While traditional art markets like the United States and the United Kingdom are experiencing contractions, Mexico’s art scene is on the rise. A mature ecosystem of galleries, museums, and art fairs—combined with comparatively low operating costs—has contributed to a growing international spotlight.
Nowhere is this more evident than in Mexico City, which is experiencing a period of artistic effervescence. According to the Art Basel & UBS Global Art Market Report 2024, released last October, Mexico has become one of the most dynamic cultural hubs worldwide, driven by a confluence of factors that have radically transformed its artistic landscape.
Gabriel Orozco La DS (Cornaline), 2013 Cortesía del artista y Marian Goodman Gallery, Nueva York/París/Los Ángeles
The report highlights that while many markets saw a downturn in 2023—U.S. sales dropped by 4%, and the U.K. by 6%—Mexico experienced positive growth, positioning it alongside other emerging Latin American markets as a focal point for international collectors and gallerists.
This growth is not accidental. Over the past two decades, a series of decisive developments have placed Mexico City at the heart of global art conversations.
One of the most influential events has been the creation of Zona Maco, the leading contemporary art fair in Latin America. Founded by Zélika García over twenty years ago, Zona Maco consistently attracts top international galleries and has become a vital bridge between Latin American markets and the global art circuit.
A turning point also came in 2013 with the opening of Museo Jumex, designed by Pritzker Prize-winning architect David Chipperfield. Beyond its remarkable architecture, the museum has hosted some of the most important contemporary exhibitions in Latin America, cementing Mexico’s role as a cultural powerhouse.
More than a museum, the Jumex Foundation has positioned itself as a key force in the production and promotion of contemporary art. A prime example is the upcoming exhibition Gabriel Orozco: Politécnico Nacional, curated by British art historian Briony Fer, set to open in February 2025 and featuring nearly 300 works by the iconic Mexican artist.
Alongside these institutional milestones, Mexico City has cultivated a complete artistic ecosystem. Gallerist Karen Huber, who opened her namesake gallery in 2014, explains: “Mexico’s art scene works so well because we have it all: excellent galleries, institutions, museums, artist-run spaces, and collectors.” She adds: “In other cities, you might find great galleries, but not many artists or independent projects. Here, everything coexists.”
Indeed, the global success of artists such as Gabriel Orozco, Francis Alÿs, Abraham Cruzvillegas, and Melanie Smith—many of whom have developed their careers in Mexico—has played a pivotal role. Their presence in major art fairs and museums around the world bridges the local and the global, proving that contemporary Mexican art can stand shoulder to shoulder with the world’s leading movements.
This dynamic exchange intensifies each year during Mexico City Art Week, a moment when the city becomes a mandatory stop on the international art circuit, thanks to Zona Maco and satellite fairs like Material Art Fair and Salón ACME.
Mara Ortega, Head of Development at Museo Tamayo, shares her insights: “It’s a vibrant week in every sense. Artists, collectors, curators, critics, gallerists, and creative leaders come together—along with the public—to explore what’s current in the art world.” She adds: “Mexico outdoes itself every year during this week.”
Becky Yee
One of the standout events is the Tamayo Gala, organized by the Olga and Rufino Tamayo Foundation to support the museum’s programming. As Ortega explains, “The gala not only strengthens the museum’s role in society but also turns supporting the Tamayo into a joyful and meaningful act.”
Such events underscore the gradual consolidation of the Mexican art scene. “Many people fall in love with Mexico right away,” Ortega notes, “and they want to understand which artists define our contemporary scene.”
Yet, with success come growing pains. Alberto Ríos de la Rosa, international curator for the Medellín Art Biennial and PAC Art Residency (Houston), offers a sober assessment: “Mexico City is beginning to stagnate. It’s becoming increasingly expensive, overly gentrified, and less conducive to actual production.” His words highlight the tension between commercial success and artistic sustainability.
Maintaining momentum will require a delicate balance: between growth and experimentation, between global interest and local support, between institutional development and accessibility for emerging voices.
As the art world’s center of gravity shifts toward new global South geographies, Mexico City emerges as both a key destination and a model, demonstrating how cities outside the traditional Western art capitals can reimagine the dynamics of contemporary art.
This is a unique moment for Mexican art. The time to embrace it is now.
Text by: Felipe Pando
