The highlands are the sustenance of life, and all that water comes down from the mountains to the valleys, such as Azapa and Lluta and to the coast. The city of Arica is on the coast. So, we have a very serious problem. We will not have water—not for agriculture, not for livestock, not for tourism.
We don't eat batteries. They take away the water; they take away life. This pronouncement, in Spanish, appears in a photograph that the artist Tomás Saraceno sent via WhatsApp last month from Salinas Grandes, a high-altitude salt flat in northern Argentina. There, in one of the world's largest lithium reserves, the artist is working alongside 11 Indigenous communities to build El Santuario del Agua (The Water Sanctuary), a monumental work about the global energy transition.
Géométral is an architectural practice defined by design strategies that are linked to the landscape, which it treats as a primary determinant of form. The studio approaches each project as a small universe that combines program, atmosphere, and spatial narratives. Rather than a single signature style, they focus on crafting moods and situations tailored to each context and user.
For the Escarrias-petite sisters of African descent born ten months apart in Cali, Colombia-commercial photography was in their family DNA. Their parents established a studio in their hometown that was overseen by their mother after their father's early demise. The siblings learned the family trade, and when they fled the country's civil war in 1958, they quickly reestablished the studio in Buenos Aires.
Luis had been missing for four decades, ever since he disappeared at age 15 during the dictatorship of Augusto Pinochet (1973–1990). The notice came from a court in Arica, in the far north of Chile, summoning him for failing to vote in the May elections for constitutional councilors, according to records from the Electoral Service (Servel). Under Chile's compulsory voting law, anyone who does not vote must provide a justification; otherwise, they face sanctions.
There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.
On November 28, with just weeks remaining until the run-off in Chile's presidential election, far-right candidate Jose Antonio Kast issued a warning. "To the irregular immigrants in Chile," he said, "I tell you that 103 days remain for you to leave our country voluntarily." Kast ultimately won the election and is expected to be sworn in on March 11. But so far, in the highlands of Chile's most northerly region, the immigrant exodus that some expected has not occurred.
It is not about reproducing the past but about engaging in dialogue with it. We apply the same level of care and rigor to all pieces. Many of our utilitarian pieces have a strong sculptural quality, and several of the more artistic works originate from everyday forms and functions. We do not establish rigid boundaries between these categories; all are part of the same vision.
The proposal is presented as a strategy for territorial and landscape activation in the eastern sector of Isla Teja, in Valdivia, in the stretch between the Architecture building of the Universidad Austral de Chile and the edge of the Rio Calle-Calle. Through the design and construction of three pavilions, the project aims to consolidate this area as a space for walking, pausing, and gathering, incorporating new architectural references that engage with the river landscape and its high ecological value.
Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.
Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.
Otherworldly forms greet you at the entrance to the exhibition, transporting you into a kaleidoscopic, dream-like space. A voice speaks in the background as projected images dance across the forms, animating the space. "It's been really beautiful to see her work come alive, become a landscape ... where you can traverse and kind of get lost," curator Fabiola R. Delgado says of Lisu Vega's "The Uncertain Future of Absence (El Futuro Incierto de la Ausencia)" (2025).
OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.
An exhibition of Wifredo Lam is about as safe a bet as the Museum of Modern Art can place and still plausibly say that it's a bet on expanding the canon. The Cuban artist is one of the most famous painters of the 20th century, featured in almost every single key show about Surrealism. MoMA acquired his famous painting The Jungle in 1946, a few years after he made it.
Taking over the colourful Casa Gilardi, Luis Barragán's last commissioned residence, built for the advertising executive Francisco Gilardi in the mid-1970s, the German artist Gregor Hildebrandt transforms the house's stylish rooms with an ever-expanding exhibition of his enigmatic works across various media. Known for transforming outmoded analogue recording media-including audio cassettes, VHS tapes and vinyl records-into paintings, sculptures and large-scale installations, the Berlin-based artist's conceptual works explore themes of memory, nostalgia and the physical representation of intangible sound and sight.
From figures with multiple legs and noodles for arms to frolicking trees, Paco Pomet summons the absurd. Known for his uncanny oil paintings rendered mostly in monochrome and enlivened by colorful details of overly stretchy limbs or celestial objects, a sense of nostalgia greets surreal scenarios. The artist often derives his imagery from vintage black-and-white photographs, adding an absurd dimension to history.
