This exhibition marks her first solo show in Mexico City and a return to a space closely tied to her earliest relationships with matter and image. The exhibition proposes an intimate yet expansive encounter with her practice, where the body fragments and unfolds as a territory of transformation and memory.
In Volver en una pieza, the body no longer appears as a solid, continuous organism but becomes a terrain of rhythms, folds, and traces. Garments such as gloves, stockings, and surfaces—once in close contact with the skin—are arranged as a second skin, now freed from function yet charged with presence. These suspended pieces evoke the tension between what once protected and what is now exposed, as if the body were doubling itself to reveal its own imprint.
Rather than an accumulation of fragments, the exhibition unfolds through a logic of passage. The shed skin recalls the gesture of the snake as it molts, leaving behind what is worn in order to reemerge in a new form. This image resonates with the figure of Xipe Tótec, whose symbolic presence evokes fertility and regeneration, and whose skin—both mask and garment—marks a threshold between what is abandoned and what is reborn. Interior and exterior stretch and blur, shaping a body that is never fixed but constantly shifting.
The limbs that appear as visceral extremities function as thresholds between inside and outside, challenging the idea of a closed body and reconstructing it again and again through its parts. This fragmentation activates the relationship between whole and fragment not as opposites, but as interdependent states of a multiple body, dense with possibility and reflection. Within this logic, each element suggests both absence and presence, memory and openness, insisting that even after dismemberment, regeneration remains possible.
Detached from the figure that once generated them, these pieces recall the ex-voto—fragments offered as gestures of gratitude, supplication, or remembrance, as material traces of experiences that refuse to disappear. The resonance of what is offered, what is given, what is kept, and what remains creates a field of meaning that resists a single reading, moving instead between the ritual, the intimate, and the corporeal.
In dialogue with María Fragoso’s recent explorations—where the pictorial surface and the symbolic presence of the body unfold through figurative gestures and ritual motifs—fragmentation here is not absence, but an expanded form of presence. Her work has been defined by the way bodies and symbols intertwine without settling into a single narrative, allowing the intimate, the erotic, and the ritual to coexist in ambiguity and motion. In this context, the exhibition offers a singular opportunity to see how these inquiries take shape in the space that accompanied her earliest artistic concerns.
Among shed skins, observing extremities, and fragments that plead, the body is revealed as a symbolic space in motion—a place of continual becoming.