In her curatorial text for this group exhibition of Mexican artists mostly born in the nineties, Karol Woller Reyes defines a “generational imagination.” It belongs to artists who have “naturally incorporated some creative strategies” such as digital montage and circuit bending into the production of paintings and sculptures that also abound with references to pop-cultural figures from Pokémon to Pepe the Frog. The implication is that the art of today is shaped by the technologies and media environment of its makers’ adolescence. Shared access to cable TV and computers during childhood does not, however, a generation make. One of the narrow aisles that encircles the warehouse-like main gallery at Museo El Chopo housed the first, smaller part of “El Fin de lo Maravilloso.” Tucked to the side of the glass-walled gift shop were pieces by YOPE Projects collective crowded into a scaffold structure resembling an open-air market; a very early José Eduardo Barajas painting of cloudy emoji-like figures (Cirrus, Socrates, particle, decimal, hurricane, dolphin, tulip, Monica, 2018) in a freestanding wooden frame; and ¿Estamos, Kimosabe? (2020) a much-exhibited soft sculpture of a Mexican Bugs Bunny by Paloma Contreras Lomas—which judging by the dirt on its paws, has seen better days. …