On balance, that was a small price to pay for the considerable pleasures of great food, a temperate climate, and superlative art and often astounding architecture, which Zona Maco (February 8 to 12) has done much to illuminate in the past fourteen years, simply by bringing more people to it. “It’s like Mumbai,” as Labor’s Pamela Echeverría put it. Heading out for what is traditionally the prefair gallery hop, I wondered if Weiner’s title wasn’t a sly reference to the barely perceptible movement of weekday traffic. “They really get me here,” crowed the seventy-four-year-old Conceptualist, submitting to a phalanx of adoring photographers and autograph hounds in the museum’s interior courtyard. The city’s mayor even got into the act by cutting the ribbon on “Forever and a Day,” a multisite exhibition by Lawrence Weiner that opened February 7 at the Museo de la Ciudad de Mexico (a former palace in the historic center) and four other public spaces around town, including the Zócalo (one of the grandest plazas in the world). Right: Artist Lawrence Weiner and dealer Shaun Caley Regen. Or this year’s entire Material Art Fair, in Juárez, a “developing” neighborhood where bootstrap galleries are colonizing vacant commercial space in the manner of ’70s SoHo. Or the fascinating revivification, by Mario García Torres, of the nearly forgotten Museo Dinámico (Dynamic Museum), a revolutionary mid-1960s partnership of anti-institutional art and architecture. Take the exacting appropriation of an OXXO convenience store that Gabriel Orozco has installed at Kurimanzutto, sending the highfalutin art market crashing to earth in a supermarket.
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