch, time, and transformation are inseparable.”