How do journalists cover Mexico’s Art Week?
Discover the answer here
Hope this newsletter finds you well. After a week off—there’s a reason for that, and it ties directly into this week’s content—I’m finally back with a reflection I’d like to share about Mexico’s Art Week.
But first, a couple of quick announcements:
First off, our official Art Week coverage is coming soon. It’s in the works, and it’s going to be a very cool piece by Francelia Bahena—an excellent journalist—who’ll be sharing her take on what she saw at fairs like Zona Maco, Material, and Salón Acme. This post will be for paid members, so if you haven’t subscribed yet, now’s the time.
The second announcement: there are still copies left of Semanario de Moda’s first print edition! Thanks to your purchases and orders, the print project is now self-sustaining—all profits go directly into funding the second issue, which is already in the works. And here’s a little teaser: it’s being planned alongside one of the coolest fashion designers in the world. Can’t say much yet, but trust me, you’re going to love it. 😉
Without further ado, here’s a reflection I had on Mexico’s Art Week. Enjoy.
Mexico’s Art Week isn’t just a cultural epicenter—it’s also a barometer of the current state of contemporary art in the country. Every year, the event brings together curators, collectors, and creators, but also journalists who break down its aesthetic, social, and economic implications.
From February 3 to 9, Mexico City turned into a canvas of exhibitions, installations, and activations that blurred the lines between the art market and creative experimentation. But how do journalists navigate this electric ecosystem? What narratives do they choose to highlight, and which ones get left out of the frame?
One standout example is Meow Magazine, which, through solid coverage, managed to craft its own narrative—one that aligns perfectly with the platform’s tone and voice. This approach ties into what Rodrigo de Noriega from Asuntosdeldisain—an agency focused on connecting media and artists—shared with me:
"Our commitment is to make information accessible to our audience. For example, out of the 100 events happening during Art Week, our job is to curate at least 10 or 5 that stand out from the rest—always with our readers and those interested in our content in mind."
On the other hand, fashion journalist Talía Cu, writing from Guadalajara, reflects on how Art Week has evolved into a kind of new Fashion Week.
Lighter takes also stood out—ones that connect with audiences and remind us not to take it all too seriously. These viral moments, in my view, don’t diminish the value of the coverage; instead, they’re part of a broader media ecosystem that thrives on diverse perspectives.
But I also spoke with other journalists to understand how they build their coverage of Mexico’s Art Week. Some preferred to stay anonymous.
"I’ve noticed a stronger preference for chronicle over reportage. It’s not a bad thing—it’s a genre that allows for humor, and I think humor is a great tool for talking about what you don’t understand or, frankly, don’t like." — Carlos Didjazaá, journalist.
"At one of the art fairs, I was denied entry because they claimed there were no more press passes. It made no sense—I had my confirmation email and arrived super early in the morning. I don’t know what happened, but I was there to work, and it was really frustrating." — Anonymous.
"Everyone was very kind to me, but I did notice that sometimes artists, PR reps, and people working at the fairs don’t quite get that we’re there to work. And more than that, they don’t always understand that we don’t have endless resources to move from one place to another so easily." — Anonymous.
From analyzing power dynamics in the art scene to documenting new visual expressions, coverage of Art Week shifts depending on the journalist’s lens. Some focus on the evolution of contemporary art, others draw connections to the social and political processes shaping it, and some make it all more accessible through lighter, more engaging content.
But beyond chronicling the event itself, their work captures something bigger: how art in Mexico continues to negotiate its identity between tradition, globalization, and disruption.
For me, these testimonies are just the beginning of a broader reflection on how specialized journalism is practiced in Mexico—and how, in turn, this shapes a diverse media ecosystem, offering different perspectives for audiences with varied tastes, references, and interests. This conversation is far from over, and I’m eager to hear more from those who covered or engaged with one of Mexico’s most anticipated weeks.
Got something to say? Don’t stay on the sidelines! I’d love for you to comment, share, and contribute to the conversation with your own insights. Your perspective matters—a lot. Join me and the Semanario de Moda community in building knowledge together.