PROYECTOSMONCLOVA is a contemporary art gallery based in Mexico City that focuses on facilitating dialogues between Mexican and international artists from different generations such as: Eduardo Terrazas, Fred Sandback, Martin Soto Climent, Josephine Meckseper, Tercerunquinto, Helen Escobedo and Chantal Peñalosa among others.

Established in 2005, the gallery’s program has evolved into one of the most important forums for contemporary art in Mexico.

In addition to the exhibition program the gallery publishes books and exhibition catalogues. Recent titles include: Restoration of a Mural Painting. Tercerunquinto 2000-2015Robert C. Morgan. Works 1967-2017The Properties of Light. Luis Barragán-Fred Sandback (forthcoming). Exhibition highlights include: Caramel Huysmans. Martin Soto Climent (2015); TRUE STORY, collective show curated by Michel Blancsubé (2015); The Properties of Light. Fred Sandback (2016); dre omins. Andreas Slominski (2016); Doble fondo. Tercerunquinto (2017); Concept and Painting. Robert C. Morgan (2017); and the upcoming Josephine Meckseper (2017).


Colima 55 Roma Norte
Mexico City 06700
+52 (55) 5525 9715
+52 (55) 4754 3546







Gabriel de la Mora

The Properties of Light



  • Fred Sandback

Fred Sandback (1943–2003) created complex situations within specific spaces. These situations do not aim to cast theories or create representations of specific ideas: they are facts that occur in a concrete space and time, «The actuality is the idea.» (“Notes/Appunti”, Flash Art, no. 40 (March–May 1973), p. 14).

Sandback’s sculptures generate mutable qualities while retaining their precise formal characteristics, «Though the same substructure may be used many times, it appears each time in a new light.» (“Remarks on My Sculpture, 1966–86,” in Fred Sandback: Sculpture, 1966-1986, Munich: 1986, p. 13).

Proyectos Monclova presents Fred Sandback: The Properties of Light, featuring six sculptures in the gallery’s main space, alongside a comprehensive selection of works on paper using different techniques, which present a chronological overview. The latter are «a kind of preliminary notation, suggestions of possible ways of building and proportioning things» but also maintain an autonomous character, «drawings which are after the fact. These proceed from the given dimensions of the sculpture as executed rather than toward them—so in a way there is just as much room for free play there.» Sandback quoted in “An Interview: Fred Sandback and Stephen Prokopoff,” The Art of Fred Sandback: A Survey, Champaign-Urbana: Krannert Art Museum, University of Illinois, 1985.

The present exhibition, in collaboration with the Fred Sandback Estate, will extend beyond the gallery’s space to enter into a dialogue with Luis Barragán’s architecture. Sandback, who from early on knew the Mexican architect’s work, visited the Convento de Tlalpan (better known as Capilla de las Capuchinas) during his last trip to Mexico in 2002. The moment was a sublime experience for the sculptor and triggered a profound desire for further investigation. One phenomena that particularly caught the artist’s attention was a distinctive light-shadow play: natural light falls from the stained-glass window onto a wooden cross located at the side wall, casting a shadow of the religious symbol over the altar. Thus the shadow becomes an actual feature within the chapel, its shape and intensity transformed throughout the day.