I was walking hand in hand with my mother the first time I visited Líneas de fuga by María Ezcurra at the Museo de Arte Carrillo Gil. It was a Saturday around lunchtime and the room was empty except for the large, strident textile bodies in tension, the pile of shoes flying like a flock of birds, the house made of suitcases, and the quinceañera dresses suspended in waiting. The show is Ezcurra's first retrospective and caught my attention from the start for the versatility of formats and thematic axes that run through gender, migration, ecology, and the symbolic languages of materials. It is in this last point, however, where I find the genius of her work and the capacity to evoke sensations so personal and situated that they captivate and disturb at once.

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The Football World Cup in Mexico was sold to us on the promise of modernization and national celebration. While the latter is still underway, rather than projecting stability and prosperity for the country, it has thrown into sharp relief the fractures and griefs we have been building up as a society in recent years. In that spirit, the current collective exhibition at La Quiñonera, Anti FIFA Fan Fest: Al balón le vale m*dres [Anti-FIF4 Fan Fest: The ball doesn’t give a d*mn]—organized by the collective MalPaís and curated by Patricio García Formentí, Mario Stoylov, and Ana Sofía Esteva—uses the World Cup as a starting point to dissect the political and social symptoms that the spectacle attempts to conceal by all means available.

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Apenas te darás cuenta que estás viendo dibujos animados [You'll Hardly Realize You're Watching Cartoons] is the title of the current exhibition by Josué Mejía, a 32-year-old Mexican artist, at Proyectos Monclova gallery. The show revisits the aesthetic that American illustrator Mary Blair (1911–1978) developed for a series of animated shorts commissioned by the United States government from the Walt Disney Company during the 1930s and 1940s. Disney sent a group of illustrators, called "El grupo," to several Latin American countries (Brazil, Chile, Argentina, Peru, Bolivia, Colombia, and Mexico) to learn about and portray the cultures of those regions. The aim was to produce a series of animated films that resulted in Saludos Amigos (1942) and The Three Caballeros (1944).

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Dedicated to Ana María Martínez de la Escalera

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