When I visited Atravesar el lago, a cycle of performances programmed at Casa del Lago, curated by Adonay Bermúdez, I was confronted with a certain unease that I could not fully understand at the time.¹ At first, I could not find a relationship between what the curator had anticipated and the performative experiences that had taken place, as the dialogue between each gesture seemed rather dissonant. The circumstances of this experience revealed to me a troubling symptom of the current cultural landscape: a curatorial politics that attempts to show "the indigenous" as artistic style-category and identity enunciation, but that does not manage to question the colonial logic such a criterion brings with it.

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"Dancing is very joyful and it fills me with happiness" is the last thing Michelle Sáenz Burrola says to me at the end of a conversation framed between eating tostadas at the market and my appointment with my therapist. Although Michelle works with video, object, and performance, I met her outside of galleries and art talks; I met her dancing. Over the course of our conversation, I came to understand her work as a constellation in motion: a series of discrete interests interconnected by gestures and intuited stories. I also get the image of a large stack of tracing paper seen from above, in such a way that all the layers are transparent and we understand all the ideas at the same time, one on top of the other. In this stack of paper—Michelle's work—all the sheets have titles like: Proyección de Mercator, Movimientos de gusanos, Rutas comerciales de la mandarina y Amor en las islas de la UNAM.

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To express is to squeeze so that something comes out, Madero told me. In his painting, he prefers to rock in a baby's dialogue. The words behind his colors melt at the edges or splash around in cosmic eggs. Julián avoids the delicate, ceremonious approach to the stretched canvas: what he seeks is to lose control, to let go, to play with thin acid-soaked sheets that crinkle and receive marks without fear.

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Christian Camacho's work draws attention through its subtlety. It is as if through it he shows us what objects do in secret. His works are laboratories: spaces where he places "things to see how their relationships function"¹, things that can be an angle, a reflection, a transparency.

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