From a critical point of view on the state of the art market in Mexico (if that can be said to exist), it is important to highlight that the activities surrounding the fair not only arouse the interest of the general public but also create meeting spaces where, in a more relaxed format than in a museum or gallery, different actors in the art industry and the general public can reflect on what it means to make, appreciate and “consume” art in Latin America. Despite the impetus that the creative industry has experienced in our country for some years (mainly driven by the arrival of foreigners starting in 2020), it is not difficult to hear that Mexico is still “a country for engineers, lawyers and doctors”.

Although the quantity and quality of artistic talent in our country is clear, there is still a barrier with the general public regarding the appreciation of art in most of the country. I admit that this statement could be challenged by correctly citing multiple examples of successful projects and initiatives in Mexico City and some strategic centers in our country. What is certain is that the discourses of contemporary art still seem distant and alien to the majority of the population. It is in this area that projects such as Material Station and Platform do incredibly valuable work in revaluing artisanal practices as a method of artistic expression, supporting local artists, and providing an artistic and curatorial point of view to topics of interest in our communities.

Another key aspect to developing the art ecosystem in the country, and one that we must not lose sight of, is that as a guild we have to be culturally valuable enough to promote the creation of new forms of collecting, without which an art market cannot survive. How, then, do we promote a collection that is not only relevant, but ethically diverse and critical in Mexico? Do we dare to think of Latin American collecting as well? Without pretending to know the answer, what I propose is that we must try different ways. This is where I think Estación Material proposes a model: creating spaces for reflection and different ways of approaching living art.

Estación Material, from the perspective of celebrating local talent and creating interest in the general public, was a success. It is up to the creative community to continue connecting with audiences, being critical of the stories we promote and understanding what is the main narrative thread of our history in contemporary art that allows us to generate collectibles and an economic model that supports artistic talent that grows exponentially, day by day.