A pillar of the project has been making pieces accessible to the public. Not in terms of low price, but in the sense that collectors understand the real value of what they're acquiring: the background of the photographic project, the artist's essence and process, whether in analog or digital photography, often with the possibility that the artists themselves invite visitors to their studio.

This year, the gallery took part in Hábitat Expo, a fair that offers an alternative to conventional art circuits, with a specially curated proposal for its booth, aimed at an audience different from the usual core of collectors, including architecture firms and construction companies, interested in integrating art into their habitat and personal space, beyond mere decoration.

In April of this year, two months before the fair, the gallery presented a group exhibition of Mexican and Bolivian women photographers, which included Graciela Iturbide herself, something the founder describes as a dream come true and a personal achievement, having gotten Iturbide to agree to exhibit in Bolivia as well, her country of origin.

What do you like about Graciela Iturbide's photography?

What I love is that—it sounds very poetic, but—it says everything and not much at the same time. It doesn't need context, it doesn't need analysis; Graciela's photography doesn't need to be reinterpreted. I think she's, for me, a photographic poet. Someone with great sensitivity, but at the same time with a strength, like a warrior, perhaps because of the loss of her daughter. Although I don't think that's the reason she makes photography, I think she continues to create unique photography. Photography that, despite transcending time, remains obviously immortal, still impacting new generations. And something I like is that she keeps making photography even though she could simply live off selling her photographs; she always wants to give something more. So her photography speaks to who she is, both in front of and behind the camera.

How do you think Claroscuro gallery's vision tells the story of Latin America through photography?

I think understanding Latin culture from various points of view goes hand in hand with how I want to direct the gallery project. We speak Spanish, but it often  doesn't always seem like the same language across the borders. However, there are things that unify us. For example, when we had the exhibition with a Bolivian photographer, she did a show with textiles from her region, which visitors easily identified as Mexican, for example, from Chiapas or Oaxaca. I'm interested in showing those similarities that connect Latin American countries, showing that the political division doesn't really exist.

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Over these two years, Claroscuro has grown from a small, fledgling project into a gallery with its own identity within the photography community, taking on greater responsibilities as it expands its presence in the art world. With this growth, the Claroscuro gallery is evolving to carry its founder's name. The concept and essence of the project remain the same, but from now on the gallery will be called Jeannette Angus, marking a turning point in Claroscuro's trajectory.

Claroscuro gallery’s next exhibition, Sistemas Vivos by artist Olga Burkard, opens to the public on July 23rd 2026 and can be visited at its location in Florida, at the corner of Francia, Tecoyotitla 122, Álvaro Obregón, Mexico City.