REMEX: Toward an Art History of the NAFTA Era City

Prelude. The Allegorical Performative
Introduction. Remix || re: Mex || REMEX: Toward an Art History of the NAFTA Era
City
	Nafta-Era Performance and Conceptualism’s Prehistory
		Mexico City, Readymade: The “PIAS Forms,” Mexico's 1968, and Los Grupos
		"Naco" as the Taco: No-Grupo, Maris Bustamante’s La patente del taco, and Melquiades Herrera’s Object Lifeworlds
	Post-1994 GDPS and Labor Wars; Institutional Critique and Incorporation
		The Almost Ex-Teresa Generation
		Vicente Razo’s Anthropological Materialism
		Yoshua Okón’s Art and Administration
		Minerva Cuevas’s Logocentrism
		Francis Alÿs, Santiago Sierra, and the Age of Cuauhtémoc
		Teresa Margolles, Remaindered
Woman
	¿Desmodernidad? Literalists to the Core!
		Polvo de Gallina Negra’s Maternal Prosthesis
	Reallegorizing the Female Form
		Lorena Wolffer’s “El Derecho de Réplica”
		Katia Tirado’s Pub(l)ic Niches
		Silvia Gruner’s Fucked-Up Ethnographies
		Nao Bustamante’s Inter-American Pageantry
Border
	NAFTA-Era Performance and Conceptualism’s Prehistory
		Art and Design: The Mexico-US Border after 1965
		The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and Laboratory
	Post-1994 GDPS and Labor Wars; Institutional Critique and Incorporation
		Guillermo Gómez-Peña’s North American Free Art Agreement
		inSITE Specificity/Tijuana, Capital of the Twenty-First Century
		From Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________)
Postlude. REMEX || re: Mex || Remix: Untoward Art Histories of the Third Millennium
Acknowledgments
Notes
References
Index