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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On January 18, 2026, as part of the public program of Index Art Book Fair at kurimanzutto, Mexico City, the fourth session of y que le digo y que me dice took place, organized by Onda MX. This initiative emerged from the need to open a space for dialogue among artists, writers, and other thinkers around key issues that traverse artistic practices in Mexico.

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Since its founding, the Rufino Tamayo Biennial has been a crucial device for tracking the evolution of painting in Mexico. More than a competition, it has functioned as a structure through which to read the tensions, drifts, and continuities of a medium that, far from being exhausted, continues to find new ways to breathe. Its origin responded to the need to defend painting at a historical moment when other languages were beginning to displace it—or at least to place it under suspicion. Today, in an ecosystem where painting has expanded into material, conceptual, communal, and process-based territories, that mission becomes more urgent than ever. The question is no longer whether the biennial is still necessary, but how it must transform in order to accompany the present.

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