Rubén Gámez's Magueyes reworks the supreme symbol of Mexican iconography, and the centerpiece!nbsp;of one of Eisenstein's vignettes from Que Viva Mexico!, the maguey plant, with a!nbsp;sense of the sublime and the absurd. Gámez's historical moment afforded a meta-critique of the (utopian) images that fueled (the Revolution and) the nation's psyche. Adolfo Best Maugard collaborated with!nbsp;photographer Agustín Jiménez to produce Humanidad, a propaganda film!nbsp;exalting public works projects, but all that remains of this is a short!nbsp;series of meticulously framed sequences. The Covarrubiases (corr: omit) looked to the!nbsp;countryside, especially to the indigenous cultures of "Mexico South," for formal beauty and authentic roots. In El despojo Reynoso revisits the rural Mexico so!nbsp;fetishized in the nationalist project, only to find a despair and abuse that!nbsp;transcend time. The installation and media artist Silvia Gruner gives a feminist re-working to famous baroque art historical references, positioning her body within a series of tableaux, in Pecado Original Reproducción. Ximena Cuevas, whose works show tonight and on April 16, 21, and 22, challenges the "half-lies" of Mexican mass media in the video poem Medias mentiras.