REMEX

<p><i>REMEX</i> presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994-2008). Marshaling over a decade's worth of archival research interviews and participant observation in Mexico City and the Mexico-US borderlands Amy Sara Carroll considers individual and collective art practices recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance installation documentary film built environment and body conceptual and Internet art around three key coordinates-City Woman and Border. She links the rise of 1990s Mexico City art in the global market to the period's consolidation of Mexico-US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists' remapping of the figure of Mexico as Woman.</p> <p>A tour de force that depicts a feedback loop of art and public policy-what Carroll terms the allegorical performative-<i>REMEX</i> adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism centralizes women artists' embodied critiques of national and global master narratives and tracks post-1984 border art's undocumentation of racialized and sexualized reconfigurations of North American labor pools. The book's featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California's Proposition 187 to Zapatismo US immigration policy 9/11 (1973/2001) femicide in Ciudad Juárez and Mexico's war on drugs.</p>