iMuseo de Arte ModernoBosque de Chapultepec
This exhibition has ended.
90th-anniversary survey of Marysole Wörner Baz: six decades of painting, prints and sculpture that redeem the discarded and silenced. Sala Gamboa.
Museum websiteIn 1978 Fernando Gamboa, then the MAM's director, gave Marysole Wörner Baz her first solo show here. Drawings from that show are back on the walls, in the room now named after him. A second solo show promised around 1990 became a family group show instead, which is why the curator, Carlos Segoviano, calls this one a "historical debt" repaid.
He splits the 72 works into a side A and a side B. Side A is the early oils, dark and full of tormented figures, Titiriteras y títeres (1968) among them. After a deep personal crisis the paintings turn bright: mountains, rain and mist in thick paint. Wood and metal sculptures sit alongside, and two watercolours hang so you can see the back, where she wrote dedications to the critic Graciela Kartofel.
We found no critic's review yet, so come for the story of an overlooked painter rather than a verdict. It's in Sala Gamboa until 25 October; the museum is closed on Mondays.
Neblina (1982) and La cuna del viento (1990)
Look for the side B landscapes: mountains, rain and mist in bright, thickly laid paint, from her Pastos y neblinas and Viento series.
The two-sided watercolours
Two watercolours hang so you can see the back, where Wörner Baz wrote dedications to the critic Graciela Kartofel, whose archive came to the MAM.
The 1978 drawings
Drawings from the 1970s that hung in her first solo show at this museum in 1978, back in the same building.
The Semana Cultural Gay vitrine
A case of catalogues from the gay cultural week she took part in, the forerunner of the city's International Festival for Sexual Diversity.