Ocama Aracoel

Titled Ocama Aracoel, this gallery remains on view from the long-term exhibition Something Beautiful: Reframing La Colección, which reexamined El Museo del Barrio’s unique and culturally diverse permanent collection. Meaning “a call to the ancestors” in the Taíno language, Ocama Aracoel is the last iteration of the exhibition and foregrounds the importance of Taíno cultural inheritance.  As part of this project, El Museo invited a Taíno advisory council to guide the reinstallation of these spiritually resonant forms. 

The Taíno peoples have inhabited the Caribbean for many thousands of years. Their forms, symbols, and beliefs continue to provide a living resource for cultural reconnection within the Caribbean diasporic community. This visual language informed El Museo’s early mission and graphic identity. Similarly, these forms have shaped the practices of artists both in Puerto Rico and New York, including members of the influential Taller Boricua and their contemporaries. New commissions by Glendalys Medina and Jorge González Santos further activate these histories. Together, these dialogues reflect the ongoing vitality of Taíno culture and resist the racist notion of its extinction.

The exhibition is organized by Rodrigo Moura, chief curator; Susanna V. Temkin, curator; Lee Sessions, permanent collection associate curator; and Chloë Courtney, Marica and Jan Vilcek curatorial fellow; with Daniel A. Silva, registrar; and Michelle McVicker, former permanent collection associate registrar. Ocama Aracoel is advised by Christina Gonzalez and the Taíno council, formed by José Hatuey Barreiro, Kasike Jorge Baracutay Estevez, and Domingo Turey Hernandez. 

Something Beautiful: Reframing La Colección is made possible by the Terra Foundation for American Art and the Jacques and Natasha Gelman Foundation, with additional support provided by Tony Bechara. Public support provided by the NYC Department of Cultural Affairs. Additional permanent collection funding provided by the Mellon Foundation.  

Amalia Mesa-Bains: Archaeology of Memory

Detail, Amalia Mesa-Bains, Venus Envy Chapter I: First Holy Communion, Moments Before the End, 1993/2022. Mixed media installation with fabric, photographs, clothing, found objects, mementos, mirrors, found furniture, sand, dried petals, candles, laser prints on wall, pearls, and found images. Courtesy of the artist, Rena Bransten Gallery, San Francisco, and Berkeley Art Museum and Pacific Film Archive. Photograph by Daria Lugina.

El Museo del Barrio presents Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.  Her practice explores intersectional feminist themes, environmentally centered spirituality, and cultural diversity to counter the racist and gendered erasures of colonial repression. The exhibition features over 40 works including the artist’s large-scale “altar-installations”, as well as prints, artist books, and codices. Anchored by the multi-chapter “Venus Envy” series, Archaeology of Memory is a rare opportunity to view three decades of Mesa-Bains’s genre-defying artworks, many of which are on display together for the first time.

El Museo del Barrio is the only East Coast venue to host the traveling retrospective, which is organized by the Berkeley Art Museum and Pacific Film Archive in collaboration with the Latinx Research Center (LRC) at UC Berkeley. The presentation at El Museo expands on Mesa-Bains’s longstanding association with the institution, where her work has been exhibited since the 1990s. Most recently, her art and critical writing served as the direct inspiration for the acclaimed 2022 exhibition DOMESTICANX, an intergenerational Latinx group presentation that expanded on Mesa-Bains’s ground-breaking theory of domesticana

In the mid-‘70s, Mesa-Bains’s research in Mexican ancestral traditions led to her groundbreaking reimagination of sacred forms—altares (home altars) and ofrendas (offerings to the dead)— through a contemporary lens as installation art. In the following decades, the artist expanded her altar-based practice, converting domestic furniture such as a desk, table, armoire or vanity into places of devotion and memory. Subsequently, Mesa-Bains began to consider spaces at the intersection of the private and public to explore the lives of female figures from historical and religious contexts, including Mexican nun and intellectual Sor Juana Inés de la Cruz and La Virgin de Guadalupe. These sites, which include a library, harem, garden, and laboratory, provide the settings for Mesa-Bains’s archeological inquiry into women’s histories and their colonial erasure.

Mesa-Bains’s groundbreaking developments are showcased in the multi-part Venus Envy series, created between 1993 and 2023 and on view in four galleries of El Museo del Barrio. Archaeology of Memory marks the first time that Venus Envy is being shown in its entirety, having originally been staged in four chapters across different institutional settings, including the 1993 Whitney Biennale; Williams College Museum of Art; the Bernice Steinbaum Gallery; and the Menil Collection. Riffing off Freudian terminology, Mesa Bains’s title is suggestive of women’s empowerment throughout history. Other installations speak to the experience of migration, women’s solidarities, and ancestral knowledge in order to reclaim the histories that have been absented from public memory through the patriarchal institutions of nation, religion, and museum. These large-scale pieces are complemented throughout the exhibition by works on paper that illuminate the artist’s aesthetic of textual and image-based layering and excavation in two-dimensional form. Drawing on familial histories, personal experiences, and artistic legacies, these prints, handmade books, and codices inform Mesa-Bains’s conceptual practice and serve as maps for her artistic trajectory.


Amalia Mesa-Bains’s work is in the collections of leading art institutions, including the Museum of Fine Arts, Houston, TX ; National Gallery of Art, Washington, D.C.; San Francisco Museum of Modern Art, CA; Smithsonian American Art Museum, Washington D.C.; and Williams College Museum of Art, Williamstown, MA; and has been shown at the Museo de Arte Contemporáneo Carrillo Gil, Mexico City, Mexico; Biblioteca Luis Angel Arango, Bogota, Colombia; Contemporary Exhibition Center of Lyon, France; El Centro de Arte Contemporáneo de Santa Monica, Barcelona, Spain; and Kulturhuset Stadsteatern, Stockholm, Sweden.

Mesa-Bains is a distinguished author, curator, and educator who holds a Ph.D. in clinical psychology from the Wright Institute in Berkeley. She has been the recipient of numerous international awards throughout her career, among them, the prestigious MacArthur “Genius” Grant in 1992. She is the first and thus far the only Chicana visual artist bestowed the honor. 

Beginning in the ’60s, Mesa-Bains became a leader in the movement that sought recognition of Chicanx history in the United States, and a tireless voice in advancing that movement through education, advocacy, critical writing, and most significantly, through her own practice that created a visual archive of Chicanx life. In the late ‘70s, as part of her dissertation at the Wright Institute, Mesa-Bains interviewed 10 Chicana artists of her generation about their lived experiences, art-making, and the influence of culture on their identities. In the following decades, she continued her work to increase the visibility of Chicanx and Latinx artists, as an author contributing early scholarship to the field, and as a curator. 

Mesa-Bains’s influence on a younger generation of artists specifically and on the broader Latinx community is evident in her curatorial and outreach projects. At her request, the exhibition of her work at the Whitney Museum of American Art in 1993 was augmented by a partnership with a school serving recent Latino immigrants. At San Francisco’s Galeria de la Raza, she created a training program to empower a new generation of Chicanx intellectuals to direct that institution’s programming. Amalia Mesa-Bains: Archaeology of Memory is organized by the Berkeley Art Museum and Pacific Film Archive in collaboration with the Latinx Research Center (LRC) at UC Berkeley.

The show is curated by Maria Esther Fernández, Artistic Director, The Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum and Laura E. Pérez, Professor of Chicanx, Latinx, and Ethnic Studies and Chair of Latinx Research Center, UC Berkeley. The exhibition is made possible by generous lead support from the Henry Luce Foundation and The Andy Warhol Foundation for the Visual Arts.

El Museo del Barrio’s presentation is organized by Susanna V. Temkin, Curator, with Chloë Courtney, the Marica and Jan Vilcek Curatorial Fellow. The presentation is made possible by the Mex-Am Cultural Foundation, with additional support provided by Tony Bechara, Juan Domingo Beckmann, Estrellita and Daniel Brodsky, Agustín Coppel Luken, Craig Robins, Stanley Stairs, and Maestro Dobel Tequila. Public support is provided by the New York City Department of Cultural Affairs.

Cuerpo: Carlos Martiel

Carlos Martiel

El Museo del Barrio is proud to present the first solo exhibition in a New York City museum of Carlos Martiel, the inaugural recipient of the Maestro Dobel Latinx Art Prize.

This groundbreaking survey, on view from May 2 to September 1, 2024, encapsulates Martiel’s performance-based practice of nearly two decades. Employing his body as a primary medium, Martiel utilizes endurance performances in both public and gallery spaces to delve into the complex legacies of colonialism on race, labor, and migration. The exhibition features a selection of the artist’s most significant projects to date, bringing together different spaces and temporalities through preparatory drawings, photographs, and videos, as well as the remains of past sculptural performances, in dialog with El Museo’s multidisciplinary project space, Room 110.

Carlos Martiel has been a prominent figure in the New York art scene for the past decade. However, his practice transcends strict geographic limits, responding to different political and cultural contexts. His approach pushes the limits of self-expression to explore the impact of systems of oppression on BIPOC and Latinx communities. This survey exhibition marks his return to the institution since his debut in La Trienal, in which Martiel presented the first version of his acclaimed Monuments series. Since then, additional iterations of this ongoing work have been performed in New York, Dakar, and Mexico City, all of which will be included as part of the El Museo del Barrio presentation.

This exhibition is accompanied by a new fully illustrated, bilingual (Spanish/English) publication that will serve as the first comprehensive monograph of the artist, highlighting approximately 40 performances from across Martiel’s career. The publication will include an introduction from El Museo’s curators and a specially commissioned essay by guest author and scholar Genevieve Hyacinthe.


Carlos Martiel (born 1989, Havana), lives and works in New York. He graduated in 2009 from the National Academy of Fine Arts San Alejandro in Havana. Between the years 2008-2010, he studied in the Cátedra Arte de Conducta, directed by the artist Tania Bruguera. 

Martiel’s works have been included in the 11th Lanzarote Biennial, Spain; Biennial of the Americas, USA; 4th Vancouver Biennale, Canada; 14th Sharjah Biennial, UAE; 14th Cuenca Biennial, Ecuador; 57th Venice Biennale, Italy; Casablanca Biennale, Morocco; Biennial “La Otra”, Colombia; Liverpool Biennial, United Kingdom; Pontevedra Biennial, Spain; Havana Biennial, Cuba. He has had performances at The Leslie-Lohman Museum of Art, New York; Solomon R Guggenheim Museum, New York; El Museo del Barrio, New York; Stedelijk Museum, Amsterdam; La Tertulia Museum, Cali, Colombia; Centro de Arte Contemporáneo, Quito, Ecuador; Walker Art Center, Minneapolis; The Museum of Fine Arts Houston (MFAH); Museo de Arte Contemporáneo del Zulia (MACZUL), Maracaibo, Venezuela; Padiglione d’Arte Contemporanea, Milan; and Nitsch Museum, Naples. He has received several awards, including the Franklin Furnace Fund in New York, 2016; “CIFOS Grants & Commissions Program Award” in Miami, 2014; “Arte Laguna” in Venice, 2013. His work has been exhibited at The São Paulo Museum of Art (MASP), São Paulo; The Museum of Latin American Art (MOLAA), Long Beach; Zisa Zona Arti Contemporanee (ZAC), Palermo; Patricia and Phillip Frost Art Museum, Miami; Benaki Museum, Athens; National Museum of Fine Arts, Havana; and El Museo del Barrio, New York, among others. 

His works are in public and private collections such as the Solomon R. Guggenheim Museum, New York; The Pérez Art Museum Miami (PAMM); and Museu de Arte do Rio, Rio de Janeiro.


The Maestro Dobel Latinx Prize was created by Maestro Dobel Tequila in collaboration with El Museo del Barrio to raise awareness and amplify the cultural production of Latinx artists practicing across the United States and Puerto Rico.

The exhibition is organized by Rodrigo Moura, chief curator, and Susanna V. Temkin, curator.