As an interdisciplinary artist, Aldo Álvarez Tostado explores the concept of nation-fiction by deconstructing the cultural and political expressions that sustain the myth of a country—specifically, Mexico. His practice has focused on geographic constructs such as borders and toponymy, the creation of a Modern cultural canon, and the notion of “national masculinity” through homoerotic archetypes like the vaquero (cowboy) and futbolista (football player).

After years of studying Barragán’s work and reviewing his correspondence, notebooks, and interviews, Aldo began to work with Barragán as a central character in the modern narrative of Mexican identity. Through this process, he has come to see Barragán as a complex, conflicted hedonist, rather than the monastic, heteronormative figure often portrayed in academic settings and guided tours.

His 2025 solo exhibition, Pudor Espiritual (Spiritual Modesty) was exhibited at Casa Cristo—one of Barragán’s earliest buildings, completed in 1929, and arguably his most experimental project in Guadalajara. The show establishes a dialogue between Barragán’s personal life and work, and the aesthetic sensibilities of New Queer Cinema—a movement that emerged in the 1970s and 1980s, exemplified by filmmakers such as Gus Van Sant, Derek Jarman, R.W. Fassbinder, and Chantal Akerman.

The exhibition resulted in fifteen new works, including sculptures, two-dimensional pieces, audio, video, and site-specific installations, employing techniques as diverse as stained glass, nail polish on abalone shell, and carved drywall.

As we explore Casa Cristo, celluloid will help us decipher what lies hidden inside Barragán’s machine for privacy.