Despacio’s mission is to keep doing what it has been doing for the past decade: consistently exploring new models of artistic and curatorial practice while remaining a driving force in the continued development of Central America’s artistic voice.
Untold Stories
Despacio’s Library in Residence is an ever-evolving selection of artworks, artist books, and unique handmade publications that together not only reimagine ingrained library systems but also examine literature’s role in contemporary art.

Zines Library

ArchivedHappened in April 2017
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San José

Despacio’s newest Library in Residence brings to life the ephemeral being of fanzines. Once printed and distributed they often disappear in personal collections or vanish quickly from sight. So are the fanzines of Cornucopia Zine, which will be accessible once again and present the visual dialogues with numerous artists in form of monographic fanzines.


Some say it started with trashy science fiction novels, some say hand-written Xeroxed pages by punks, some say the comic nerds were first to invent the fanzines.

Despite the disputed origins and the digital revolution, the production of self-made magazines never ceased. Written and edited by fans of a particular cultural phenomenon and distributed amongst likeminded, they are only hard to find – even more so in Costa Rica.

For one month, Despacio presents a collection of artist-made fanzines from the self-publishing studio Cornucopia Zine based in Costa Rica and founded by Oscar Ruiz Schmidt. The fanzines are all co-signed as monographs by a guest-artist and the editor.

On the opening day Cornucopia Zine will produce a new zine on-site and in collaboration with the copy shop on the ground floor of Despacio.

The Zines Library launched on April 29th at Despacio in parallel with the Naked Fish Festival taking place on the same day. It was furthermore presented during the Art Basel week in the art book fair I Never Read, 2017.

Following zines produced by Cornucopia and guest artists will be accessible:

STBY 1 / Olman Torres
60 b/w, 4 color, Preview

Hombre y Bestia / Ronald Reyes
48 pages, 45 b/w, 3 color, Preview

Binnenstich / Oscar Ruiz Schmidt
56 pages, 52 b/w, 4 color, multiple fold-outs, Preview

Küsse to everybody / Sonsoles Lozano
72 pages, black and white on cream colored paper, Preview

llustraciones / Osvaldo Baldi
34 pages, black and white on yellow paper, Preview

Devota / Felipe Huertas Oviedo
32 black and white pages, 2 color, Preview

Acromatopsia / Juan de la Cruz Calivá
66 pages, black and white, Preview

STNBY 2 / Olman Torres
26 pages, black and white, Preview

Retratos / Natalea Soto
40 pages, black and white on cream and orange paper, Preview

Como el agua forma la tierra / Obra Gris
48 pages, black and white, Preview

Dosis / Rebeca Arias
22 pages, color, Preview

Caribe Fantasma / Lores de Sousa
28 pages, 8 color, 20 b/w, Preview

Unísono / Carlos Hurtado
Two zines in one, a) 18 pages, 16 b/w, 2 color b) 12 pages, b/w, Preview

Vernacular / Danilo Reuben
46 pages, b/w, Preview

No secrets between us / Fabrizio Arrieta
52 pages, 44 b/w, 8 color, Preview

Labios / Pablo Cambronero
40 pages, 24 color, 16 b/w, Preview

The Simulacrum is the Present Reality / Carla Saborío
36 pages, 26 b/w, 10 color, Preview

Cerrado por reformas / Olman Torres
72 pages, 66 b/w, 6 color, Preview

Frau Lamb / Juan de la Cruz Calivá
32 pages, b/w, Preview

Siesta Infinita / Seniorita Polyester
28 pages, b/w on red, blue and white paper, Preview

África / Jose Díaz
34 pages, color, multiple foldouts, Preview

Glitch / Elisa Bergel Melo
20 pages, color, Preview

Ciudad Mínima / Leo Ureña
36 pages, 30 b/w, 6 color, plus fold-out color cover, Preview

25 under 25 / Nueva Fotografía
54 pages, 44 b/w, 10 color, Preview

Una selección de fanzines estará para la venta. La imagen principal usada para comunicación del evento es de Olman Torres.

Words Ending on Tape

ArchivedHappened in October 2016
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San José

Despacio collaborates with Printed Matter, Inc. (New York) to revive an almost lost medium. A few decades ago the cassette tape was the most convenient way to record sound material, yet with the fast advancing digital world it is at the verge of being completely forgotten. Nevertheless, artists have continuously used this format to further expand their forms of expression. Listen to the sound of a diary, bodies, an unstable table, singing sand, and of a disassembled cassette in our newest Library in Residence.


Printed Matter, Inc (New York) presents a selection of artists' audio on tape.

The projects include conceptual performance works for voice, improvised 'talk pieces', artists working in the sound/song medium, and sound projects that derive from work on paper, or that are conceived in connection with a companion artists' book. Several works of experimental audio reflect on the physical medium of the cassette itself, building on found sound or field recordings from the natural world that have been auto-tuned, tweaked and layered to create new meaning.

Thoughts by Keith Gray

The library will be on display from October 20, 2016 on. Following eleven audiotapes were chosen for the Library in Residence:

Birds, Whales and Singing Sand
Aaron McLaughlin
One Mile High, 2012

The Archaeology of Home & Lemons
David Antin

Unstable Table
Nonhorse (G. Lucas Crane)
High Performance Audio

Friedrichstraße 4, buzz "Shin" at door
Kayla Guthrie
Published by 100%

Dan Graham
Dan Graham & The Static at Riverside Studios London
Published by Primary Information

Endless Audio
Jonas Bers, Spreaders, Matt Luczak, Anima Projection
Published by Endless Audio

The Sound of a Cassette Disassembled
Justin Meyers
Published by Tone Filth

Aki Onda
Published by Gil Arno/Unframed

Denise de la Cerda and Alan Sondheim
Damaged Life

Babbally: The Destruction of Mindfuck Diplomacy
Cleveland: Burning Press, 1990

Bodywork No. 1
By Cat Lauigan, Matt Brownell
Brooklyn, 2014

Printed Matter, Inc

Printed Matter is a world’s leading art bookstore dedicated to the dissemination, understanding and appreciation of artists’ books and has become an important voice in the art world. The nonprofit art bookstore was started by Sol LeWitt and the art critic Lucy R. Lippard.

Private Matter

ArchivedHappened in July 2016

Loose pages, fragile, incomplete and sometimes too personal, the artist Diego Fournier lends his sketchbooks to Despacio. By exploring the processes of the everyday, whether ravens eating worms at the plaza, the dancing legs of frogs or a boy experiencing the beach, each of these intertwined stories of personal encounters unfold to new destinations of imagination in a series of 20 handmade sketchbooks.


No. 1 and 8-19 of these unique sketchbooks are presented for the first time to the public. The books began with homework assignments and pencil sketches, yet quickly evolved towards a colorful imaginary place for dreamscape. Playful cartoons, minimal notes and vibrant patterns of stories and shapes that lead to the next idea are revealed by the marks of a felt tip pen.

In combining a freedom of spontaneity and conforming to rules, Fournier created a fascinating personal dialogue with his everyday. This dialogue, documented and transformed in his illustrations of encounters, allows for an engagement with narratives that maintain their own time and rhythm while being influenced by the ongoing interweaving of realities and fantasies. The deep transformative nature of this private matter allows the artist to visualize what is really on his mind.

Thoughts by Anna Hugo

The books will be on display from July 28, 2016 on.

Diego Fournier is a Costa Rican artist living and working in San José.

Point of View

ArchivedHappened in May 2016

On the occasion of the Art City Tour Despacio presents “Point of View: An Anthology of the Moving Image”, an exceptional selection of art films, edited by the New Museum, New York. The screening takes place in a screening room on the first floor of Despacio, which will be for the first time open to the public.


For over 30 years, video and film art have challenged many of the conventions of the art world. From questions of reproduction to issues surrounding acquisition, video and film art have grown from marginalized forms of artistic production to material for mainstream filmmaking and music video production. Point of View is an innovative commissioning and publishing project by the New Museum designed to make video and film art more accessible, and to fully utilize the qualities inherent to the medium.

The program, curated by Caroline Bourgeois and Ilene Kurz Kretzschmar, includes films by 11 artists from different countries and backgrounds, who are among the most significant personalities of the contemporary art scene: Francis Alÿs, David Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac Julien, William Kentridge, Paul McCarthy, Pipilotti Rist, Anri Sala.

The screening takes place on May 11, 2016 from 5-9pm on the first floor of Despacio. After this, the films are shown during the regular opening hours of Despacio: Friday and Saturday from 2-7pm.

Artists and films included in the anthology:

William Kentridge (South African, born 1955)
Automatic Writing, 2:38 min

William Kentridge gained international attention for his animated films Felix in Exile: Geography of Memory (1994), History of the Main Complaint (1996), and Weighing…and Wanting (1997), which explore the history and psychology of South African apartheid. His films derive from charcoal drawings that develop within a process of erasure. In video historian Michael Rush’s words, “Kentridge works in a stream of consciousness that allows impressions and momentary flashes to take form and then yield to new images, without any loss of momentum; indeed, quite the opposite; momentum builds with each frame.” Reminiscent of Surrealism, Kentridge’s film Automatic Writing explores the point where writing and drawing intersect.

Isaac Julien (British, born 1960)
Encore, 4:38 min

Isaac Julien is Britain’s preeminent black filmmaker as well as an internationally recognized artist, writer, and scholar. He was a founding member of Sankofa Film/Video Collective, set up in the UK in the 1980s to protest British racism and to form a new politics of representation. Sankofa created a new genre that contested the realism of both the British documentary movement and of fiction feature films. Julien’s best-known works are biographical meditations on the lives of influential black authors. Foremost among them is Looking for Langston (1989), widely considered a founding text of New Queer Cinema, which examines the life, politics, and sexuality of Harlem Renaissance poet Langston Hughes, focusing particularly on the repressed gay subtext in Hughes’s writing. However, more poetic than didactic, Julien’s films are characterized by their dreamlike imagery and sensuality. In recent years, he has moved away from the single screen toward the use of multiple screens. He has stated that this arrangement allows him to explore certain compositional ideas that are impossible with a single screen and counteracts a kind of “conservatism” in how the viewer perceives images on screen. Through its intense engagement of visual pleasure Julien’s work also seeks to expose, deflect, and reconstruct the cinematic gaze, exploring issues related to questions of race, gender, and sexual difference. For Encore, Julien reworked outtakes from his longer three-channel projection piece Paradise/Omeros (2002) that refers to the African Diaspora and the emblematic search for the “new life” in a New World.

Paul McCarthy (American, born 1945)
WGG (Wild Gone Girls), 5:20 min

California-based and active since the late 1960s, Paul McCarthy gained recognition for his intense performance-based video work on taboo subjects such as the body, sexuality, and shamanistic initiation rituals. His work has also explored themes of violence and dysfunction as they relate to sacrosanct notions of family and childhood. To get at the underbelly of American popular culture he often restaged culturally charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media. Incorporating sausages and ground meat, ketchup, mayonnaise, and chocolate syrup, his work distorts and mutates these familiar narratives into disturbing and carnivalesque tableaux. Because of the shocking nature of much of McCarthy’s work, its innovative aspects as well as its historical roots have tended to be overlooked until recently, when several major museum shows took a closer look at his influential body of work. McCarthy’s work has to be seen in relationship to the politically and sexually brazen performances of the Viennese Actionists of the 1950s and 60s as well as the traditions of 1960s Performance art. “But while the work of the Actionists was about the blood,” McCarthy has noted, “my work is really about the ketchup,” indicating the important role Hollywood’s factory of fantasies should play in our understanding of his often graphic performances.

Gary Hill (American, born 1951)
Blind Spot, 12:27 min

Hill is one of the pioneers of video art. He completed his first single-channel video in 1973 and began producing video installations as early as 1974, consistently employing new technologies to expand the vocabulary of his work. One of Hill’s main interests is the conceptual nature of electronic media, particularly its relationship to writing, the voice, and the body. In the short film Blind Spot, excerpted from the larger five-channel installation Accordions from July 2001, the artist examines the threshold of where language begins and ends. Here, gestures and facial expressions act as a surrogate for language. Shot in the Arab neighborhood of Marseilles, the camera singles out one man in a crowd. As the camera zooms in slowly, the imagery is interrupted by increasing segments of black to create an almost still portrait–like photograph. Following the events of 9/11, one cannot help but interpret this encounter in political terms.

Joan Jonas (American, born 1936)
Waltz, 6:24 min

Since the 1960s, Joan Jonas has been a key figure in the field of performance and video art. Trained in art history and sculpture, Jonas’s early works examined space and perceptual phenomena, merging elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in 1972, incorporating a live camera and monitor that functioned as both mirror and masking device. Her investigation of subjectivity and objectivity is articulated through a personal vocabulary of ritualized gesture. Often performing in masks, veils, or costumes—situated outdoors in natural or industrial environments— Jonas uses disguise and masquerade to study the personal and cultural meanings of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices, returning the viewer to that moment of ego formation described by Jacques Lacan as the mirror stage. Her work has always involved a preoccupation with feminist concerns: “There is always a woman in my work, and her role is questioned.” In recent years, Jonas has been developing work which extends the concerns of earlier pieces with a particular emphasis on notions of the visual. Her recent piece Lines in the Sand for Documenta 11 is a subjective meditation on the fate of self and civilization. Utilizing many of the artist’s formal techniques and deeply personal, Waltz incorporates mythology into its narrative alongside spontaneously occurring events, reiterating Jonas’s important position in the development of both early formalist and early feminist video.

Pipilotti Rist (Swiss, born 1962)
I Want to See How You See, 4:48 min

Like so many European girls of her age, Pipilotti Rist was riveted by Astrid Lindgren’s fairytale girl-heroine, Pippi Longstocking; so much so, she created her by now famous first name by combining her pet name with that of Lindgren’s swashbuckling character. Known for saturated colors, sensual imagery, and an unconventional use of space and scale, Rist is fluent in a visual language that embraces aspects of mass media and experimental video, playfully confronting the high/low debate; she compares the video medium to “paintings behind glass that move.” One of her best-known works is the unabashedly feminist two-channel projection piece Ever Is Over All (1997), in which she walks down a typical obsessively clean Zurich street smashing in car windows on one screen juxtaposed with shots of a country garden on the other. Like much of Rist’s work, I Want to See How You See is seductively corporeal, at once tangible and boundless, open to many interpretations. One such interpretive possibility might be related to her physical relationship to her recently born child and her desire to understand how a baby might see and experience the world.

Douglas Gordon (Scottish, born 1966)
Over My Shoulder, 13:48 min

Douglas Gordon is best known for film installations that feature classic films by directors such as Alfred Hitchcock and Martin Scorsese. Gordon excerpts and/or alters film sequences, drawing international attention with his 1993 piece 24 Hour Psycho, in which a radically slowed version of Hitchcock’s film is projected on a suspended screen to explore psychological states and memory. In Through the Looking Glass (1999) Gordon projects the famous scene with Robert De Niro from Taxi Driver onto two facing walls, with the viewer caught in the crossfire. In the interview included in Point of View, Gordon states that he has never liked video, but that he has always been interested in cinema, an attitude that he shares with many contemporary artists working with video. Many of Gordon’s works are based on dichotomies—passion and angst, hate and love, seduction and violence, life and death, perception and memory. In Over My Shoulder, Gordon uses hand gestures against a white sheet to communicate a wide variety of emotions, a by now clichéd cinematic trope to cut away from a sexual or violent scene, especially in Hollywood movies from the 1940s and 50s.

Pierre Huyghe (French, born 1962)
I Jedi, 5 min

While artists like Douglas Gordon manipulate actual Hollywood films, Pierre Huyghe re-creates them with his own actors and sets. These reenactments allow Huyghe to explore issues of identity and memory, only present as a subtext in the original movie. His piece Remake (1994–95) is a remake of Hitchcock’s film Rear Window that exposes the structure of the original film through various distancing techniques. Many of his works address the territory between reality and fiction and the construction of narratives. His two-channel projection The Third Memory (1999) takes as its point of departure a bank robbery committed by John Woytowicz in Brooklyn in 1972 that formed the basis for Sidney Lumet’s movie Dog Day Afternoon (1975). For his project, Huyghe tracked down Woytowicz. He reconstructed the set of Lumet’s film and, using amateur actors, asked Woytowicz to direct them following his memory of the crime. The final piece is a combination of scenes from Lumet’s film, rehearsals for the current film, and shots of the film equipment and crew; this creates a third memory, which becomes a probing critique of media spectacle that leads viewers to their own questions about time and memory. Addressing similar issues and paying homage to Steven Spielberg in I Jedi, Huyghe splits the screen in half, creating a mood of suspense, as we wait for something to happen.

Francis Alÿs (Belgian, born 1959)
El Gringo, 4:12 min

Born in Antwerp, Francis Alÿs has lived in Mexico City since 1987. Alÿs develops his artworks, primarily in the form of videos, slide shows, drawings, or paintings, from situations he encounters on walks through the streets of Mexico City. A close observer and occasional manipulator of the quirks of everyday life, Alÿs is mainly interested in the fleeting or transitory aspects of experience, adopting the viewpoint of a passerby who is at once involved and separate. In this respect Alÿs follows in the tradition of the Situationists and the Fluxus artists. Based on the artist’s experience of living in a foreign country, El Gringo presents the discomfort of being an outsider when the camera is confronted by a pack of snarling dogs, while literally destabilizing the cinematic gaze.

Anri Sala (Albanian, born 1974)
Time after Time, 5:22 min

Anri Sala is part of a group of emerging artists from parts of Europe that were once believed to exist outside mainstream contemporary European art. Trained as a painter, Sala has lived in Paris since the mid-1990s, but he grew up in Tirana during the repressive Communist era, witnessing Albania’s difficult path to capitalism. In the past few years his work has received much international attention, including the Young Artist’s Prize of the Venice Biennale in 2001. His photographs and video works are a blend of documentary, narrative, and autobiography, in which he explores the relationship between language and image, speech and action, and elusive historical fact. While his earlier videos, such as Intervista (1998), were about individual experiences that indirectly revealed sociopolitical events, his more recent work causes detachment and intimacy to coincide through a subtle mix of light, shadow, and sound. His richly textured images are laced with pain, disillusion, and loss, closely bound to a painterly tradition.

David Claerbout (Belgian, born 1969)
Le Moment, 2:44 min

David Claerbout can be counted among today’s youngest talents in the field of artistic video production. Originally trained as a painter, Claerbout uses in his installations either overlays of static images and subtly moving video projections or straight video projections. Often using existing film footage and photography, Claerbout refers to himself “as an editor rather than a creator.” Creating works in which the linear progression of time is unraveled, the artist poses questions relating to the reliability of the photographic in a digital age. In Le Moment Claerbout uses cinematic techniques to create a suspenseful journey through a dark forest only to undermine the viewer’s expectations set in motion by exactly those narrative strategies.

Biographies by Cornell University and the Johnson Museum

Bookshelf by Barbara Hoffmann

ArchivedHappened in March 2016

What are the favorite books of designers who normally create other people’s favorite books? We asked book designer Barbara Hoffmann to select 15 books for display at Despacio. Her selection features books that stand out for thoughtful interplays of form, material and content. Or in her words: it's the story, the smell, the touch, the grid, the look, the cover, the color, the sound, the paper, the weight, the appeal, the size, the title and ...

... many other reasons to love these books for.


Following 15 books are carefully chosen from an infinite universe of artist books, books on artist, and photo art books

Zilla and the 7th Room
Zilla Leutenegger
JRP Ringier Kunstverlag, ISBN-13: 978-3905829723

Weak Messages Create Bad Situations:
A Manifesto by David Shrigley
Canongate Books, ASIN: B0184X5I2Y

Legend of the things
Vreni Spieser
Edition Haus am Gern, ISBN-13: 978-3952369180

Without a viewer
Sandino Scheidegger
Distressed Securities & Books Ltd.

Ronan & Erwan Bouroullec
Drawing by Cornel Windlin

Beni Bischhof
Edition Patrick Frey, ISBN-13: 978-3905929492

Thomas Ruff:
Surfaces, Depths
Kunsthalle Wien, ISBN-13: 978-3852470757

Maya Hoffmann
This is the house that Jack built
Steidl Books, ISBN 978-3-86930-935-4

Ben Vautier: Is everything art?
Museum Tinguely Basel
KEHRER Heidelberg, ISBN-13: 978-3868286496

Panorama der Menschheit in 942 Photos
3+4 Weltausstellung der Photographie, Karl Pawek
Gruner + Jahr, ASIN: B0063GD2IC

Menschen Tiere Abenteuer
Andreas Züst
Edition Patrick Frey, ISBN-13: 978-3905929935

The Home Front
Kenneth Graves
Mack, ISBN-13: 978-1910164150

Peter Weber, Mara Züst
Edition Patrick Frey, ISBN-13: 978-3905929003

Zorn: Eine Dokumentation der Verbrennungen
Benteli Verlag, ISBN 3-7165-0473-4

Utopics – Systems and Lanmarks
Simon Lamunière
JRP Ringier, ISBN 9783037640562

The books will be on display from March 3, 2016 on.

The selection of books was made by Barbara Hoffmann, as well as the design of the bookshelf. Hoffmann currently designs for Büro 146 in Zurich, Switzerland. Her participation in the Libraries in Residence initiative is made possible by the support of Pro Helvetia.
Alfredo CeibalSandino ScheideggerStefan BenchoamStudio VisitY.ES ContemporaryLucas ArevaloAbigail ReyesSimón VegaMauricio EsquivelFire TheoryCrack RodriguezErnesto BautistaMauricio KabistanMelissa GuevaraJavier Ramirez NadieDiego FournierMaria José GuevaraAnna HugoBarbara HoffmannZilla LeuteneggerDavid ShrigleyRonan & Erwan BouroullecBeni BischhofThomas RuffMaya HoffmannBen VautierKarl PawekAndreas ZüstMara ZüstPeter WeberSimon LamunièreBernhard LuginbühlSwiss FocusMario SantizoGabriel RodriguezRonald MoránExhibitionUrs SteinerPro HelvetiaEmbajada de SuizaSwen RenaultCentral ArchiveLuca MüllerAdrian MelisSigurdur GudmundssonBethan HuwsHans EijkelboomJulian CharrièreJürgen KrauseJens RischThomas MoorJavier CalvoAnonymous ArtistJay ChungBen LongCamille LaurelliDiego Arias AscheteamFayçal BaghricheFlorence JungIván ArgoteJens SundheimMikko KuorinkiRonald ReyesSasha KurmazThomas GeigerYann VandermeKarin LehmannAnja MajerHabacuc Guillermo Vargas Roger MunozPaulette PenjeSebastien VerdonDavid HorvitzFabian BoschungNicolás RobbioNina Beier & Marie LundBenvenuto ChavajayMarton RobinsonCarey YoungAbsence of LogicAbsenceJulien PrévieuxInstituto Tecnológico de Costa RicaUniversidad de Costa RicaJorge de LeónAbsence of Divisionsto be announcedAdriana ArroyoErno HilarionLuis ChavesScreeningDonna ConlonJonathan HarkerFischli & WeissKeren CytterAlejandro Bonilla RojasJulian GalleseAlejandro RamírezCarlos FernándezLucía MadrizMarton RobinsonEva & Franco MattesFabiola CarranzaSophie BarbaschDiana Abi KhalilAlberto Rodríguez CollíaResidencyAlberto FontFabian NiklausÁlvaro Marenco MarrocchiRosemary MedinaErnesto Jara VargasAyami AwazuharaMatthias DolderAníbal LópezYaxs FoundationTamara DíazCentral American BiennialAna Lucrecia MuñozAníbal CatalánAudrey HoubenDiego GiannettoniErica Muralles HazbunJason MenaJorge LinaresKevin BaltazarMario Alberto López CruzNuria GüellSergio RojasProyecto 44Hugo QuintoJennifer PaizNora PérezPaulina ZamoraPablo XonáCarolina ArroyoLeonel JuracánEsperanza de LéonLeo HoffmannC.R.A.C.artFrancis AlÿsDavid ClaerboutDouglas GordonGary HillPierre HuygheJoan JonasIsaac JulienWilliam KentridgePaul McCarthyPipilotti RistAnri SalaNew MuseumChus MartínezNicolas LeubaStéphanie SerraNicola TrezziSabrina Röthlisberger BelkacemWalterio IrahetaAdán VallecilloDaros LatinamericaLeonardo GonzálezKaron Sabrina CorralesMuseum of the Honduran ManMarcos AgudeloGladioska Garcia SolisJuanita BermudezAlejandro de la GuerraRaúl QuintanillaErnesto SalmerónFederico HerreroSimone HuserJosé Manuel CastrellonJohann WolfschoonAna Elena GaruzSchandra MadhaZoe Sans-Arcidet-LacourtPrinted MatterKeith GrayMax SchumannAaron McLaughlinDavid AntinG. Lucas CraneKayla GuthrieDan GrahamJonas BersSpreadersMatt LuczakAnima ProjectionJustin MeyersAki OndaDenise de la CerdaAlan SondheimMiekalCat LauiganMatt BrownellJulia MurilloAllora & CalzadillaAlejandro Almanza PeredaSol CaleroLuis CamnitzerAlfredo JaarRegina José GalindoTeresa MargollesRivane NeuenschwanderYoshua OkónLiliana PorterGabriel SierraNaufus Ramírez-FigueroaHanne LippardAna AlensoDeborah CastilloMichele Di MennaAude LevèreDafna MaimonEleanore PientaThe Pizza Suicide ClubTercerunquintoCorina HeinPaula PiedraMarlena WaldthausenPriscila GómezPhotographyErina LibertadAlejandro Ramirez SalasYamil de la Paz GarcíaJohan PhillipsPerformanceSergio Rojas ChavesMimian HsuAndres GudiñoDanceTheaterCharly Le PoissonnierDino RealElyla SinvergüenzaMonsieur BienOscar Ruiz SchmidtSeñorita AbrilRoberto ChavesStephanie WilliamsOlman TorresSonsoles LozanoOsvaldo BaldiFelipe Huertas OviedoJuan de la Cruz CaliváNatalea SotoObra GrisRebeca AriasLores de SousaCarlos HurtadoDanilo ReubenFabrizio ArrietaPablo CambroneroCarla SaboríoSeniorita PolyesterIngrid CorderoJose DíazElisa Bergel MeloLeo UreñaNueva FotografíaJuliette ChrétienPablo Marcus BienCamila Garon OrellanaPaula KupferOlivier AubertinAlexandra DelageGardenKarlo Andrei IbarraIgnasi AballíSite-Specific ArtArtist Run SpaceCristina RamirezStephanie ChavesPaz MongeReviewMaripaz HowellRevista RaraPress
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