The title of Jim Ricks’s painting, I’m So Bored with the U.S.A. (2019)—borrowed from the Clash song—might be taken as a comment on how pervasively Mexico City’s Art Week has, in recent years, been dominated by the country’s relationship with its northern neighbor. This teal-colored canvas, the text of its title painted neatly against the surface in a sans-serif font, hangs at Daniela Elbahara gallery among a collection of the artist’s playful and witty works interrogating the structures of democracy and resistance. “This is What Democracy Looks Like” is the first painting show for the US-born Irish artist, whose conceptual work often incorporates sculpture and performance. The exhibition uses humor to lay bare the absurdity and hypocrisy of US politics, and to question the amount of attention paid to the country by the rest of the world. Perhaps partly in anticipation of the cancellation of Art Basel Hong Kong, a surplus of American and European dealers and collectors were present during this major week of art fairs, gallery openings, and museum exhibitions. Pia Camil’s exhibition “Ríe ahora, llora después” [Laugh Now, Cry Later] was particularly popular with both visitors and locals. For her second solo show at Galería OMR, the …

A man wearing pajamas and a bathrobe clutches a branded coffee mug and ponders the distance through the drawn curtains of the Museo Jumex terrace gallery window, his graying eyebrows knitted in maudlin unease. This is Mike, artist Michael Smith’s alter-ego who in the exhibition at Jumex, “Imagine the view from here!,” considers buying a “curated timeshare living experience” at the museum, marketed by the fictional International Trade and Enrichment Association. In promotional videos and trade fair–like booths, his bone-dry humor critiques the private interests that have a stake in the promotion of Mexico’s contemporary art scene to foreign and local markets as well as the clichéd banality of its consumption. The show is particularly resonant in the context of Art Week CDMX, the annual week of cultural offerings organized to coincide with Mexico City’s art fairs. Playfully seeding his fictional timeshare with coopted real elements such as photos from past museum events, the omnipresent juice at the museum’s openings, and cameos by the museum’s curator, Smith constructs a conceptual art version of an investable real estate lifestyle package. The show’s trade-fair aesthetic is a reminder of how easy it is to harrumph fairs as too mercantile, too convention center ticky-tacky, …

The Zona Maco art fair week (April 10–14) got off to a good start with the notion of a nude bird at Etienne Chambaud’s exhibition at LABOR called “The Naked Parrot.” The path was there, the bird absent. Rainbow-colored bird shit, echoed in the emailed invitation image of multicolored pigeons, outlined a zigzag trajectory through the gallery, under a fragile crisscross of severed bronze heads punctured by steel beams, titled The Fractal Zoo (2013). It left us to wonder: who are the animals inside this gallery-turned-cage? The yellow-pink-orange-blue-green shit road (from pigeons which the artist had fed colored pellets) marked an auspicious beginning for the journey that would end at Maco itself, a journey which included a fauna of art goers from all over the world teetering through Mexico City, from one opening to the next, in high heels and spring suits. But it was last Tuesday that truly marked the gallery opening marathon, starting with Edgardo Aragón at Proyectos Monclova. The highlight of his show, which focused on land rights and violence, mostly in his native state of Oaxaca, was what the artist called his “portrait” of Zapata, titled, appropriately, Zapata (2013): a black marble box containing earth from the …

Art fairs—unlike biennales—aren’t allowed the luxury of an “off year.” And so it is that Zona Maco finds itself sandwiched between two Very Big years—with the opening of Carlos Slim’s Soumaya Museum last year and the debut of the David Chipperfield-designed facilities for La Colección Jumex slated for 2013. Now in its eighth year, the fair provides a much more relaxed alternative to Art Brussels and Art Cologne. But just because a fair takes lunch breaks—four hour ones at that, and always at Contramar—doesn’t mean it can’t be taken seriously. As the Soumaya and Jumex museums chart out new territory for art in the city, galleries and smaller projects are gravitating towards older ones. In the Ampliación Daniel Garza area, just south of Chapultepec Park, Casa Luis Barragán serves as the elegant anchor for a fresh crop of initiatives, two of which opened Monday, two days before the fair. I started off at Labor’s new space, housed in the former workshop of Soumaya architect Fernando Romero, who has since moved next door to Casa Barragán, directly across the street. “I love how this address acts as a type of filter,” Labor’s Pamela Echeverria sighed between sips of mescal. “The type of …

While considering the strange juxtaposition of the skyscraper’s program, architect Rem Koolhaas—in his 1978 Delirious New York—speculated that the ‘plot’ of the Downtown Athletic Club’s ninth story was a tale of “eating oysters with boxing gloves, naked.” Similarly congested is the exposition hall, which these days can be found hosting art shows, boating events, music fairs, and so on. Yet Zona Maco and its host, Centro Banamex, layered not only a hippodrome with an art fair, but added a children’s expo, a high-end car parts show, and a security systems fair extravaganza. As such, last week’s festivities presented the opportunity to take your kid to sample unreleased Nintendo games, while perhaps also lavishing a trifecta payout windfall on add-ons for a super and/or muscle car, a new painting or designer desk, while at the same time picking up a new alarm system to guard the loot. Adding a comical flair to this surrealist cut-up, many “test” sirens could be heard sounding off and blending into the aptly named “zone” of the art far. Although Koolhaas lauded the social potentiality that these chance cross-programs offered, Hal Foster—in his essay Bigness from the London Review of Books*—famously questioned this legacy of celebrating …