N OTES Introduction 1. The following historical overview has been assembled from the following sources: Alma Guillermoprieto’s essays on Mexico in Looking for History, the Library of Congress’s Mexico: A Country Study (1997), as well as articles from Reforma and La Jornada. 2. ‘‘The 10 Most Powerful Billionaires,’’ Forbes Global (March 17, 2003), accessed at http://www.forbes.com/global/2003/0317/050.html. 3. Alma Guillermoprieto, ‘‘Loosing the Future,’’ in Looking for History: Dis- patches from Latin America (New York: Pantheon Books, 2002), 178–184. 4. ‘‘The church, and its large conservative faction that includes Posadas’s successor, Cardinal Juan Sandoval Iñiguez, has for years alleged that high- ranking officials in the Partido Revolucionario Institucional (PRI), the once all-powerful party, and the former regime of President Carlos Salinas de Gortari, plotted to have Posadas killed. They contend that the Salinas administration tried to cover up the case because it feared that the investiga- tion would reveal the government’s alleged ties with the Tijuana-based Arellano Felix drug cartel.’’ Joseph Treviño, ‘‘A Cardinal Conspiracy: Renewed Interest in an Unsolved 1993 Killing in Guadalajara,’’ LA Weekly (May 21– June 6, 2002), available online at htttp://www.laweekly.com/ink/02/28/ news-trevino.php. 5. Guillermoprieto, ‘‘Zapata’s Heirs,’’ in Looking for History, 185–206. 6. Guillermoprieto, ‘‘Whodunnit?’’ in Looking for History, 239–254; Guillermoprieto, ‘‘The Riddle of Raúl,’’ in Looking for History, 255–274. 7. Banco de México, Informe anual 1994 (Mexico City: Banco de México, 1994), 154–156. 8. Carlos Monsiváis, ‘‘The Museo Salinas and the Masks of the Mexican,’’ in Vicente Razo, The Official Museo Salinas Guide (Santa Monica: Smart Art Press, 2002), 9–10. 9. Daniel Lizárraga, ‘‘Indaga Suiza cuenta de hijo de Díaz Ordaz,’’ Reforma, 9 July 1998. Unless otherwise noted, all translations are mine. 10. See the catalog El corazón sangrante: The Bleeding Heart (Boston: ICA, 1991). 11. Hal Foster, The Return of the Real (Cambridge: MIT Press, 2000). NOTES 161 12. See Kurt Hollander’s discussion of the influence of foreign artists on the Mexican scene in his text for the exhibition catalog Así está la cosa (Mexico City: Centro Cultural Arte Contemporáneo, 1997). 13. Other artists who participated in Temístocles include Damián Ortega, Melanie Smith, Fernando García, Hernán García Garza, Ulises Ponce, Miguel González Casanova, Diego Guitiérrez, Conrado Tostado, and Maria Teresa Gálvez. 14. Acné o el nuevo contrato Ilustrado (Mexico City: Instituto Nacional de Bellas Artes, 1995). 15. Coco Fusco, ‘‘Art in Mexico after NAFTA,’’ in The Bodies That Were Not Ours and Other Writings (London and New York: Routledge, 2001), 64. 16. Foster, The Return of the Real. 17. Lucy R. Lippard, ‘‘The Dematerialization of Art,’’ in Changing: Essays in Art Criticism (New York: E. P. Dutton and Co., 1971), 255. 18. Edward J. Sozanski, ‘‘Mexico Shines in Survey of Its Current Art Scene,’’ The Philadelphia Inquirer, 21 September 2003. 19. Parachute 104 (October–December, 2002); FlashArt 225 (July–September, 2002); Rim (March 2003); Felix (July 2003). 20. Osvaldo Sánchez, et al., La colección Jumex (Mexico City: Carrillo Gil, 1999). 21. Mary Schneider Enríquez, ‘‘Silvia Pandolfi: History and High Tech,’’ ARTnews (April 1996): 126. 22. Shifra M. Goldman, Dimensions of the Americas: Art and Social Change in Latin America and the United States (Chicago: University of Chicago Press, 1994), 273. 23. Itala Schmelz, personal communication with author, August 20, 2002. 24. Cuauhtémoc Medina, ‘‘El ojo breve / Viajeros frecuentes,’’ Reforma, 25 September 2002. 25. Elisabeth Malkin, ‘‘Mexico Is Warned of Risk from Altered Corn,’’ New York Times, 13 March 2004, A5. 26. Klaus Biesenbach, ed., Mexico City: An Exhibition about the Exchange Rates of Bodies and Values (New York: P.S.1 Contemporary Art Center; Berlin: Kunst Werke, 2002), 32. 27. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura Económica, 1993), 314–317. Chapter One 1. Pablo Soler Frost, Cartas de Tepoztlán (Mexico City: Ediciones Era, 1997). Hugo Diego Blanco, Tinta china (Mexico City: Ediciones Heliópolis, 1995). 2. Edward Said, Orientalism (New York: Vintage Books, 1978), 343. 3. Ibid., 144–145. 4. Julia A. Kushigian, Orientalism in the Hispanic Literary Tradition: in Dialogue with Borges, Paz, and Sarduy (Alburquerque: University of New Mexico Press, 1991), 1. 5. Ibid., 3. 162 NEW TENDENCIES IN MEXICAN ART 6. Said, Orientalism, 5. 7. Olived Dunn and James E. Kelley, eds., The Diario of Christopher Columbus’s First Voyage to America 1492–1493 (Norman and London: University of Oklahoma Press, 1989), 109. 8. Eliot Weinberger, an insightful critic of Mexican orientalism, gives the following account of the San Felipe story: ‘‘The Shogun, having reluctantly permitted Christian missionaries in Nagasaki, now believes they are the cause of a recent earthquake. Felipe and twenty-six other priests are crucified by Samurai. At that moment, back in Mexico, the dried branch of a fig tree in the family’s patio are suddenly covered with leaves.’’ Eliot Weinberger, ‘‘Paz in Asia,’’ in Outside Stories, 1987–1991 (New York: New Directions, 1992), 24. 9. The following are among the few historical studies of anti-Chinese sentiment in Mexico: Humberto Monteón González and José Luis Trueba Lara, eds., Chinos y antichinos en México: documentos para su historia (Guadalajara: Gobierno de Jalisco, Secretaría General, Unidad editorial, 1988); José Jorge Gómez Izquierdo, El movimiento antichino en México (1871–1934): problemas del racismo y del nacionalismo durante la Revolución Mexicana (Mexico City: Instituto Nacional de Antropología e Historia, 1991); Juan Puig, Entre el río Perla y el Nazas: la china decimonónica y sus braceros emigrantes, la colonia china de Torreón y la matanza de 1911 (Mexico City: Consejo Nacional para la Cultura y las Artes, 1993). 10. José Juan Tablada, Poesía, vol. 1 of Obras, (Mexico City: Universidad Nacional Autónoma de México, Centro de Estudios Literarios, 1971), 402. 11. I thank Asa Satz for translating Tablada’s poem for this book. 12. Tablada, Obras, 1:392. 13. Weinberger, ‘‘Paz in Asia,’’ 27. 14. In the past, orientalist scholars were often accomplices to imperialist designs against the very people to whose culture they devoted their studies. Said writes that ‘‘there is a remarkable (but nonetheless intelligible) parallel between the rise of modern Orientalist scholarship and the acquisition of vast European Empires by Britain and France.’’ Said, Orientalism, 343. 15. Lombardo Toledano, Diario de un viaje a la China nueva (Mexico City: Ediciones Futuro, 1950), 132. 16. Weinberger, ‘‘Paz in Asia,’’ 17–45. 17. Eliot Weinberger has written a very poetic version of the china poblana story: ‘‘In the seventeenth century some six-hundred Asian immigrants arrive each year to Mexico. One of them is a twelve-year-old Mogul princess of Delhi, who was kidnapped by pirates off the Malabar Coast. Sold in the Manila slave market, she is shipped to Acapulco and sold again to a pious couple from Puebla. Under the religious training of her owners, she soon becomes famous as an ascetic and mystic. She is known as Catarina de San Juan, la china poblana. Many miracles are attributed to her.’’ Ibid., 25. NOTES 163 18. Barthes, The Empire of Signs (New York: Hill and Wang, 1982), 3–4. 19. Teresa del Conde, Historia minima del arte mexicano en el siglo XX (Mexico City: Universidad Nacional Autónoma de México, 1994), 38–39. 20. For more on neo-Mexicanism, see Sullivan, Aspects of Contemporary Mexican Painting (New York: Americas Society, 1990). 21. Olivier Debroise calls this phenomenon ‘‘a cultural nostalgia sui generis.’’ He writes that, ‘‘although the search for idiosyncratic roots by Mexican-American artists from Texas and by the Chicanos and Cholos of California may be easily understood, it is more difficult to grasp the motives of certain North- American artists like Michael Tracy, Ray Smith, and, to a lesser extent, Terry Allen and Jimmie Durham, who seem to have rejected the canons of the New York mainstream in order to place their work within the parameters of contemporary art in Mexico.’’ Olivier Debroise, ‘‘Heart Attacks: On a Culture of Missed Encounters and Misundertandings,’’ in El corazón sangrante / The Bleeding Heart (Boston: Institute of Contemporary Art, 1991), 39. 22. David A. Greene, ‘‘Yishai Jusidman and the Reenchantment of Painting,’’ in Investigaciones pictóricas / Pictorial Investigations (Cuernavaca: Instituto de cultura de Morelos, 1995), 48. 23. David Miklos and Mario Bellatín, eds., Una ciudad mejor que ésta: antología de nuevos narradores mexicanos (Mexico City: Tusquets, 1999). Chapter Two 1. Nico Israel, ‘‘Daniela Rossell: Greene Naftali,’’ Artforum (April 2000): 143–44. 2. Teresa del Conde, ‘‘Valencia: Bienal y diálogos II,’’ La jornada, 1 July 2001. 3. Holland Cotter, ‘‘Art in Review: Daniela Rossell,’’ New York Times, 26 April 2002. 4. Daniela Rossell, Ricas y famosas (Madrid: Turner, 2002). 5. Juan Villoro, ‘‘Ricas, famosas y excesivas,’’ El país semanal 1341 (June 9, 2002): 42–50. 6. Lorenzo Meyer, ‘‘Agenda ciudadana: el otro México profundo,’’ Reforma, 12 June 2002. 7. Klaus Biesenbach, Mexico City: An Exhibition about the Exchange Rates of Bodies and Values (New York: P.S.1 Contemporary Art Center; Berlin: Kunst Werke, 2002), 34. 8. Marcela García Machuca, ‘‘Me interesa documentar cómo viven,’’ interview with Daniela Rossell, Reforma, 28 July 2002. 9. Marcela García Machuca and Ernesto Sánchez, ‘‘Exponen a mexicanas y sus lujos,’’ Reforma, 28 July 2002; ‘‘Exhibe galleria de Nueva York a ricas y famosas mexicanas,’’ Reforma, 28 July 2002. 10. Lorenzo Meyer, ‘‘Agenda ciudadana: Escándalo,’’ Reforma, 22 August 2002. 11. César Güemes, ‘‘En Ricas y famosas de Daniela Rossell, el dinero sólo es la mitad de la Mirada,’’ La jornada, 30 August 2002. 164 NEW TENDENCIES IN MEXICAN ART 12. Edgar Alejandro Hernández, ‘‘Ofende a Díaz Ordaz que publiquen sus fotos,’’ Reforma, 30 August 2002.