Abstract
Reviews are one of the chimeras that exhibitions leave behind along with, if we are lucky, archives, visitor books, and catalogs that record and imperfectly reinvoke their transient existence, the scholarship and resources that conjured them into being and the responses they elicited. Reviews have value, even when published after an exhibition closes, not only in its assessment, but as an integral part of its archive. The exhibition Arte de los Pueblos de México: Disrupciones Indígenas marks a turning point in public scholarship on the history and interpretation of what has variously been described as “artesanias,” “arte indigena,” and “artes populares,” which most assuredly warrants being widely recorded, remembered, argued over, and incorporated into the annals of critical museology, much as its curators, Juan Rafael Coronel Riviera, Octavio Murillo Álvarez de la Cadena, and Lucía Sanromán Aranda, and the director of the Museo del Palacio de Bellas Artes, Miguel Fernández Félix, surely intended.
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