MUAC closes Ana Gallardo exhibition after protest over revictimizing narrative

Mexico City. The University Museum of Contemporary Art (MUAC) reported this Sunday that it temporarily closed access to the work Extract for a failed project 2011-2024, by the Argentine artist Ana Gallardo, “while a review process is carried out by the corresponding university bodies.”

This measure occurred in a context of growing discontent after a demonstration that took place today, October 13, where activists and sex workers gathered in front of the museum to express their rejection of the piece that is part of the exhibition. A delirium trembled here.

The work, which consists of a text carved into the museum wall, narrates Gallardo’s experience at Casa Xochiquetzal, a shelter that provides shelter to elderly sex workers in Mexico City.

During the mobilization, the protesters shouted slogans such as “total respect for sex work” and burned banners with the name of the Argentine artist, who has lived in Mexico since the 1980s.

The outrage focused on the content of the displayed text, which the activists consider “revictimizing” and which includes misogynistic and “whorephobic” language. They argued that the work cannot be exhibited without question, especially when it addresses narratives that affect historically marginalized groups. This led the community to demand that the work be removed.

In a meeting held with members of Casa Xochiquetzal, the MUAC reiterated its commitment to listening to the demands and concerns of sex workers and activists.

Through a statement, the university institution stressed its respect for freedom of expression and the right to criticism, although it also recognized the need to dialogue and find a balance between artistic freedom and respect for human rights. “The role of the MUAC is to harbor artistic freedom and spark discussion within a framework of respect,” stated museum authorities.

The controversy arose because Gallardo’s work describes his “frustrated” experience trying to develop an artistic project at the shelter. According to his story, he received support from the System of Support for Creation and Cultural Projects (SACPC), formerly Fonca, but the conditions imposed by the director of the place prevented him from completing his project.

Gallardo mentioned having been in charge of caring for Estela, a paraplegic sex worker who died shortly after arriving at the shelter. This story sparked accusations that the artist took advantage of Estela’s situation and experiences, whom she allegedly recorded without her consent.

Casa Xochiquetzal, for its part, denied Gallardo’s claims, describing his narrative as “false.” They argue that the work does not reflect the reality of the shelter, which focuses on providing dignity and care to women who have faced street situations.