Mexico City’s art scene has undergone a dramatic transformation since the 1990s, with galleries doubling at an alarming rate, especially in the post-pandemic years. A tight network of established spaces once rooted in the Chapultepec district of San Miguel, such as Labor, kurimanzutto, Proyectos Monclova and Galeria OMR, now spreads throughout the city. Vibrant new art centers emerged in Polanco, Condesa, San Rafael and Colonia Roma, and the scene steadily expanded southwards. Over the past five years, international players have added to this renaissance by opening new branches in the city, including Travesía Cuatro, Galerie Nordenhake, Mariane Ibrahim and Koenig Galerie.
In anticipation of the 21st edition of ZONAMACO, Mexico City’s flagship February art fair (February 5-9, 2025), The Observer spoke with its founder Zélika García about how the fair is expanding as Mexico City booms Influential art scene. Garcia also shared insights into this year’s evolving projects and the highly anticipated Arts Week associated with them.
Founded in 2004, ZONAMACO has played a key role in the rapid rise of the Mexican art scene, becoming a cornerstone of the broader Latin American art world. But this cultural milestone was not achieved in a vacuum. The precursor to this success was Expoarte, a bold but short-lived art fair held in Guadalajara in the 1990s. Although the Expoarte closed in 1998 due to administrative obstacles, Guadalajara remains an important arts center, home to many internationally renowned Mexican artists and the annual Pre-MACO weekend. Pre-MACO is organized primarily by local artists, galleries and institutions, and its highlights include the visionary programming of Cerámica Suro, the renowned ceramics residency founded by the visionary José Noé Suro.
When Expoarte closed, Zélika García seized the moment. Determined to create a new platform for Mexico’s burgeoning art scene, she began years of planning and discussions before debuting the first Muestra in Monterrey in 2002. The beginning of a major cultural force. The following year, the exhibition moved to Expo Reforma in Mexico City and was renamed MACO (Spanish abbreviation for “Mexican Contemporary Art”), and subsequently FEMACO. By 2014, the event had moved to Centro Banamex and evolved into ZONAMACO.
The show continues to push boundaries and expand its global reach. Last year, ZONAMACO celebrated its 20th anniversary, attracting more than 80,000 visitors. This year, under the artistic direction of Direlia Lazo, ZONAMACO 2025 will welcome 200 galleries from 29 countries on four continents.
“The show started many years ago and slowly it became more international,” Garcia told the Observer. The presence of international galleries in Mexico City and its collectors helped support her vision. So has the influx of artists, both pre-Covid and at the height of the pandemic. “We’ve been doing this show for many years and there’s been a lot of word-of-mouth publicity. People who have been at the show tell other people about it and come back.
Mexico City Art Week has a unique energy that fosters genuine relationships that transcend business. Although it has grown into a globally recognized event, it still maintains deep ties with the local arts scene. “We are very good hosts and the people are very welcoming and invite you to visit their houses, dinners, galleries and artist studios,” Garcia said. “Of course, people also like parties, tequila and champagne. It’s all part of the scene: it’s a relaxed place, but more importantly, it’s a place where it’s easy to connect with people.
Over the years, ZONAMACO has steadily improved its quality and refined its offerings in various departments, including visual arts, design, antiques and photography. Key among these was the appointment of a curator for each section, a marked departure from the usual situation at fairs where gallery boards handle such decisions. “We’re being cautious,” Garcia explained. “The main section is the only one with a gallery committee, but it is made up of galleries (local and international) that have been working with us since the first edition. The other sections are carefully curated and are completely under the control of the curators.
This year, ZONA MACO SUR, curated by Manuela Moscoso, focuses on site-specific projects that explore artistic practices from the Global South, challenge Eurocentric narratives, and delve into themes of identity, memory, and community. Meanwhile, the Modern Art section, curated by Esteban King, highlights pioneering figures from Latin America, providing a historical perspective on the evolution of art in the region. In ZONAMACO EJES, young curator Bernardo Mosqueira brings together a group of emerging artists for a solo exhibition, unified under a curatorial theme, questioning the contemporary meaning and meaning of freedom. In terms of design, ZONAMACO DISEÑO is curated by renowned Mexican designer Cecilia León de la Barra, showcasing jewelry and decorative items, while ZONAMACO DISEÑO EMERGENTE’s emerging designers are selected in collaboration with Joel Escalona and Jorge Diego Etienne. This year, the antiques section ZONAMACO SALÓN DEL ANTICUARIO is curated by Alfonso Miranda Márquez, and the photography section is curated by Luis Graham Castillo.
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As the fair continues its post-pandemic recovery, Garcia stressed the importance of balancing international participation with the fair’s ongoing commitment to supporting the Mexican and Latin American art communities. “It’s important to focus most of the project in Latin America because people want to see that and it’s part of our identity. Compared to other fairs, we don’t just have the big names. We have space to discover galleries from different regions and levels , I think it’s important to have this diversity of voices.
That said, participating in art fairs in Mexico can require significant investments from galleries, especially in logistics, and international exhibitors can face challenges breaking into the local art scene. “When new galleries come in, we try to introduce them to collectors and bring them to the people they need to meet,” Garcia said, adding that a relationship and trust need to be built as local collectors Value personal connections. “Once a gallery makes those connections, some local collectors might even offer to host a dinner party at their home next year and invite their friends. It may take time, but the relationships that galleries build here can really pay off.
As ZONAMACO solidifies its position as Latin America’s leading art fair, it also attracts the international museum community, a key factor in increasing the visibility and appreciation of Mexican contemporary art on the global stage. “In the beginning, it was difficult to attract museums and board groups because some of them didn’t want to go to Mexico or preferred other art fairs,” Garcia said. Last year, about 50 museum groups from around the world attended the fair, and she expects as many, if not more, to come in 2025.
At the same time, Mexico City’s art scene continues to evolve, offering something new every year in terms of galleries, private museums, and foundations. “I think they like this city because it’s not just ZONAMACO,” she added. “We have more art events and more events across the city to make the trip worthwhile, and we work closely with local partners, galleries and institutions on VIP programs and public programs.” Both Held every year, it has proven to be a winning formula: integrating the art fair into the fabric of the city’s vibrant cultural life.
For García, however, ZONAMACO’s mission goes beyond hosting successful events. Her priority has always been to educate local audiences and create a new generation of collectors and art lovers. “You need public and local community participation to make art fairs work, especially in Mexico City.” Initiatives like Art Night—part party, part informal arts education—are part of that effort Cornerstones, too, are discussions, some formal and some less formal. She’s seen the results firsthand: Students who attended these and other ancillary events years ago are now buying art at the fair.
Some of the highlights already revealed for this year’s Mexico City Art Week include a rare and unique project by Marina Abramović on Luis Barragán’s architectural masterpiece La Cuadra San Cristóbal – A treat for visitors as the space is not usually open to the public. Another highly anticipated event is a special tour of the vast, verdant Chapultepec Park led by renowned Mexican artist Gabriel Orozco, coinciding with the unveiling of his outdoor project and the A major exhibition at the Museo Jumex, one of the most visually appealing museums in the world. The renowned Lago/Algo venue, also located in the Bosque de Chapultepec, known for its seamless blend of contemporary art and fine dining, will host Chapter 7 of LagoAlgowhich features a special project that has yet to be revealed. Meanwhile, major galleries are launching impressive programs: kurimanzutto will host a solo show by Korean artist Haegue Yang, while Galeria OMR will highlight Yann Gerstberger’s vibrant large-scale tapestries that incorporate patterns inspired by Mexican pop culture.
In addition to ZONAMACO, two other vibrant fairs will energize Mexico City during Art Week. Independent art fair Feria Material (February 6-9) will showcase a carefully selected selection of emerging international galleries, while Salón Acme offers a more laid-back, fun atmosphere dedicated to up-and-coming creatives.
When talking about the possibility of expanding ZONAMACO to other cities in South America, Garcia emphasized her commitment to being rooted in Mexico City and serving the Mexican art community. ZONAMACO has long been rumored to have been considered a potential acquisition target by Art Basel. When the Observer asked Garcia whether she would consider selling the fair to a larger company, following Frieze’s recent acquisitions of the Armory Show and Expo Chicago, she was quick to stress own priorities. “I’m not refusing to collaborate. In fact, I’m willing to collaborate. But I love my project so much that I’ll only work with people who understand it and help me do it better. I wouldn’t do it if it was just for a business deal .
Her passion for the fair and its role in elevating Mexican contemporary art is very evident. “I’m always looking for more opportunities and ways to make art fairs more visible and better for galleries. I care about the continued growth and prosperity of my clients and our community.
