For her first exhibition in Mexico City, LA-based artist Kerry Tribe removed the front wall of Parque Galería and transformed it into a makeshift screening room. The crumbling architecture, with its exposed dry walls and frayed edges, introduces an exhibition in which seemingly solid physical and psychical structures are undone. Tribe’s work addresses perception, memory, and language, as well as the technologies used to perceive, record, and describe experience. Combining video, sculpture, and photography, her latest exhibition considers how atypical circumstances—such as alterations in the mechanisms of reception and emission in the brain—create opportunities to analyze the norms by which fitness and unfitness are defined. By paying attention to the anomalous, Tribe tackles new, affective configurations of knowledge. “the word the wall la palabra la pared” picks up and branches out from “The Loste Note,” Tribe’s 2015 show at 356 Mission, Los Angeles. Both deal with aphasia, a condition affecting the way oral and written language is processed. It is typically caused by damage to the brain, normally due to a stroke or head trauma. At Parque Galería, Tribe focuses on her collaboration with photographer Christopher Riley who, after two strokes, lives with the condition. In the video Afasia [Aphasia] (2017), both …

Like dance draws lines in space and time, Andrea Geyer’s first solo exhibition in Mexico City leaves a pleasant yet evanescent memory. Through crisscrossing imaginary and factual lines, the artist connects past histories and current politics with a sharp focus on the role of women in the arts. Encompassing a variety of media, such as video installation, photographic collage, and painting, “Truly Spun Never” is a theatrical show without being solemn or inviting the blues. Entering the exhibition space, viewers can see four large-scale framed white paintings (Travels on Slender Thread 2–5, 2015) interspersed with black-and-white photographs lining the walls of the gallery’s foyer. Lazily leaning against the walls, the text-based paintings that constitute Travels all feature poems written by the artist, based on her extensive research into women’s under-recognized contributions to modernism. The texts themselves are dry, but their design, with two different sizes of fonts, suggests movement and different tones or tempos; interconnecting graphic lines imply the variety of modes of reading a single thing or fact. Hung on the walls is the more effective “Asterism” series (2016): historical portraits of women who contributed to the Bauhaus—such as artists Anni Albers, Marianne Brandt, Gertrud Arndt, Lucia Moholy, and Grete Stern—all …