Later on, at the Museo Rufino Tamayo, which displays Tamayo’s collection of prehispanic objects with minimal text. This time I thought it worked well, because there’s a clear explanation of why that choice was made, i.e. to argue for the significance of this work as capital A art. That project has its own set of complications, but the experience of looking at the collection worked for me in a way that the Iturbide show did not. I imagine a material culture scholar might have been hopping mad, though.
I thought about bodies as vessels.