Uncovering the Sexuality and Solitude of a Modern Mexican Icon

Frieze // Evan Moffitt


ARTFORUM // Gaby Cepeda

Fraccionar, an idiosyncratic show in Mexico City, makes a match with the sublime Casa Luis Barragán

The Art Newspaper // Linda Yablonsky

Pervirtiendo el legado de Barragán

La Tempestad

Looking Back 2018: a Year of Remembrance and Political Unrest in Mexico

FRIEZE // Ruby Brunton

T Suggests

T The New York Times Style Magazine // SU WU

Danh Vō en Casa Luis Barragán

Revista Código

Danh Vo “Garden with Pigeons in Flight” at Casa Luis Barragán, Mexico City

Mousse Magazine // Francesco Scasciamacchia

Espacio, proporción y antropometría: Franz Erhard Walther

Arquine // Emiliano Sánchez Contreras y Daniela Jay

Künstler Franz Erhard Walther “Beispiel für die schöpferischen Möglichkeiten des Menschen”

Monopol Magazin // Frank Steinhofer

Franz Erhard Walther at Museo Jumex and Casa Luis Barragán, Mexico City

Mousse Magazine // Agnieszka Gratza

Quietud en movimiento. Parameters de Bruce Nauman

Revista Código // Javier Villaseñor V.

Bruce Nauman en México

La Tempestad

La otra cara de Juan José Gurrola

Noticias 22 // Salvador Perches

Una obra abierta a diversas lecturas

La Tempestad

Poesía de Monoblock en La Casa Luis Barragán

Excélsior // SONIA ÁVILA

Teatro en la Casa Luis Barragán

L'OFFICIEL ART // Felipe Pando



Mármol Rosa: la vida secreta de las cosas de Casa Barragán


Mármol rosa, la exposición que hospeda la Casa Barragán


Mármol rosa en la Casa Luis Barragán

Revista Código // Herson Barona

A Dada Exhibition Fetishizes the Movement’s Ephemera

Hyperallergic // Devon Van Houten Maldonado

DADA Zúrich: una forma de arte sin obra

Gatopardo // Samantta Hernández Escobar

Marius de Zayas, el enigma plástico

Gatopardo // Roberto García Hernández

Marius de Zayas at Casa Luis Barragán, Mexico City – organized by Estancia FEMSA

Mousse Magazine

Exposición Marius de Zayas

hotbook // Fin de semana

Edgardo Aragón en Casa Barragán: caballos, música y silbatos de la muerte


Música, caballos y arquitectura: un corrido de Edgardo Aragón para Luis Barragán


Secret spaces: Iñaki Bonillas’ exhibition in the hidden nooks of Casa Luis Barragán




Complicidad en Casa Barragán

Nexos // Luciano Concheiro

Barragán fetichista, muestra que mezcla religión y sensualidad

La Jornada // Fabiola Palapa Quijas



ARTFORUM // Gaby Cepeda


The best piece in this group show is, arguably, not a work of art. It is a miniature folding screen featuring six panels jointed together, each with a different image of the transcendental beauty of the supermodel Iman. The curiosity rests on its own wooden table, to the right of a massive colonial-period painting of the Annunciation to the Virgin Mary. That both of these objects are right in front of Luis Barragán’s bed, and that he would have opened his eyes every morning to the Virgin Mary receiving civilization-changing news as well as to the beauty of Iman, is, to me, remarkable. Even better is Inti Guerrero’s curatorial acumen to hang, right above Iman, one of Chucho Reyes’s flamboyant Christs (untitled, n.d.), this one wearing a feathered, carnivalesque loincloth, standing almost mid-dance as he bleeds.The precision of the installation is striking, especially for a space like Barragán’s home, where perspicuity reigns and foreign objects often look dispensable. An example of this is the guest bedroom, overtaken by Mientras me despierto (While I Wake Up), 1985, a jewel-toned Julio Galán canvas in which a man stares out a tiny window—mirroring the very oneiric, actually tiny window in the room—in a hallucinatory scene that includes a goofy but threatening dog wearing boxer shorts. That this oversize painting wasn’t always there to stimulate houseguests’ dreams makes no sense. In the white room, Liliana Maresca’s No todo lo que brilla es oro (Caja Grande) (Not All That Glitters Is Gold [Big Box]), 1989, brings out the mysticism of Barragán’s monastic architecture. In the video, she plays with geometric metallic objects in an alchemical-looking ritual made no less serious by its delightfulness, a child’s laughter ringing in the background.The incorporation of works by Maresca, a religionless but ardent mystic, and Galán, the enfant terrible of Mexican painting, into Barragán’s Catholic-decor extravaganza is not an obvious call but one that clicks immediately. After all, it takes a certain amount of queerness to reconcile opposites: peaceful nature and the city, externality and interiority, devotion and desire.