This dissertation contributes to an understanding of contemporary art practices from Mexico City, as they are received in Mexico and abroad, by interpreting the meaning of local and global sources in recent work shown in Mexico, the U.S., and Europe by three internationally established, contemporary artists from Mexico City: Gabriel Orozco, Carlos Amorales, and Pedro Reyes. These three artists established their careers in the 1990s, when, for the first time, Mexican artists shifted from a national plane to a global realm of operation. Through three case studies of recent bodies of work produced by these artists, I show how each of them engages with both Mexico's artistic lineages and global art currents in ways that bring to light the problem of identity for Mexican artists working internationally. This study explores the specific ways in which each artist deals with Mexican content, in order to discuss how contemporary notions of `Mexican' are framed, misconstrued, and contested in the artworks themselves, and in the critical discourse on these artists, in Mexico and internationally.
","abstract_html":"<p>This dissertation contributes to an understanding of contemporary art practices from Mexico City, as they are received in Mexico and abroad, by interpreting the meaning of local and global sources in recent work shown in Mexico, the U.S., and Europe by three internationally established, contemporary artists from Mexico City: Gabriel Orozco, Carlos Amorales, and Pedro Reyes. These three artists established their careers in the 1990s, when, for the first time, Mexican artists shifted from a national plane to a global realm of operation. Through three case studies of recent bodies of work produced by these artists, I show how each of them engages with both Mexico's artistic lineages and global art currents in ways that bring to light the problem of identity for Mexican artists working internationally. This study explores the specific ways in which each artist deals with Mexican content, in order to discuss how contemporary notions of `Mexican' are framed, misconstrued, and contested in the artworks themselves, and in the critical discourse on these artists, in Mexico and internationally.</p>","abstract_has_math":false,"creators":["Kovach, Jodi L."],"institution":null,"degree_name":"Doctor of Philosophy (PhD)","degree_level":"Dissertation","degree_discipline":"Art History and Archaeology","degree_department":null,"school":null,"contributors":["Angela Miller"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-08-29T07:00:00Z","date_published":"2013-08-29T07:00:00Z","updated_at":"2026-07-24T06:13:31Z","subjects":["avant-garde","contemporary","globalization","Mexico City","national identity","participatory practice","History of Art, Architecture, and Archaeology"],"languages":["English (en)"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.7936/K7SF2T67"],"render_values":[{"text":"https://doi.org/10.7936/K7SF2T67","href":"https://doi.org/10.7936/K7SF2T67","code":true}]}]},"links":{"outbound_url":"https://openscholarship.wustl.edu/etd/1141","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Angela Miller"]},{"key":"dc:creator","label":"Author","values":["Kovach, Jodi L."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2026-08-03T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History and Archaeology"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Philosophy (PhD)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["avant-garde","contemporary","globalization","Mexico City","national identity","participatory practice","History of Art, Architecture, and Archaeology"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English (en)"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://openscholarship.wustl.edu/etd/1141"]},{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.7936/K7SF2T67"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation contributes to an understanding of contemporary art practices from Mexico City, as they are received in Mexico and abroad, by interpreting the meaning of local and global sources in recent work shown in Mexico, the U.S., and Europe by three internationally established, contemporary artists from Mexico City: Gabriel Orozco, Carlos Amorales, and Pedro Reyes. These three artists established their careers in the 1990s, when, for the first time, Mexican artists shifted from a national plane to a global realm of operation. Through three case studies of recent bodies of work produced by these artists, I show how each of them engages with both Mexico's artistic lineages and global art currents in ways that bring to light the problem of identity for Mexican artists working internationally. This study explores the specific ways in which each artist deals with Mexican content, in order to discuss how contemporary notions of `Mexican' are framed, misconstrued, and contested in the artworks themselves, and in the critical discourse on these artists, in Mexico and internationally.
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