Terry Holiday will feature a room of her own: an Artist Project conceived as a personal dressing room (camerino). This space is understood as a site of transformation and self-affirmation where the body becomes a political and poetic stage. In addition to her own works, the space will include pieces by Mexican artists who have made her their subject—such as Armando Cristeto, Teresa Margolles (Mil veces un instante), and Yolanda Andrade—activating the dressing room as a device for shared memory. Holiday will be present throughout the duration of ARCO.

Antonio Pichillá Quiacaín, through the recovery of ancestral Maya Tz’utujil textiles, links body, matter, and territory. The backstrap loom—which connects body, tree, and earth—operates as a symbolic and political extension, activating community memories and generational knowledge as contemporary forms of resistance.

The dialogue between Guillermo Núñez and Antonio Romero addresses the erasure of identity under violent regimes. From the exile caused by the Pinochet dictatorship to the current Salvadoran context marked by various forms of violence, both artists reveal anonymized, vulnerable bodies that serve as archives of trauma.

Altogether, this proposal offers a concentrated vision of MEMORIA’s program. In its debut at ARCO Madrid, the gallery affirms the centrality of these practices, understanding identity as a process in permanent construction and tension.