Barry Wolfryd
(Los Angeles, United States, 1952)

The artist’s ideological foundation is rooted in the historical awareness and social critique he developed during his time in New York and Connecticut in the early 1970s. Wolfryd built a pictorial language grounded in the use of symbols and iconographic elements, working across multiple disciplines such as printmaking, ceramic sculpture, collage, and object-based art. Since 2014, he has incorporated glass into his sculptural practice as a means of conveying the fragility of contemporary world narratives.

He began his artistic training at Housatonic Community College in Bridgeport (United States), later continuing at the Universidad de las Américas and the Instituto Allende (Mexico). He subsequently pursued studies in painting and drawing at the Instituto Nacional de las Artes in San Luis Potosí (Mexico) and at the School of the Art Institute of Chicago (United States).

Notable among his 45 solo exhibitions are Identidades reconstruidas (Reconstructed Identities) at Al Tiba9 Contemporary Gallery (Spain, 2024), Spectacularizing the Margi at the HDLU Museum (Croatia, 2023), and The Fragility of the Absurd at the Arocena Museum (Mexico, 2023). He has participated in more than 120 group exhibitions, including Tale of Two Hearts at the Museo de las Americas (United States, 2024) and Anthropos e Kainos II at Ex Cartiera Latina (Italy, 2023).

He received the distinction of Artistic Creator from the National System of Art Creators (2023) and was selected for the 6th Miradas de Tijuana Biennial (2014) and the 10th Monterrey FEMSA Biennial (2012).

Wolfryd’s work is part of private and institutional collections in Mexico and abroad, including the Benetton Art Collection (Italy), Grupo Milenio (Mexico), the Museum of Contemporary Glass Art in Alcorcón (Spain), and the Royal Glass Factory Museum (Spain).

Barry Wolfryd
(Los Angeles, United States, 1952)

The artist’s ideological foundation is rooted in the historical awareness and social critique he developed during his time in New York and Connecticut in the early 1970s. Wolfryd built a pictorial language grounded in the use of symbols and iconographic elements, working across multiple disciplines such as printmaking, ceramic sculpture, collage, and object-based art. Since 2014, he has incorporated glass into his sculptural practice as a means of conveying the fragility of contemporary world narratives.

He began his artistic training at Housatonic Community College in Bridgeport (United States), later continuing at the Universidad de las Américas and the Instituto Allende (Mexico). He subsequently pursued studies in painting and drawing at the Instituto Nacional de las Artes in San Luis Potosí (Mexico) and at the School of the Art Institute of Chicago (United States).

Notable among his 45 solo exhibitions are Identidades reconstruidas (Reconstructed Identities) at Al Tiba9 Contemporary Gallery (Spain, 2024), Spectacularizing the Margi at the HDLU Museum (Croatia, 2023), and The Fragility of the Absurd at the Arocena Museum (Mexico, 2023). He has participated in more than 120 group exhibitions, including Tale of Two Hearts at the Museo de las Americas (United States, 2024) and Anthropos e Kainos II at Ex Cartiera Latina (Italy, 2023).

He received the distinction of Artistic Creator from the National System of Art Creators (2023) and was selected for the 6th Miradas de Tijuana Biennial (2014) and the 10th Monterrey FEMSA Biennial (2012).

Wolfryd’s work is part of private and institutional collections in Mexico and abroad, including the Benetton Art Collection (Italy), Grupo Milenio (Mexico), the Museum of Contemporary Glass Art in Alcorcón (Spain), and the Royal Glass Factory Museum (Spain).

Barry Wolfryd
(Los Angeles, United States, 1952)

The artist’s ideological foundation is rooted in the historical awareness and social critique he developed during his time in New York and Connecticut in the early 1970s. Wolfryd built a pictorial language grounded in the use of symbols and iconographic elements, working across multiple disciplines such as printmaking, ceramic sculpture, collage, and object-based art. Since 2014, he has incorporated glass into his sculptural practice as a means of conveying the fragility of contemporary world narratives.

He began his artistic training at Housatonic Community College in Bridgeport (United States), later continuing at the Universidad de las Américas and the Instituto Allende (Mexico). He subsequently pursued studies in painting and drawing at the Instituto Nacional de las Artes in San Luis Potosí (Mexico) and at the School of the Art Institute of Chicago (United States).

Notable among his 45 solo exhibitions are Identidades reconstruidas (Reconstructed Identities) at Al Tiba9 Contemporary Gallery (Spain, 2024), Spectacularizing the Margi at the HDLU Museum (Croatia, 2023), and The Fragility of the Absurd at the Arocena Museum (Mexico, 2023). He has participated in more than 120 group exhibitions, including Tale of Two Hearts at the Museo de las Americas (United States, 2024) and Anthropos e Kainos II at Ex Cartiera Latina (Italy, 2023).

He received the distinction of Artistic Creator from the National System of Art Creators (2023) and was selected for the 6th Miradas de Tijuana Biennial (2014) and the 10th Monterrey FEMSA Biennial (2012).

Wolfryd’s work is part of private and institutional collections in Mexico and abroad, including the Benetton Art Collection (Italy), Grupo Milenio (Mexico), the Museum of Contemporary Glass Art in Alcorcón (Spain), and the Royal Glass Factory Museum (Spain).

Barry Wolfryd
(Los Angeles, United States, 1952)

The artist’s ideological foundation is rooted in the historical awareness and social critique he developed during his time in New York and Connecticut in the early 1970s. Wolfryd built a pictorial language grounded in the use of symbols and iconographic elements, working across multiple disciplines such as printmaking, ceramic sculpture, collage, and object-based art. Since 2014, he has incorporated glass into his sculptural practice as a means of conveying the fragility of contemporary world narratives.

He began his artistic training at Housatonic Community College in Bridgeport (United States), later continuing at the Universidad de las Américas and the Instituto Allende (Mexico). He subsequently pursued studies in painting and drawing at the Instituto Nacional de las Artes in San Luis Potosí (Mexico) and at the School of the Art Institute of Chicago (United States).

Notable among his 45 solo exhibitions are Identidades reconstruidas (Reconstructed Identities) at Al Tiba9 Contemporary Gallery (Spain, 2024), Spectacularizing the Margi at the HDLU Museum (Croatia, 2023), and The Fragility of the Absurd at the Arocena Museum (Mexico, 2023). He has participated in more than 120 group exhibitions, including Tale of Two Hearts at the Museo de las Americas (United States, 2024) and Anthropos e Kainos II at Ex Cartiera Latina (Italy, 2023).

He received the distinction of Artistic Creator from the National System of Art Creators (2023) and was selected for the 6th Miradas de Tijuana Biennial (2014) and the 10th Monterrey FEMSA Biennial (2012).

Wolfryd’s work is part of private and institutional collections in Mexico and abroad, including the Benetton Art Collection (Italy), Grupo Milenio (Mexico), the Museum of Contemporary Glass Art in Alcorcón (Spain), and the Royal Glass Factory Museum (Spain).

Beatriz Canfield
(Mexico City, 1972)

The artist’s trajectory has unfolded through sculpture in a diverse and experimental way, with practices that range from metalwork to performative processes involving explosives. She continually explores temporality and space in her ongoing effort to expand the boundaries of sculpture.

She graduated from the National School of Painting, Sculpture, and Printmaking “La Esmeralda” of the National Institute of Fine Arts and Literature. She has held more than twenty solo exhibitions and participated in over fifty group shows in Mexico and abroad. She lived and worked in Switzerland for seven years, where she founded the gallery Zone 30 Art Public and produced monumental public artworks, including the memorial at Lac Geronde (Switzerland, 2014) and the large scale sculpture in Parc Longemalle (Switzerland, 2013). Her notable solo exhibitions include El centro de las cosas (The Center of Things) at the Center for Complexity Sciences, UNAM (Mexico, 2025); Cuerpos de agua (Bodies of Water) at the Casa del Risco Museum (Mexico, 2025); Le vide de l’enveloppe (The Emptiness of the Shell) at Zone 30 Art Public (Switzerland, 2021); Escultura expandida (Expanded Sculpture) at the Juan Soriano Morelense Museum of Contemporary Art (Mexico, 2020); Recordar sus nombres (Remembering Their Names) at the Museum of Mexico City (Mexico, 2019); Anónimos (Anonymous) at Galerie Zur Schützanlaube (Switzerland, 2015); and Entre el cielo y el agua (Between the Sky and the Water) at the University Museum of Science and Art, Ciudad Universitaria campus (Mexico, 2003).

Canfield’s work has been shown in various venues in Spain, France, England, and Switzerland. Alongside her artistic production, she has worked as a cultural manager and curator on various exhibition projects.

She has received several distinctions, including an honorable mention in sculpture at the National Young Art Encounter (2001). She was a recipient of the Young Creators grant (2000) and has been a member of the National System of Art Creators (2017 and 2022).

Cisco Jiménez
(Cuernavaca, Morelos, 1969)

The artist’s proposal satirizes the cultural, social, and political contrasts and paradoxes of Mexico and Latin America. Through a discursive strategy that combines a rich palette of colors, textures, and forms with words that evoke local expressions, he seeks to establish a dialogue between the viewer and the artwork, inviting critical reflection. The artist employs language as an educational, political, religious, and commercial tool, creating distinctive icons and titles his creations with humorous neologisms that add depth to his message.

He began his artistic training at the Regional Fine Arts Institute (Mexico). His academic path later shifted toward Industrial Design at the Metropolitan Autonomous University (Mexico) and The Art Students League (United States). He worked alongside the American abstract painter Bruce Dorfman. His interest in social critique and comic art led him to collaborate with the Mexican cartoonist Eduardo del Río, known as RIUS.

He has shown his work in countries such as Germany, Brazil, Ecuador, the United States, the Netherlands, and Portugal. Among his most notable solo and group exhibitions are Anatómica (Anatomical) at the Amparo Museum (Mexico, 2022), Desastrerama (Disaster-ama) at the Jardín Borda Cultural Center (Mexico, 2016), and Espías del cosmos (Spies of the Cosmos) at the Museum of Modern Art (Mexico, 2014). He collaborated with American artist Jimmie Durham at the Venice Biennale (2001) and received the Rufino Tamayo Painting Biennial Prize (2018). He has been a member of the National System of Art Creators on several occasions (2014, 2020, and 2025), solidifying his presence in the national art scene.

His work is held in national and international collections, including the Coppel Collection (Mexico), the Jacques and Natasha Gelman Collection (Mexico), the Fundación Cultural Televisa (Mexico), the McNay Art Museum (United States), the Amparo Museum (Mexico), the Museum of Modern Art (Mexico), the National Museum of Prints (Mexico), the University Museum of Contemporary Art (Mexico), and the Museum of Latin American Art (United States).

Edna Pallares
(Mexico City, 1965)

The artist’s practice is characterized by her exploration of identity, memory, and the emotional bonds between human beings and their surroundings. Her study of disciplines such as sculpture, drawing, and installation led her to develop visual languages that blend the figurative and the abstract. A distinctive feature of her work is her ability to create atmospheres that evoke both the dreamlike and the introspective.

She holds both a master’s and a bachelor’s degree in Visual Arts from the School of Arts and Design at the National Autonomous University of Mexico (Mexico). Her training includes specialized studies in France and an artist residency in Canada. She is currently a researcher-professor at the School of Arts of the Autonomous University of the State of Morelos (Mexico).

She has shown her work in numerous galleries and museums, with standout exhibitions including: El brillo de la forma (The Shine of Form) at the Drexel Gallery (Mexico, 2025); Yo ya estuve aquí, pero ahora es diferente (I Have Been Here Before, But Now It Is Different) at the Chopo University Museum (Mexico, 2024); and Objeto Coaptado: memoria, identidad, mito, sacrificio (Co-opted Object: Memory, Identity, Myth, Sacrifice) at the University Museum of Science and Art, Roma (Mexico, 2021). Notable group exhibitions in which she has participated include 50 mujeres, 50 obras, 50 años (50 Women, 50 Works, 50 Years) at the Museum of Mexico City (Mexico, 2020) and Paradigmas, una década de esculturas (Paradigms, a Decade of Sculptures) at the Federico Silva Museum of Contemporary Sculpture (Mexico, 2013).

She was selected to create a sculpture for the Art Object Collection of TANE Jewelry and participated in the II Stone Sculpture Symposium “Tunich Ka” (2013). She received third place at the International Snow Sculpting Symposium (United States, 1999) and the acquisition prize awarded by the Centre Régional des Oeuvres Universitaires et Scolaires (Regional Center for University and School Services) (France, 1989). She is a member of the National System of Art Creators (2025).

Ernesto Álvarez
(Mexico City, 1955)

The artist’s work has consisted primarily of sculptures, reliefs, and drawings. Inspired by ancient cultures, spirituality, the cosmos, and nature, his artworks employ signs and symbols to evoke meaning. His sculptures are defined by geometric compositions with organic finishes, a synthetic visual language, and the use of diverse materials and colors.

He completed both his master’s and bachelor’s degrees in Visual Arts at the School of Arts and Design of the National Autonomous University of Mexico (Mexico). His solo exhibitions include Signos (Signs) at the Museum of Contemporary Art of Isfahan (Iran, 2005), which later traveled to the Cultural Center of the Korea Foundation Cultural Center (Seoul, 2006) and the Umeda Sky Building (Japan, 2006); Portales (Portals) at the Manuel Felguérez Museum of Abstract Art (Mexico, 2019), and Recinto (Enclosure) at the Museum of Modern Art (Mexico, 1993).

Over more than thirty years of artistic practice, he has participated in nearly 350 group exhibitions in museums and galleries in South Korea, the United States, Japan, and Poland. These include the Toyamura International Sculpture Biennial (Japan, 2005, 2003, 1997, and 1995), the International Sculpture Triennial (Japan, 1995 and 1992), and the Henry Moore Grand Prize (Japan, 1991).

He joined the National System of Art Creators (2000), received a grant from the Pollock Krasner Foundation (United States, 1995), and was awarded funding through the Cultural Projects Promotion Program of the former National Fund for Culture and the Arts (Mexico, 1994). He also won the Special Prize at the International Sculpture Triennial (Japan, 1992) and the Henry Moore Grand Prize at the Biennial of the Utsukushi Ga Hara Open Air Museum (Japan, 1991).

His work is part of the collections of the Utsukushi Ga Hara Open Air Museum (Japan), the Osaka Contemporary Museum (Japan), the Sculpture Garden of the Cultural Center of Manila (Philippines), and the Art Stilon Museum (Poland).

Héctor M. Flores
(Mexico City, 1980)

The artist’s primary source of sculptural inspiration is the radiance of the observable universe. Through his works, he explores the interaction of light with matter and space, applying a wide range of techniques. His mastery of solid transparent glass has allowed him to integrate multiple processes into his sculptural practice.

His first encounters with glass art took place in childhood, in his father’s stained glass workshop. He later continued his training through specialized studies in the United States and Turkey.

Flores’s work has been exhibited across the Americas, Asia, Europe, and the Middle East. Notable exhibitions include Energía y Materia: de la serie El Universo (Energy and Matter: from The Universe Series) at Casamarilla Arte Contemporáneo (Mexico, 2023), and Cosmos at the Museum of the Mexiquense Bicentennial Cultural Center (Mexico, 2018). He has participated in group exhibitions such as Walk with the Light at Quimo Art Gallery (China, 2024), Invited Artists at the Seto City Art Museum (Japan, 2021 and 2014), and Loading at the Tolima Art Museum(Colombia, 2024). He also took part in the fifth and seventh editions of Banco de México’s program ART | BANKNOTES | SHREDDED BANKNOTES | SHAVINGS | DESIGN (2021 and 2023) and completed an artist residency supported by the Seto Ceramic & Glass Art Exchange Program (Japan, 2013).

He joined the National System of Art Creators (2018). He received an honorable mention at the 5th National Biennial of Visual Arts of Yucatán (Mexico, 2011) and second place at the 2nd International Biennial of Contemporary Artistic Glass (Mexico, 2008).

His work is held in the collections of the Glass Museum (Mexico), the Ministry of Finance (Mexico), the Ministry of Culture of the State of Mexico (Mexico), the Eskişehir Glass Museum (Turkey), the Seto City Art Museum (Japan), the Tolima Art Museum (Colombia), the Taoxichuan International Art Center (China), and the Guemgang Nature Art Collection (Korea). His work is also included in the Dictionary of 20th-Century Mexican Sculptors.

Horacio Castrejón
(Mexico City, 1965)

He is an artist, researcher, and academic. His artistic interests revolve around urban art, sculpture, and design. His creative process draws on traditional materials—stone, metal, wood, copper, and ceramics—alongside alternative elements such as snow, ice, and fire for the making of his works. He engages interdisciplinary methodologies, moving between the visual arts, poetry, and literature.

He holds a PhD in Arts and Design and a master’s degree in Visual Arts from the San Carlos Academy (Mexico), and a bachelor’s degree in Visual Arts from the National School of Visual Arts at the National Autonomous University of Mexico (UNAM, Mexico).

He is the coordinator of the Bachelor’s Program in Visual Arts at the School of Arts and Design (FAD UNAM, Mexico) and a faculty member at Universidad Anáhuac Norte (Mexico). Since 1990, he has been devoted to teaching art, offering courses in illustration, sculpture, painting, and experimental drawing at the bachelor’s and master’s levels. He has been a speaker at academic events and activities at both the graduate and undergraduate levels and has also served as coordinator of colloquia and conferences. He organized the workshop Textures and Colors: Alebrijes Created with the Felting Technique at the San Agustín Arts Center (Mexico, 2019).

He has taken part in projects such as the 5th International Conference on Sustainable Art at the Complutense University of Madrid (Spain, 2024) and the Mexico–Spain International Exhibition: Letters Between Octavio Paz and Chillida, organized by FAD UNAM and the Complutense University of Madrid (Mexico–Spain, 2024). He has also participated in national and international competitions and symposia as a sculptor and installation artist in Germany, Canada, the United States, Estonia, France, Italy, and Lebanon.

Mario Palacios Kaim
(Mexico City, 1953)

With more than fifty years dedicated to the visual arts, his work spans a wide range of techniques, including painting, performance, printmaking, and installation. His visual language centers on the possibilities of abstraction, both gestural and geometric, the latter conceived as an experience that reveals archetypal symbols and the forces that give rise to the phenomenological manifestation of the world. In his installations, he employs materials that allow him to explore the impact of time and the effects of light.

He is a self taught artist whose training has been defined by deep personal research that includes artistic workshops, travel, and extensive reading, all guided by the expressive needs that emerge in his work. His innovative and experimental approach to object intervention has led him to exhibit in Brazil, China, the United States, France, Hungary, Japan, and the United Kingdom.

He has participated in both solo and group exhibitions, including Zona de indiferencia (Zone of Indifference) at the Museum of Mexico City (Mexico, 2024); Mobiles, seventh edition of Banco de México’s program ART | BANKNOTES | SHREDDED BANKNOTES | SHAVINGS | DESIGN (Mexico, 2023); and Arte Mexicano: Legacy of the Masters at the Crocker Art Museum (United States, 2014). For more than a decade, he has incorporated installation into his practice as an experimental tool, presenting works such as El Quinto Muro (The Fifth Wall) at the Historic Justo Sierra Synagogue (Mexico, 2014) and Abismo superficial (Shallow Abyss) at Celda Contemporánea gallery (Mexico, 2013).

He participated in the 6th Monterrey FEMSA Biennial (Mexico, 2003) and the 11th Rufino Tamayo Painting Biennial (Mexico, 2002). His work is held in the collections of the Museum of Contemporary Art of Oaxaca (Mexico), the Library of Alexandria (Egypt), and the Ministry of Foreign Affairs (Mexico).

Quirarte + Ornelas
Anabel Quirarte and Jorge Ornelas (Mexico City, 1980 and 1979)

The artists explore the possibilities of mentally inhabiting space, establishing a dialogue between opposites such as painting and sculpture, and between three dimensionality and two dimensionality, seeking the connections that emerge between them. This exploratory process allows them to create structures that reconsider the very notion of the object, emphasizing its divisible and transformable nature.

Their collaboration began at the National School of Painting, Sculpture, and Printmaking “La Esmeralda” of the National Institute of Fine Arts and Literature. After receiving support from the Baden Württemberg Foundation for a residency at the Staatliche Akademie der Bildenden Künste Karlsruhe (Germany, 2004), their work consolidated into a collaborative practice.

With twenty years of experience in the art field and more than 85 solo and group exhibitions, their works form part of national and international collections, including the Sonora Museum of Art (Mexico), the Luciano Benetton Foundation (Italy), and the Würth Museum (Germany). Their recent collaborations include the RONDO artist residency (2024) and the seventh edition of Banco de México’s program ART | BANKNOTES | SHREDDED BANKNOTES | SHAVINGS | DESIGN (Mexico, 2023). They have presented their work in group exhibitions such as Geometric Abstraction in Latin America at George Mason University (United States, 2019), Líneas en el espacio (Lines in Space) (Mexico, 2019), and Constructed Otherness (United Kingdom, 2015).

Their work has been recognized with various awards and distinctions, including the Acquisition Prize at the third edition of the Lumen Art Biennial (Mexico, 2018), first place in the Premio Luna: Una expresión artística (Luna Award: An Artistic Expression) (Mexico, 2009), and an honorable mention at the 13th Rufino Tamayo Painting Biennial (Mexico, 2006). They have been members of the National System of Art Creators in different editions (Jorge Ornelas, 2019 and 2024; Anabel Quirarte, 2021).

Rolando Jacob
(Reynosa, Tamaulipas, 1984)

The artist’s work unfolds in Mexico City and is shaped by his training as an architect, through which he explores the tensions between human beings and their built environment. Through drawing, painting, installation, and the creation of spatial atmospheres, his artistic practice investigates the relationships between architectural objects, conflict, and memory. His work alludes to twentieth century architectural utopias and to the idea of modernity from the periphery, materializing—through the distortion of form—the contradictions inherent in hegemonic narratives of progress and the Mexican modernist project.

He holds a degree in Architecture from the Autonomous University of Nuevo León (Mexico) and a master’s degree in Art Research from the Complutense University of Madrid (Spain). His work has been presented in national and international institutions and spaces, including the Carrillo Gil Art Museum (Mexico), the Antiguo Colegio de San Ildefonso (Mexico), the University Museum of Science and Art, Ciudad Universitaria campus (Mexico), the Matadero Madrid (Spain), and the Monterrey Arts Center (Mexico).

He has been a recipient of the Program for the Promotion of Artistic Creation and Development (2015), the Young Creators program of the National Fund for Culture and the Arts (2013 and 2017), and support from the Patronato de Arte Contemporáneo (2017 and 2023). He participated in the sixth edition of the BBVA MACG Program and in the SOMA Educational Program, class of 2019. He is currently a member of the National System of Art Creators.

Saúl Kaminer
(Mexico City, 1952)

In his artistic practice, geometry emerges as a language that seeks to reconstruct order out of fragmentation. His use of lines, curves, shadows, and volumes creates an abstract universe in which floating structures seem to search for an anchor. His aesthetic and archetypal exploration —rooted in synthesis—is an act of healing that, through form, seeks to preserve the memory of an emotional and natural universe. Kaminer’s art takes shape as a kinetic and minimalist language that reestablishes a dialogue between chaos and the cosmos.

He completed a master’s degree at the Institut d’Urbanisme de Paris (France) and holds a bachelor’s degree from the School of Architecture at the National Autonomous University of Mexico (Mexico). He is co founder of the group Magia Imagen, composed of eight Latin American artists, whose relationship with the surrealist painter Roberto Matta was fundamental to the development of their proposals.

Among his more than seventy solo exhibitions, highlights include Decir luz es decir sombra (To Say Light is to Say Shadow) at the National Print Museum (Mexico, 2024); Órbitas, rumbos y sombras (Orbits, Paths, and Shadows) at the Museum of Mexico City (Mexico, 2018); and Masques (Masks) at the Thessa Herold Gallery (France, 2014). His work has been shown in more than 170 group exhibitions, including Babel y la reparación (Babel and Repair) at the Grand Palais (France, 2026); Abstracción, transformación y no figuración (Abstraction, Transformation, and Non-Figuration), which traveled to 18 venues; and Peintres contemporains du Mexique (Contemporary Painters of Mexico) at the Picasso Museum (France, 1980). He participated in the first edition of Banco de México’s program ART | BANKNOTES | SHREDDED BANKNOTES | SHAVINGS | DESIGN (Mexico, 2017).

He has received numerous awards and distinctions, including honorable mentions at the Salon of Vitry sur Seine (1987) and the National Salon of Plastic Arts (1982). He was awarded the artistic research grant from the Conseil régional de l’Île de France (1983) and the Fortabat Prize at the Maison de l’Amérique Latine in Paris (1994). Since 1997, he has been a member of the National System of Art Creators.

Kaminer’s work is held in the collections of the Museum of Modern Art (Mexico), the Federico Silva Museum of Contemporary Sculpture (Mexico), the Fonds national d’art contemporain (France), and the National Library of France (France).

Sergio Gutman
(Mexico City, 1960)

A visual artist drawn to the School of the South—the aesthetic movement that shaped part of the Latin American version of Constructivism initiated by Uruguayan artist Joaquín Torres García— Gutman understands structure as the origin of all; for him, art is structure. Guided by this conviction, he became a precursor of Constructivism in Mexico, particularly through his use of materials such as construction wood and cement in the creation of his works. According to the artist, Constructivism is an impersonal art and a timeless style that never changes.

He studied photography at the School of Visual Arts (United States) and took various workshops with Catalan artists Frederic Amat, Albert Ràfols Casamada, and Josep Guinovart.

His career includes notable solo exhibitions such as Feliz conciliación de lo cúbico y lo plano (Happy Reconciliation of the Cubic and the Flat) at the Museum of Mexico City (Mexico, 2024); Magic Squares at Galería Cecilia de Torres (United States, 2011); Círculo cuadrado (Squared Circle) at the Recoleta Cultural Center (Argentina, 2006); and Cuatro cilindros (Four Cylinders) at the Chopo University Museum (Mexico, 2004). A highlight among his group exhibitions is Une Conquête de l’Art de l’Amérique Latine (A Conquest of Latin American Art) at Espace Bellevue (France, 2006).

He has participated in international art fairs such as Pinta (United States, 2009), dedicated to the promotion of Latin American art in New York; Arte Américas (United States, 2008 and 2009); ArtBo (Colombia, 2008); and ARCO (Spain, 2005). Most recently, he was invited to the 15th Havana Biennial (Cuba, 2024), where he presented his monumental work Contramatices (Counter-Nuances).

His work is held in private collections including the Alon Foundation for the Arts (Argentina), the Daniela Chappard Foundation (Venezuela), the Jean Cherqui Collection (France), and the Emilio Pacheco and Harriet Rabinowitz Collection (United States).

Víctor Guadalajara
(Mexico City, 1965)

Through his work, he explores art as an aesthetic phenomenon grounded in principles such as color, composition, movement, light, and balance. His inquiry centers on the creative possibilities of geometry and color as a method for challenging the flat boundaries of the canvas. He employs organic and geometric forms as a basis for constructing his language, resulting in metamorphic objects that invite reflection.

He holds a bachelor’s degree in Graphic Design from the School of Design of the National Institute of Fine Arts and Literature.

Guadalajara’s work has been exhibited in national and international museums and venues. His artistic trajectory includes more than 27 solo exhibitions and nearly 110 group exhibitions of painting, sculpture, and printmaking in Germany, Argentina, Canada, the United States, Japan, Singapore, and Switzerland.

Notable solo exhibitions include Trepidante/Exultante (Thrilling / Elated) at the MN Contemporáneo Gallery (Mexico, 2017); 4A2G at the Museum of Modern Art (Mexico, 2001); and Elipsis (Ellipsis) at the Carrillo Gil Art Museum (Mexico, 1996). He participated in the fifth and seventh editions of Banco de México’s program ART | BANKNOTES | SHREDDED BANKNOTES | SHAVINGS | DESIGN (Mexico, 2021 and 2023), as well as in Yo también (So Do I) at Ethra Gallery (Mexico, 2013) and Encuentros de Primavera (Spring Encounters) at the Museum of Modern Art (Mexico, 1993).

He joined the National System of Art Creators (2007) and later served as a juror in the sculpture category of the same program (2017). He was selected to create the monumental sculpture Renacimiento de la luz (Rebirth of Light), commemorating the 100th anniversary of the Asociación para Evitar la Ceguera en México (Association to Prevent Blindness in Mexico) at the Hospital de la Ceguera (Mexico, 2018).

Barry Wolfryd
(Los Angeles, United States, 1952)

The artist’s ideological foundation is rooted in the historical awareness and social critique he developed during his time in New York and Connecticut in the early 1970s. Wolfryd built a pictorial language grounded in the use of symbols and iconographic elements, working across multiple disciplines such as printmaking, ceramic sculpture, collage, and object-based art. Since 2014, he has incorporated glass into his sculptural practice as a means of conveying the fragility of contemporary world narratives.

He began his artistic training at Housatonic Community College in Bridgeport (United States), later continuing at the Universidad de las Américas and the Instituto Allende (Mexico). He subsequently pursued studies in painting and drawing at the Instituto Nacional de las Artes in San Luis Potosí (Mexico) and at the School of the Art Institute of Chicago (United States).

Notable among his 45 solo exhibitions are Identidades reconstruidas (Reconstructed Identities) at Al Tiba9 Contemporary Gallery (Spain, 2024), Spectacularizing the Margi at the HDLU Museum (Croatia, 2023), and The Fragility of the Absurd at the Arocena Museum (Mexico, 2023). He has participated in more than 120 group exhibitions, including Tale of Two Hearts at the Museo de las Americas (United States, 2024) and Anthropos e Kainos II at Ex Cartiera Latina (Italy, 2023).

He received the distinction of Artistic Creator from the National System of Art Creators (2023) and was selected for the 6th Miradas de Tijuana Biennial (2014) and the 10th Monterrey FEMSA Biennial (2012).

Wolfryd’s work is part of private and institutional collections in Mexico and abroad, including the Benetton Art Collection (Italy), Grupo Milenio (Mexico), the Museum of Contemporary Glass Art in Alcorcón (Spain), and the Royal Glass Factory Museum (Spain).

Barry Wolfryd
(Los Angeles, United States, 1952)

The artist’s ideological foundation is rooted in the historical awareness and social critique he developed during his time in New York and Connecticut in the early 1970s. Wolfryd built a pictorial language grounded in the use of symbols and iconographic elements, working across multiple disciplines such as printmaking, ceramic sculpture, collage, and object-based art. Since 2014, he has incorporated glass into his sculptural practice as a means of conveying the fragility of contemporary world narratives.

He began his artistic training at Housatonic Community College in Bridgeport (United States), later continuing at the Universidad de las Américas and the Instituto Allende (Mexico). He subsequently pursued studies in painting and drawing at the Instituto Nacional de las Artes in San Luis Potosí (Mexico) and at the School of the Art Institute of Chicago (United States).

Notable among his 45 solo exhibitions are Identidades reconstruidas (Reconstructed Identities) at Al Tiba9 Contemporary Gallery (Spain, 2024), Spectacularizing the Margi at the HDLU Museum (Croatia, 2023), and The Fragility of the Absurd at the Arocena Museum (Mexico, 2023). He has participated in more than 120 group exhibitions, including Tale of Two Hearts at the Museo de las Americas (United States, 2024) and Anthropos e Kainos II at Ex Cartiera Latina (Italy, 2023).

He received the distinction of Artistic Creator from the National System of Art Creators (2023) and was selected for the 6th Miradas de Tijuana Biennial (2014) and the 10th Monterrey FEMSA Biennial (2012).

Wolfryd’s work is part of private and institutional collections in Mexico and abroad, including the Benetton Art Collection (Italy), Grupo Milenio (Mexico), the Museum of Contemporary Glass Art in Alcorcón (Spain), and the Royal Glass Factory Museum (Spain).