Saúl Kaminer is a being in transit: warrior and monk, with Middle Eastern leanings, profound, thoughtful, and minimalist. He combats the secondary, eliminating ornaments and artifices, and preserves the essential, that hard core of his expression is anchored in the sobriety of space, in incessant movement, in the provocation of light and its revenge in shadow.

Perhaps the more evident, the more adhoc with collective thinking, and its need for normativity, would be to think, that all of those who, like Armando Romero, modify the great works of art of the Renaissance and the Baroque, by adding to them stickers and other references to popular culture of every kind, desacralize them intentionally, because they openly despise the elitist culture from which they have originated.

Maribel Portela blurs the borders that exist between shape and essence, natural beauty and artistic beauty, realism and utopia. She manipulates those dichotomies freely, inverting them, negating them, or reaffirming them simultaneously.

It is perhaps only after understanding the fascination of Maria José de la Macorra for the miraculous process of the reproduction and multiplication of the living organisms that one perceives the importance that she gives to the liquid element, and more precisely water…

Perla Krauze is not only an artist; she is a sort of interpreter that seems to know the language of stones and plants.

There is, without a doubt, something obsessive in the work of Jesús Lugo. How else can one explain that, within the limits imposed by the canvas, most of his paintings are animated by a nearly infinite multitude of such diverse characters, with different expressions and attitudes?

An artist in love with freedom, Yolanda Mora paints, letting only her inner self dictate that rhythm she consciously rejects, but that would be difficult to deny in her finished work. That rhythm, however, is not imposed by reason, but arises from the very mystery of creation.

Endy Hupperich has lived in Mexico since 1992; he is influenced by the 1980s, which culminated in the fall of the Berlin Wall, as well as the influential artistic movements of the time and the global trend of Neo-expressionism known as the Transavantgarde ...

Aesthetics does not have to seek to understand works of art as hermeneutic objects, but what must be understood is their incomprehensibility. The aesthetic experience destroys understanding, since there is no script—that is, there is no pre-established way to read works of art.

The first thing revealed to the observer who contemplates the series Resonancias [Resonances] from Valerie Campos is its formal parti pris through which the artist has decided to geometrically distort the immediate reality of the depicted space. We do not need to know with certainty that this space corresponds to the actual place where the painter lives and works—her apartment, her studio—because, using the simple resources of painting, she evokes an intimate environment that asserts itself naturally as hers.