“In the Reflection of Memory” by José Villalobos is an exhibition that showcases both new and existing works, inviting viewers to engage with his a multifaceted manner. The pieces within this exhibition are not merely visual artifacts; they embody a deeper element of reflection—both physically and metaphorically.

In his recent works, Villalobos has taken a particular interest in using mirrors as a material, which adds layers of meaning to the pieces. Mirrors, traditionally associated with self-awareness and truth, become tools for interaction, compelling the audience to observe and participate in the narrative that unfolds within the artwork. This dynamic transforms the viewing experience, as visitors find themselves inserted into Villalobos’s world, prompting a contemplative dialogue about identity, memory, and shared experience.

The exhibition creates a unique space where empathy and complicity intertwine. As the audience engages with the works, their own reflections—both literal and metaphorical—serve to shape their understanding of the themes at play. Are they merely passive observers, or do they become active participants in the stories that are told? The viewer’s own emotional responses and interpretations will ultimately determine their role in this immersive experience. In the Reflection of Memory is an exploration of self-perception and otherness within the tapestry of memory and experience.”

“A través/Through” by Isaac Díaz references Día de La Cruz, a Salvadoran holiday celebrated on May 3rd. This holiday finds its roots in the Pipil culture, honoring the earth and the rainy season to come. Pipiles were once the dominant indigenous group in El Salvador. Today, only 2,000 Pipiles speaking Nahuat remain in the Izalco region. Very few admit to speaking the language and most do not wear Indian clothing but their influence remains indelible in Salvadoran society. They were massacred in a genocide perpetrated by El Salvador’s dictator Maximiliano Hernández Martínez, who murdered 30,000 men, women, and children in the 1932 uprising.

Pipiles had advanced knowledge of flora, medicinal herbs, and agricultural practices They venerated Nahua deities similar to those of the Aztecs such as Tlaloc, the Nahua rain god, whose depictions are found in ceramic sculptures and figurines. Pipiles prayed to Tlaloc for a bountiful harvest and gave thanks for the life they had been provided. Similarly, Día de los Muertos in Mexico celebrates the lives and achievements of ancestors. Both holidays use fruits and flowers to honor spiritual beings, all being gifts of the earth.

Diaz explores ideas of return and life cycles with his Salvadoran ancestry as a reference point. As rain comes back to nourish crops, it may not provide enough water. While the dead come back to us in November, they may still feel far away. Nature destroys and life grows again; humanity spirals out of control yet it could come to a place of peace.

Through ancient ancestral customs, Diaz sees the upcoming Latinx art outside Latin America. for Diaz, looking to the past guides us to the coming times.”

”POSER” by Acker uses the language of portraiture to amplify the contrast between masculine and feminine with his body’s appearance. Portraiture historically empowers its subjects through representation, and Acker performs this as he “plays himself.” This phrase comes from the book “Halsted Plays Himself” by William E Jones about Fred Halsted, a gay porn filmmaker from the ’70s. Halsted made “L.A. Plays Itself,” a film that Jones described as an ironic inversion of porn that hardly functions as porn. For this reason, the film is seen as a masterpiece of gay porn and cinema itself. This inversion is Ackers’ inspiration to play himself, layer himself with masks, makeup, and disguise to upend his appearance. “Poser” is a derogatory slang term that describes someone who is pretending to be something they are not. Best’s purpose is to reverse, twist, invert, and mold this definition into something empowering