ARCO 2025: DIFFERENT VIEWS ON LATIN AMERICA

The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."

Maria Wills (Bogota, Colombia 1979) and Denilson Baniwa (Barcelos, Brazil, 1984) are the responsible for Wametisé: ideas for an amazofuturism, one of the special programs curated for ARCO 2025 and that navigates the Amazon and its growing impact on contemporary art. This proposal proposes a scenario of representation and dialogue through a selection of galleries and guest artists who will raise, through their works and their realities, the different conceptions of the Amazonian world and the possibilities of a collective future.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

An exhibition that navigates the complex layers of womanhood, resilience, and the inherent solidarity forged through collective survival and the pursuit of safety in community, highlighting the invisible threads that connect women across different cultures.

ARCOmadrid 2025 comes to an end with almost as many answers as questions. On the one hand, the concept of the fair—its commercial dimension—is now firmly established, marking a shift from the situation of a few years ago, when ARCO’s role as a meeting point for the general public seemed essential. This does not mean that attracting an audience with access to contemporary art is no longer part of its strategy, but rather that the fair now operates with a dual focus on two clearly defined lines of work: what and how. This shift consolidates the growing emphasis on collectors and institutions.

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

For 66 days, the exhibition will spread throughout the city, bringing together works by 76 artists from different regions of the world, focusing on exchanges between various social contexts and artistic languages as a way to explore the multiplicity of experiences between art and life.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Sesc SP announced the fourth edition of Frestas—Triennial of Arts for the third quarter of 2025 at Sesc Sorocaba. This initiative is part of the institution’s extensive cultural agenda in the countryside of São Paulo State, aiming to expand access to cultural assets, strengthen local and regional partnerships, and foster the contemporary art scene in the region.

The exhibition brings together a group of eight artists whose work, though diverse in technique and approach, shares a common concern for social justice and historical memory.

The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."

Maria Wills (Bogota, Colombia 1979) and Denilson Baniwa (Barcelos, Brazil, 1984) are the responsible for Wametisé: ideas for an amazofuturism, one of the special programs curated for ARCO 2025 and that navigates the Amazon and its growing impact on contemporary art. This proposal proposes a scenario of representation and dialogue through a selection of galleries and guest artists who will raise, through their works and their realities, the different conceptions of the Amazonian world and the possibilities of a collective future.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

An exhibition that navigates the complex layers of womanhood, resilience, and the inherent solidarity forged through collective survival and the pursuit of safety in community, highlighting the invisible threads that connect women across different cultures.

ARCOmadrid 2025 comes to an end with almost as many answers as questions. On the one hand, the concept of the fair—its commercial dimension—is now firmly established, marking a shift from the situation of a few years ago, when ARCO’s role as a meeting point for the general public seemed essential. This does not mean that attracting an audience with access to contemporary art is no longer part of its strategy, but rather that the fair now operates with a dual focus on two clearly defined lines of work: what and how. This shift consolidates the growing emphasis on collectors and institutions.

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

For 66 days, the exhibition will spread throughout the city, bringing together works by 76 artists from different regions of the world, focusing on exchanges between various social contexts and artistic languages as a way to explore the multiplicity of experiences between art and life.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Sesc SP announced the fourth edition of Frestas—Triennial of Arts for the third quarter of 2025 at Sesc Sorocaba. This initiative is part of the institution’s extensive cultural agenda in the countryside of São Paulo State, aiming to expand access to cultural assets, strengthen local and regional partnerships, and foster the contemporary art scene in the region.

The exhibition brings together a group of eight artists whose work, though diverse in technique and approach, shares a common concern for social justice and historical memory.

Maria Wills (Bogota, Colombia 1979) and Denilson Baniwa (Barcelos, Brazil, 1984) are the responsible for Wametisé: ideas for an amazofuturism, one of the special programs curated for ARCO 2025 and that navigates the Amazon and its growing impact on contemporary art. This proposal proposes a scenario of representation and dialogue through a selection of galleries and guest artists who will raise, through their works and their realities, the different conceptions of the Amazonian world and the possibilities of a collective future.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

An exhibition that navigates the complex layers of womanhood, resilience, and the inherent solidarity forged through collective survival and the pursuit of safety in community, highlighting the invisible threads that connect women across different cultures.

ARCOmadrid 2025 comes to an end with almost as many answers as questions. On the one hand, the concept of the fair—its commercial dimension—is now firmly established, marking a shift from the situation of a few years ago, when ARCO’s role as a meeting point for the general public seemed essential. This does not mean that attracting an audience with access to contemporary art is no longer part of its strategy, but rather that the fair now operates with a dual focus on two clearly defined lines of work: what and how. This shift consolidates the growing emphasis on collectors and institutions.

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

For 66 days, the exhibition will spread throughout the city, bringing together works by 76 artists from different regions of the world, focusing on exchanges between various social contexts and artistic languages as a way to explore the multiplicity of experiences between art and life.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Sesc SP announced the fourth edition of Frestas—Triennial of Arts for the third quarter of 2025 at Sesc Sorocaba. This initiative is part of the institution’s extensive cultural agenda in the countryside of São Paulo State, aiming to expand access to cultural assets, strengthen local and regional partnerships, and foster the contemporary art scene in the region.

The exhibition brings together a group of eight artists whose work, though diverse in technique and approach, shares a common concern for social justice and historical memory.

The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."

Maria Wills (Bogota, Colombia 1979) and Denilson Baniwa (Barcelos, Brazil, 1984) are the responsible for Wametisé: ideas for an amazofuturism, one of the special programs curated for ARCO 2025 and that navigates the Amazon and its growing impact on contemporary art. This proposal proposes a scenario of representation and dialogue through a selection of galleries and guest artists who will raise, through their works and their realities, the different conceptions of the Amazonian world and the possibilities of a collective future.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

An exhibition that navigates the complex layers of womanhood, resilience, and the inherent solidarity forged through collective survival and the pursuit of safety in community, highlighting the invisible threads that connect women across different cultures.

ARCOmadrid 2025 comes to an end with almost as many answers as questions. On the one hand, the concept of the fair—its commercial dimension—is now firmly established, marking a shift from the situation of a few years ago, when ARCO’s role as a meeting point for the general public seemed essential. This does not mean that attracting an audience with access to contemporary art is no longer part of its strategy, but rather that the fair now operates with a dual focus on two clearly defined lines of work: what and how. This shift consolidates the growing emphasis on collectors and institutions.

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

For 66 days, the exhibition will spread throughout the city, bringing together works by 76 artists from different regions of the world, focusing on exchanges between various social contexts and artistic languages as a way to explore the multiplicity of experiences between art and life.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Sesc SP announced the fourth edition of Frestas—Triennial of Arts for the third quarter of 2025 at Sesc Sorocaba. This initiative is part of the institution’s extensive cultural agenda in the countryside of São Paulo State, aiming to expand access to cultural assets, strengthen local and regional partnerships, and foster the contemporary art scene in the region.

The exhibition brings together a group of eight artists whose work, though diverse in technique and approach, shares a common concern for social justice and historical memory.

The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."

Maria Wills (Bogota, Colombia 1979) and Denilson Baniwa (Barcelos, Brazil, 1984) are the responsible for Wametisé: ideas for an amazofuturism, one of the special programs curated for ARCO 2025 and that navigates the Amazon and its growing impact on contemporary art. This proposal proposes a scenario of representation and dialogue through a selection of galleries and guest artists who will raise, through their works and their realities, the different conceptions of the Amazonian world and the possibilities of a collective future.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

An exhibition that navigates the complex layers of womanhood, resilience, and the inherent solidarity forged through collective survival and the pursuit of safety in community, highlighting the invisible threads that connect women across different cultures.

ARCOmadrid 2025 comes to an end with almost as many answers as questions. On the one hand, the concept of the fair—its commercial dimension—is now firmly established, marking a shift from the situation of a few years ago, when ARCO’s role as a meeting point for the general public seemed essential. This does not mean that attracting an audience with access to contemporary art is no longer part of its strategy, but rather that the fair now operates with a dual focus on two clearly defined lines of work: what and how. This shift consolidates the growing emphasis on collectors and institutions.

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

For 66 days, the exhibition will spread throughout the city, bringing together works by 76 artists from different regions of the world, focusing on exchanges between various social contexts and artistic languages as a way to explore the multiplicity of experiences between art and life.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Sesc SP announced the fourth edition of Frestas—Triennial of Arts for the third quarter of 2025 at Sesc Sorocaba. This initiative is part of the institution’s extensive cultural agenda in the countryside of São Paulo State, aiming to expand access to cultural assets, strengthen local and regional partnerships, and foster the contemporary art scene in the region.

The exhibition brings together a group of eight artists whose work, though diverse in technique and approach, shares a common concern for social justice and historical memory.