Tino Sehgal’s first solo exhibition in Mexico does not hang from walls or rest on pedestals. Instead, it occupies a far more elusive site: the passage. There are no objects to contemplate, only situations that move through us. A fabric that exists in the interval bodies open up—and one we begin to inhabit the moment we enter the room. The passage does not preexist contact: it is contact. At EstaciónMAZ it unfolds in three ways. Kiss, Kiss (Clean Version), and yet untitled each deploy—through an unceasing transit—the same question: where does the “in-between” happen?

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During Art Week, Eyibra (1992, USA) presented Good Boy, a performance that reflects on how masculinity forged within patriarchal violence is accompanied by obedience, aggression, and attack. The piece took place in the back area of a parking lot. One had to arrive early to secure a spot, as admission was free. Upon entering, the audience clustered at different points behind two rows of iron barricades, leaving a corridor in the middle where the action would unfold.

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Espacio vientre by Delcy Morelos, at the Museo Universitario de Arte Contemporáneo (MUAC), proposes the possibility of a gentle relationship with the earth. The exhibition is a site-specific installation produced through a series of visits by the Colombian artist to Mexican territory. Curated by Daniel Montero and Alejandra Labastida, the project presents itself as a declaration of intent in the face of planetary crisis, renewing a debate on the entanglements between soils, humans, and ecosystems.

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In Mexico City we love to play guess who: who is in the latest exhibition, who knows where that bar is, who knows the aunt of the friend of the collector’s brother who can lend you an artwork, who fixed the museum’s infamous air-conditioning system.

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