REMEX: Toward an Art History of the NAFTA Era City

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Prelude. The Allegorical Performative Introduction. Remix || re: Mex || REMEX: Toward an Art History of the NAFTA Era City Nafta-Era Performance and Conceptualism’s Prehistory Mexico City, Readymade: The “PIAS Forms,” Mexico's 1968, and Los Grupos "Naco" as the Taco: No-Grupo, Maris Bustamante’s La patente del taco, and Melquiades Herrera’s Object Lifeworlds Post-1994 GDPS and Labor Wars; Institutional Critique and Incorporation The Almost Ex-Teresa Generation Vicente Razo’s Anthropological Materialism Yoshua Okón’s Art and Administration Minerva Cuevas’s Logocentrism Francis Alÿs, Santiago Sierra, and the Age of Cuauhtémoc Teresa Margolles, Remaindered Woman ¿Desmodernidad? Literalists to the Core! Polvo de Gallina Negra’s Maternal Prosthesis Reallegorizing the Female Form Lorena Wolffer’s “El Derecho de Réplica” Katia Tirado’s Pub(l)ic Niches Silvia Gruner’s Fucked-Up Ethnographies Nao Bustamante’s Inter-American Pageantry Border NAFTA-Era Performance and Conceptualism’s Prehistory Art and Design: The Mexico-US Border after 1965 The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and Laboratory Post-1994 GDPS and Labor Wars; Institutional Critique and Incorporation Guillermo Gómez-Peña’s North American Free Art Agreement inSITE Specificity/Tijuana, Capital of the Twenty-First Century From Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________) Postlude. REMEX || re: Mex || Remix: Untoward Art Histories of the Third Millennium Acknowledgments Notes References Index