Rubén D. Ortiz-Torres.

Professor, Visual Arts Department
University of California, San Diego
9500 Gillman Drive
La Jolla, California 92093-0327

BIRTH DATE

February 27th, 1964.

BIRTH PLACE

Mexico City.

ADDRESSES & PHONE NUMBERS.

1941 Echo Park Ave, Los Angeles, CA, 90026, phone/fax: (323) 664-2783.

E-MAIL

ruortiz@ucsd.edu

EDUCATION.

1990-1992 MFA, California Institute of the Arts. Valencia, California.
1982-1986 Licenciatura en Artes Visuales, Escuela Nacional de Artes Plásticas, U.N.A.M., Mexico City.
1981 Career Discovery Program, Graduate School of Design, Harvard University, Cambridge, Massachusetts.
1979-1982 C.C.H. Centro Activo Freyre. Mexico City.
1976 1979 Secundaria Técnica Escuela Nueva. Mexico City.
1970 1976 Manuel Bartolomé Cossio, Mexico City.

SOLO SHOWS.

2014 “Bandera Negra,” La Tallera, Cuernavava, Mexico.
2012 “Retrospectiva en un Minuto,” Galería OMR, Mexico City.
“Retrospective in a New York Minute,” 80WSE Broadway Windows, NYU Steinhardt School of Culture, Education, and Human Development, New York.
“Rubén Ortiz Torres and the Dorian Greys,” Double Break, San Diego.
2011 “Como TV,” Haus der Kunst, Puerto Vallarta, Mexico.
“Portrait of an Artist as a Young Man,” San Diego Museum of Art, San Diego.
2009 “Rubén Ortiz Torres,” OMR, Mexico City.
“El Pasado no es lo que era,” Centro de la Imagen, Mexico City.
2008 “High and Low Rider,” MACLA, San Jose.
“Hi ‘n’ Lo, LAXART, Los Angeles.
2007 “P2-3D,” (in collaboration with Yoshua Okón), Steve Turner Gallery, Los Angeles.
2006 “Distancia Táctica,” Galería OMR, Mexico City.
“The Dream of Reason Still Produces Monsters,” Redhead Projects, New York.
“Miami Image Sound Machine,” Museum of Contemporary Art, North Miami.
2004 “The Manhattan Project,” Art in General, New York
“Mito vs Myth,” Bamboo Lane, Chinatown, Los Angeles
“The Texas Leaguer,” The Glassell School of Arts, The Museum of Fine Arts, Houston.
2003 “Behind the Garage Funk,” Charles H. Scott Gallery, Vancouver.
“Impure Beauty,” Gallery 400, Chicago.
“Siebren Versteeg and Rubén Ortiz Torres & Eduardo Abaroa,” Beacon Cultural Foundation, Beacon, New York.
2002 “Calimocho Styles,” Galería OMR, Mexico City.
“American Monarchy,” Brotfabrik, Berlin.
“Borderlandia,” Haus der Kulturen Der Welt, Berlin.
“The Adoration of the Magi, Esoteric Buddah in Secondary Inspection,” Mesa College Art Gallery, San Diego.
2001 “Adoración de los Reyes, Alienígenas y otros Glocalismos en 3D,” Centro de la Imagen, Mexico City.
“The A Files,” Artpace, San Antonio.
2000 "American Monarchy/Raza Cósmica,” Jan Kesner Gallery, Los Angeles.
"New World Monarchies, Revolutions and Alien Abductions After Maximiliano de Habsburgo,” Graz Kunsteverin, Graz, Austria.
"Power Tools,” Track 16 Gallery, Los Angeles.
1999 “Alien Toy,” Site Santa Fe, Santa Fe, New Mexico.
“Desmothernismo,” Museo de Arte Contemporaneo de Aguascalientes, Aguascalientes, Mexico, Museo Universitario de Ciencias y Arte, colonia Roma, Mexico City.
“Photographs,” Zeitgeist, Seattle, Washington.
1998 “Alien Toyz,” Track 16 Gallery, Los Angeles.
“Desmothernismo,” Huntington Beach Art Center, Huntington Beach, California, Museo de las Artes, Guadalajara, Mexico.
1997 “The House of Mirrors,” Rio Hondo College Art Gallery, Whittier, California.
1996 “La Casa de los Espejos y Pinturas para Turistas,” Galería OMR, Mexico City.
1995 "The House of Mirrors,” Jan Kesner Gallery, Los Angeles.
1993 "Recent Work,” Jan Kesner Gallery, Los Angeles.
"Trabajos Recientes,” Galería de Arte Contemporaneo, Mexico City.
"ChiL.A.ngo,” Centro Cultural La Raza, San Diego.
1992 "Si Tuviera Parque...,” California Institute of the Arts, Valencia, California.
1989 "Pintura,” Galería de Arte Contemporaneo, Mexico City.
1985 "Jesús y los Mutantes,” Consejo Mexicano de Fotografia, Mexico City.

SCREENINGS.

2016 Cinefestival, Guadalpupe Cultural Center, San Antonio, Texas.
2015 Film Today, Calarts, Valencia, California.
2011 “Close Up,” Puerto Vallarta, Mexico.
2010 “Frontierland/Fronterilandia,” Art, Activism, Access: 40 Years of Ethnic Studies at UCLA, CSRC Library in Haines Hall 144, UCLA, Los Angeles
2008 “Silence and Explosion: A Salon Event on Politics and the Arts,” Indiana University, Jacobs School of Music, Sweeney Lecture Hall, Bloomington, Indiana.
2007 “Ambulante. Gira de Documentales. Injerto,” Mexico City, Tijuana, Guadalajara, Oaxaca, Monterrey.
“La Era de La Discrepancia,” Museo Universitario de Ciencias y Arte, Mexico City.
2006 “Tomorrowland: Calarts in Moving Pictures,” The Museum of Modern Art, New York.
“Videoformes,” Clermont-Ferrand, France.
2005 “Surveying the Border,” Harold M. Williams Auditorium, Getty Center, Los Angeles.
2004 “COLLECTING: Artist/Collector/Critic,” Visual Arts Department Colloquium, Performance Space, UCSD, San Diego.
“How Can You Resist. 9th Biennial Festival of Film, Video and New Media,” Redcat, Los Angeles.
2003 “Nations, Pollinations and Dislocations: Changing Imaginary Borders in the Americas,” Argos. Brussels.
“Second Generation,” The Neighborhood Lounge, The Stone, Los Angeles.
2002 “Object/Concept,” University of California in San Diego, San Diego.
2001 "La Zamba del Chevy,” Museo Nacional Centro de Arte Reina Sofía, Madrid.
2000 "Deconstructing/Destructing Disney,” Othercinema, San Francisco.
1999 "Raza Cósmica Videos and Films,” Zeitgeist, Seattle, Washington.
“Nations, Pollinations, and Dislocations: Changing Imaginary Borders in the Americas,” Emily Carr Institute of Art and Design, Vancouver, Canada.
1998 “Cinefestival,” Guadalupe Cultural Arts Center, San Antonio, Texas.
“El Super Show de Puro Pop,” Yerba Buena Center for the Arts, San Francisco.
“Idea de Lugar: Vídeos sobre Latinoamérica,” Museo Nacional Centro de Arte Reina Sofía, Madrid.
“InSync,” Anthology Film Archives, New York.
“Primer Festival Internacional de Cortometraje de la Ciudad de México,” Centro de Estudios Cinematográficas, Mexico City.
1997 “Glare,” University of California in San Diego, La Jolla, California.
California State College in San Bernardino, San Bernardino, California.
1996 "Ann Arbor Film Festival,” Ann Arbor, Michigan.
"Athens International Film & Video Festival,” Athens, Ohio.
Brown University, Providence, Rhode Island.
"Cinefestival,” Guadalupe Cultural Center, San Antonio, Texas.
Dartmouth College, Hanover, New Hampshire.
"Festimad,” Madrid.
"Festival Internacional Cinematográfico del Uruguay,” Montevideo, Uruguay.
“Festival de Cine y Video Experimental,” La Panadería, Mexico City.
"Huntington Beach Arts Center,” Huntington Beach, California.
"Latinamerikansk FilmFestival,” Stockholm and Gotemburg, Sweden.
“Muestra de Cine Estudiantil y Latino 1996,” VIII Feria Nacional Universitaria de Ciencia y Arte, Casa Natal de Morelos, Morelia, Michoacan, Mexico.
"Muestra Internacional de Video,” Instituto Chihuahuense de la Cultura, Chihuahua, Mexico.
“The American Film Institute International Film Festival,” Laemmle Theaters, Santa Monica, California.
“New Documentary Series,” The Museum of Modern Art, New York.
Estudios Churubusco Azteca, Mexico City.
"Video e Identidad Cultural,” UAM, Xochimilco, Mexico.
"Welcome to the Neighborhood,” from "Public Space/Culture Wars,” Free Speech TV, in conjunction with the Getty Center for the History of Art and the Humanities. Los Angeles.
1995 "Arts of the Americas Festival,” University of New Mexico, Albuquerque, New Mexico.
Banff Centre for the Arts ("Memory/History" and "Living at the end of the Nation-State" workshops), Banff, Alberta, Canada.
Baskin Visual Arts Center, University of California in Santa Cruz, Santa Cruz, California.
Cornell University, Ithaca, New York.
Curare, Mexico City.
EM Media, Glenbow Museum, Calgary, Alberta, Canada.
"Festival ¡Cine Latino!,” San Francisco.
"Festival Latinoamericano de Video y Televisión,” La Havana, Cuba.
"Identidad, el Video como Espejo,” Productores Independientes de Video A. C., La Sala del Deseo, Centro de la Imagen, Mexico City.
"In an Out of the Cold,” International Documentary Asociation, UCLA Film and Television Archive and the UCLA Chicano Research Center, Melnitz Theatre, UCLA, Los Angeles.
"Independent Eye,” Channel 28 KCET, Los Angeles.
International Museum of Photography and Film, George Eastman House, Rochester, New York.
"No Man's Land: Crossing Visions" Anthology Film Archives, New York.
Olympia Film Society, Olympia, Washington.
"Sit Down and Watch it,” Artists Space, New York.
"The Other Cinema,” Artist Television Access, San Francisco.
Video In, Vancouver, British Columbia, Canada.
"Video Arts Annual 1995,” Resolution Gallery, Los Angeles Center for Photographic Studies, Los Angeles.
"Western Regional Conference, Society for Photographic Education,” California Institute for the Arts, Valencia, California.
911 Media Arts Center, Seattle, Washington
1993 Film in the Cities, Saint Paul, Minnesota.
University of Minnesota at Bemidji, Bemidji, Minnesota.
1992 University of Southern California, Los Angeles.

PERFORMANCES.

2013 “Camelia la Tejana-Only the Truth,” libretto, video and visuals for the opera composed by Gabriela Ortiz, Long Beach Opera, Terrace Theater, Long Beach, CA.
2012 “Hi ‘n’ Lo,” International Society of Electronic Arts 2012: Machine Wilderness, Albuquerque Museum of Art and History, Albuquerque, New Mexico.
“Hi ‘n’ Lo,” SME Building, University of California in San Diego, La Jolla, CA.
2010 “¡Únicamente la Verdad!,” libretto, video and visuals for the opera composed by Gabriela Ortiz, Festival de México FMX, Teatro Julio Castillo, Mexico City.
2009 “Alta y Baja Tensión,” Museo Universitario de Arte Contemporaneo, Mexico City.
2008 “Discurso Alienígena Transgénico,” (in collaboration with VJ Thai), Medi@rte 6.0 Festival, Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico.
“High and Low Rider,” ZeroOne Festival, Circle of Palms, San Jose.
“Hi ‘n’ Lo,” California Biennial 2008, Orange County Museum of Art, Newport Beach, CA.
“¡Únicamente la Verdad!,” libretto, video and visuals for the opera composed by Gabriela Ortiz, Buskirk-Chumley Theater, Bloomington, Indiana.
2006 “Miami Sound Image Machine,” a Low Rez Crimez production (projections by Konstantino Mavromichalis, sound by Dewey Ambrosino), North Miami, Miami and Miami Beach.
2004 “Manhattan Project.” A Low Rez Crimez production (projections by Konstantino Mavromichalis), around New York City.
2003 “Les Fleurs du Mal,” a Low Rez Crimez production (with the participation of Salvador Muñoz, Konstantino Mavromichalis, Patrick Miller and others), Charles H. Scott Gallery and CBC, Vancouver.
“The Garden of Earthly Delights, (The Chicago Christian Industrial League Lanscape Service version),” Gallery 400, Chicago.
2002 “Low Rez Crimes,” computer, puppet, live video mix performance (with the participation of Konstatnino Mavromichalis), Emily Carr Art Institute, Vancouver.
2001 “Low Rez Crimes,” computer, puppet, live video mix performance (with the participation of Konstantino Mavromichalis and Patrick Miller), Casa de la Cultura, Tijuana, University of California in Irvine, Irvine, California.
2000 "Ballet Parking,” (with the participation of Salvador Muñoz),.The Yerba Buena Center for the Arts, San Francisco, The Los Angeles County Museum of Art.
"La Zamba del Chevy (with the participation of Salvador Muñoz and Tony Ortiz), The J. Paul Getty Museum, Los Angeles.
“Take me to Your Leader,” computer, puppet, live video performance, Southern California Institute of Architecture, Los Angeles.
1999 “Ballet Parking,” (with the participation of Salvador Muñoz), SITE Santa Fe, Santa Fe, New Mexico, Edge Festival, Bergamont Station, Santa Monica, California.
“Computer Puppet Lecture,” California Institute of the Arts, Valencia, California.
“Take me to Your Leader,” computer, puppet, live video performance with the participation of Konstantino Mavromichaelis, Nations, Pollinations, and Dislocations: Changing Imaginary Borders in the Americas, Emily Carr Institute of Art and Design, Vancouver, Canada.
1998 “Ballet Mecánico,” (with the participation of Salvador Muñoz), Museum of Contemporary Art, San Diego, La Joya, California, Hospicio Cabañas, Guadalajara, Mexico, Museo de las Artes, Guadalajara, Mexico. Huntington Beach Art Center, Huntington Beach, California.
1997 “Computer Puppet Lecture,” Sushi Gallery, San Diego.

GROUP SHOWS.

2016 “The Armory Show,” booth 505, New York.
“Customizing Language,” Los Angeles Contemporary Exhibitions, Los Angeles.
“Displacement: Symbols and Journeys,” Cornell Fine Arts Museum of Rollins College, Winter Park, Florida.
“Impresiones de Transfrontera/Líneas Comunicantes: 25 Años de El Nopal Press,” Oficina de Proyectos Culturales, Puerto Vallarta, Mexico.
“Impresiones de Transfrontera/Líneas Comunicantes: 25 Años de El Nopal Press,” Ex Convento del Carmen, Guadalajara, Mexico.
“Post Neo Mexicanismos,” Espacio de Arte Contemporaneo, Mexico City.
“Translocaciones: Mutación,” OMR Gallery, Mexico City.
“ZONA MACO, Mexico Arte Contemporáneo,” Centro Banamex, Mexico City.
2015 “14th Art Basel,” Miami Beach.
“Art Basel Miami Beach Public: Metaforms,” Bass Museum of Art, Miami.
“Artistic Research: Visual Arts Faculty Exhibition 2015,” University Art Gallery at Mandeville Center, La Jolla CA.
“10a Bienal do Mercosul,” Porto Alegre, Brasil.
“Los Días del Terremoto,” El Museo del Estanquillo, Colecciones Carlos Monsiváis, Mexico City.
“Mexican Painting from the 80’s,” Diaz Contemporary, Toronto.
“Monochrome Undone,” SPACE, Irvine, CA.
“Multifarious Abstraction,” Fabien Castanier Gallery, Los Angeles.
“Zona Maco,” Mexico City.
2014 “Art Basel, Hong Kong.
“Art Basel Miami Beach,” Miami Beach, FL.
“CalArts Benefit and Auction,” Regen Projects, Los Angeles, Paula Cooper/Metro Pictures Gallery, New York.
“Perder la Forma Humana,” MUNTREF, Buenos Aires, Argentina.
“Postards4oscar,” Julia de Burgos Latino Cultural Center, New York.
2013 Art Basel Hong Kong, Hong Kong.
“Head Strong,” Krouglak Gallery, Mira Costa College, Oceanside, CA.
“Home Away,” The Armory Arts Center, Pasadena, CA.
“Impression,” Irvine Fine Arts Center, Irvine, CA.
“Junipero Serra and the Legacies of the California Missions,” The Huntington Library, Pasadena, CA.
“Perder la Forma Humana,” MALI, Lima, Peru.
“Pre-Columbian Remix,” Neuberger Museum of Art, Purchase College, State University of New York, New York.
“Registro 03. Espejo/Reflejo,” Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico.
2012 Basel Art Fair, Basel.
“ISEA2012 Albuquerque: Machine Wilderness,” The Albuquerque Museum of Art and History, Albuquerque.
“Mexican Worlds: 25 Contemporary Photographers,” Cermodern, Ankara, Turkey.
“NanoMicroMega,” SME Gallery, San Diego.
“Perder la Forma Humana,” Museo Centro de Arte Reiona Sofía, Madrid.
“Play with Me,” Museum of Latin American Art, Long Beach, CA.
“2011 San Diego Art Prize Recipients,” Athenaeum Music & Arts Library, La Jolla, CA.
“Show #3,” The Parlour. Brooklyn, NY.
“The Wave Exhibition,” The Museum of Latin American Art, Long Beach, CA.
2011 “Antes de la Resaca,” Museo Universitario de Arte Contemporaneo, Mexico City.
“Incidentes de Viaje Espejo en Yucatán y Otros Lugares,” Museo Tamayo, Mexico City.
“It’s All True,” Morono Kiang Gallery, Los Angeles.
“¿Neomexicanismos? Ficciones identitarias en el México de los ochenta,” Museo de Arte Moderno, Mexico City.
“Vantage Point: UCSD Visual Dialogues,” Oceanside Museum of Art, Oceanside, California.
2010 “Changing Focus,” Museum of Latin American Art, Long Beach, California.
“Chewbacca to Zapata,” Morono Kiang Gallery, Los Angeles.
“Hot to Cold/Cold to Hot,” Charles H. Scott Gallery, Emily Carr University of Art + Design, Vancouver.
“Mundos Mexicanos, 25 hedendaagse fotografen,” Bozar, Brussels.
“The Artists Museum,” Museum of Contemporary Art, Los Angeles.
2009 “Armory Show,” New York.
Basel Art Fair, Basel.
Korda’nin Objektifinden Che: Bir Portrenin Devrimle Baslayip Ikonla Biten Öyküsü, Santralistanbul, Istanbul.
“New American Voices,” The Fabric Workshop and Museum, Philadelphia.
“Petit Mal,” Museo Universitario de Arte Contemporaneo, Mexico City.
“Repeat Until,” Compact Space, Los Angeles.
X Bienal de la Habana, Havana.
2008 Art Basel, Miami Beach.
Basel Art Fair, Basel.
“California Biennial 2008,” Orange County Museum of Art, Newport Beach, CA.
“La Era de La Discrepancia,” Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires.
“Phantom Sightings,” Los Angeles County Museum of Art, Los Angeles. Museo Tamayo, Mexico City.
“Puerto Vallarta Arte Contemporáneo,” Puerto Vallarta.
“Sphinxx,” Modern Art, London.
“01SJ Global Festival of Art on the edge,” San Jose, CA.
2007 “An Etymology of Contemporary Codes,” Palazzo Casali, Cortona, Italy.
“Arte, Sátira, Subversión. 5 visiones iberoamericanas,” Casa de América, Madrid.
“Autobiographies,” Dunlop Art Gallery, Regina, Canada.
“Chopped, Chromed, Customized,” Muñoz Waxman Gallery, Center for Contemporary Arts, Santa Fe.
“COLA07. Individual Artist Fellowships,” Los Angeles Municipal Art Gallery, Barnsdall Park, Los Angeles.
“La Era de La Discrepancia,” Museo Universitario de Ciencias y Arte, Mexico City.
“La Presencia,” Museum of Latin American Art, Long Beach.
“Mexiko-Kabinett,” 7 Internationale Foto Trienale, Esslingen, Villa Merkel, Galerien der Stadt Esslingen.
“Viva Mexico,” Zacheta National Gallery of Art, Warsaw.
2006 “Abstractions,” Diaz Contemporary, Toronto.
“An Image Bank for Everyday Revolutionary Life,” Redcat, Los Angeles.
“Distor,” Museo de Arte Carrillo Gil, Mexico City.
“Fair Exchange,” Millard Sheets Gallery at the L.A. County Fair, Pomona, California.
“II Certamen Internacional de Pintura Diputación de Castellón,” Centro Municipal de las Artes, Alcorcón, Spain.
“Leaving Aztlán,” Wignall Museum, Chaffey College, Rancho Cucamonga, CA, Arena 1, Santa Monica, CA, Limn Gallery, San Francisco,
“Leaving Aztlán (redux), Arena 1, Santa Monica, CA.
“Los Angeles/Mexico, Complexities and Heterogeneity,” La Colección Jumex, Mexico City.
“Tigers and Jaguars: LA’s Asian-Latino Art Fusion,” Craft and Folk Art Museum, Los Angeles.
“Transactions: Contemporary Latin American and Latino Art,” Museum of Contemporary Art San Diego, La Jolla.
“Uncontrolled Reflections: Installations by Latin American Artists,” Shift Gallery, Toronto.
2005 “A Walk to Remember,” Los Angeles Contemporary Exhibitions, Los Angeles.
“Eco. Arte Contemporaneo Mexicano,” Museo Nacional de Arte Reina Sofía, Madrid.
“Espejos/Mirrors,” Instituto Cultural de México en Washington DC, Washington.
“Korea Mexico 100 Years of Diplomacy, New Media Works by 8 Korean American and Mexican artists,” Korean Cultural Center, Los Angeles.
“Only Skin Deep: Changing Visions of the American Self,” San Diego Museum of Art, San Diego.
“Revolution and Commerce, The Legacy of Korda’s Portrait of Che Guevara,” California Museum of Photography, Riverside, CA.
“Southern Exposure,” Museum of Contemporary Art San Diego, La Jolla, CA.
2004 “Como Aprender a Amar la Bomba y Dejar de Preocuparse por Ella,” Central de Arte en WTC-Guadalajara, Guadalajara, Mexico.
“Los Usos de la Imagen: Fotografía, Film y Video en la Colección Jumex,” Malba-Jumex, Espacio Fundación Telefónica, Buenos Aires.
“Mapas Abiertos, Fotografía Latinoamericana,” Palau de la Virreina, Barcelona, Fundación Telefónica, Madrid, Centro de la Imagen, Mexico City
“’Nous Venons en paix…’/Histories des Amériques,” Musée d’Art Contemporain de Montréal, Montreal.
“Only Skin Deep: Changing Visions of the American Self,” International Center of Photography. New York.
“Solo Los Personajes Cambian,” Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico.
“Strange Planet,” The Ernest G. Welch School of Art & Design Galleries, Georgia State University, Atlanta.
“The Interventionists,” Mass MoCA, North Adams, MA.
“The Subway Series,” The Bronx Museum of Art and The Queens Museum of Art, New York
2003 “Alarma!,” Raid Projects, Los Angeles.
“Commodification of Buddhism,” The Bronx Museum, New York.
“Cómo Aprender a Amar la Bomba y Dejar de Preocuparse por Ella,” Central de Arte en WTC-Guadalajara, Guadalajara.
“Nopal Press,” Bamboo Lane Space, Chinatown, Los Angeles.
“Nopal Press,” La Caja Negra, Madrid.
“México Iluminado,” Albright College and a downtown location, Reading, Pennsylvania.
“Speedy Gonzalez is German,” The University of Texas at Dallas, Dallas.
“Ten by Twenty,” Yerba Buena Center for the Arts, San Francisco.
2002 “Axis Mexico: Common Objects and Cosmopolitan Actions,” San Diego Museum of Art, San Diego.
“Global Address,” USC Fischer Gallery, Los Angeles.
“La Realidad y el Deseo,” XVI Semana Cultural Lésbico-Gay, Museo Universitario del Chopo, Mexico City.
“Lines of Sight, Views of the U.S./Mexican Border,” The Sweeney Art Gallery at UC Riverside, Riverside, CA.
“Mexico City: An Exhibition about Exchange Rates of Bodies and Values,” P.S.1 MOMA. Long Island City, New York, Kunst Werke Institute for Contemporary Art, Berlin.
“Mixed Feelings,” USC Fischer Gallery, Los Angeles.
“Monitor 2” Gagosian Gallery, New York.
“Think Big,” Liane and Danny Taran Gallery, Saidye Bronfman Centre Des Arts, Montreal.
“Ultrabaroque,” Miami Art Museum, Miami.
“X Files,” La Panaderia, Mexico City.
2001 "Capital Art,” Track 16 Gallery, Los Angeles.
"Customized: Art Inspired by Hot Rods, Low Riders & American Car Culture,” California Center for the Arts, Escondido, California.
"Cyborg Manifesto, or The Joy of Artifice,” Laguna Art Museum, Laguna Beach, California.
"Low N Slow/Converted,” Sangre de Cristo Arts & Conference Center, Pueblo, Colorado.
"Phoenix Triennial,” Phoenix Art Museum, Phoenix, Arizona.
"The Road to Aztlán,” The Los Angeles County Museum, Los Angeles.
"Ultrabarroque,” Modern Art Museum of Fort Worth, Fort Worth, Texas.
2000 "Above and Beyond,” The Yerba Buena Arts Center, San Francisco.
“AmericaFotoLatina,” Museo de las Artes, Guadalajara, Mexico.
"Customized: Art Inspired by Hot Rods, Low Riders & American Car Culture,” The Institute of Contemporary Art, Boston.
"Departures,” The J. Paul Getty Museum, Los Angeles.
"Eduardo Abaroa, Pedro Alvarez, Rubén Ortiz Torres,” The Mc Kinney Avenue Contemporary, Dallas, Texas.
"Made in California,” Los Angeles County Museum, Los Angeles.
"Themes Out of School: Art & Education in Los Angeles,” CAA, Los Angeles.
"Ultrabarroque,” Museum of Contemporary Art, San Diego.
1999 "Alma Colectiva, Colección de la Familia López Martínez,” Museo de las Artes,
Guadalajara, Mexico.
“After the Gold Rush,” Thread Waxing Space, New York.
“Cinco Continentes y una Ciudad,” Museo de la ciudad de México, Mexico City.
“Design Worlds,” The Children’s Museum, San Diego.
“Myself and My Surroundings,” Musée des beaux-arts de Montréal, Montreal.
“15th National Biennal Exhibition, Los Angeles Printmaking Society,” Labanda Gallery, Loyola Marymount University, Los Angeles.
1998 “Contact,” Brewery project, Los Angeles.
“Double Trouble, The Patchett Collection,” Museum of Contemporary Art San Diego, La Joya, California, Museo de las Artes, Guadalajara, Mexico.
“Fullbright-García Robles: Photographs & Prints,” Casa del Tiempo, Mexico City, Instituto Cultural Mexicano, New York.
“Game (Over) the Edge,” Cineteca de Nuevo León, Monterrey, Mexico.
“L.A. Stories: engaging the city,” Montgomery Gallery, Pomona College, Claremont, California.
“¡Mexcelente!,” Yerba Buena Center for the Arts, San Francisco.
“Nopal Photo,” Centro de la Imagen, Mexico City.
“The Fotonovela,” SF Camerawork, San Francisco.
1997 “Arco’97, Feria Internacional de Arte Contemporáneo,” Parque Ferial Juan Carlos I, Madrid.
“Arte Chido, Arte sobre la Violencia,” Colegio de San Idelfonso, Mexico City.
“Are we Touched? Identities from Outer Space,” Huntington Beach Art Center, Huntington Beach, California.
“Así Está la Cosa,” Centro Cultural de Arte Contemporaneo, Mexico City.
"Distant Relations, Cercanías Distantes, Clann I gCein,” Museo de Arte Alvar Carrillo Gil, Mexico City.
“InSITE 97,” San Diego, Tijuana, Mexico.
“InSITE 97: Artists’ Concepts,” Athenaeum Music & Arts Library, La Jolla, California.
“Territorios Singulares,” Sala de Exposiciones del Canal de Isabel II, Madrid.
1996 "10th Biennale of Sydney,” Art Gallery of New South Wales, Sydney, Australia.
“Contemporary Collections, Fall 1996,” Los Angeles Center for Photographic Studies, Los Angeles.
“Cofradía de Luz,” Zacatecas, Hermosillo, Pto. Peñasco, Mérida, Guanajuato, San Luis Río Colorado, Chetumal, San Luis Potosí, Mexicali, Querétaro, Tijuana, Aguascalientes, Ensenada, Mexico.
“Cuadro X Cuadro,” Museo Regional de Guadalajara, Guadalajara, México.
"Distant Relations, Cercanías Distantes, Clann I gCein,” Ikon Gallery, Birmingham, England. Camden Arts Center, London, The Irish Museum of Modern Art, Dublin, Ireland, The Santa Monica Museum of Art, Santa Monica, California.
“Points of Entry, Tracing Cultures,” International Museum of Photography at George Eastman House, Rochester, New York, National African American Museum Project, Smithsonian Institution, Washington, DC.
“El Nopal Press: LAX-Benito Juarez,” Curare, Mexico City.
“El Nopal Press: LAX-Benito Juarez, Carpeta de Impresiones,” Instituto de Artes Gráficas de Oaxaca, Oaxaca, Mexico.
"Siento Bonito,” Museo del Chopo, Mexico City.
"Thinking Print,” The Museum of Modern Art, New York.
“Trans Inter Post, Hybrid Spaces,” Art Gallery, UC Irvine, Irvine, California.
1995 "Arts of the Americas,” University of New Mexico, Albuquerque, New Mexico.
"A Some of Us,” Jan Kessner Gallery, Los Angeles.
"Chicano Progeny,” The Mexican Museum, San Francisco.
“Cofradía de Luz,” Colima, La Paz, Chiapa de Corzo, Guadalajara, Mazatlán, Villahermosa, Morelia, Culiacán, Campeche, Mexico.
"Del (Mal) Uso de la Fotografía,” Jardin Borda, Cuernavaca, Mexico.
"Distant Relations, Cercanías Distantes, Clann I gCein,” Ikon Gallery, Birmingham, England.
"Impressions of Nature,” Museum of Modern Art, New York.
"La Demanda esta en Barata". Galería OMR, Mexico City.
“LAX-Benito Juarez: Prints from Mexico City Artists and Los Angeles Artists,” Grunwald Art Center at the Armand Hammer Museum, Los Angeles.
"Los Angeles Printmaking Society 13th National Exhibition,” Laband Art Gallery, Loyola Marymount University, Los Angeles.
"3Angular,” Convento de Las Capuchinas, Antigua, Guatemala. Convento de la Merced, Mexico City. Fargfabriken, Stockholm, Sweden.
"The Gramercy International Art Fair,” Chateau Marmont, Los Angeles.
"The Other Cinema,” Artists Television Access, San Francisco.
"Points of Entry, Tracing Cultures,” Ansel Adams Center for Photogrphy, San Francisco, Museum of Photographic Arts, San Diego, Center for Creative Photography, Tucson, Arizona.
1994 "A Shadow Born From the Earth,” The Fred Jones Museum of Art, University of Oklahoma, Norman, OK. Joslyn Art Museum, Omaha, NE. The Chrysler Museum, Norfolk, VA. Western Gallery, Western Washington University, Bellingham, WA.
"Del (Mal) Uso de la Fotografía,” Museo Diego Rivera, Guanajuato, Mexico.
"Xicano Ricorso: A Thirty Year Retrospect from Aztlan" Museum of Modern Art, New York.
1993 "A Shadow Born From the Earth,” San Jose Museum of Art, San Jose, California.
"Confrontaciones (Europa-América),” Casa de América de Madrid, Madrid.
"El Nopal Press: A Portfolio,” Social and Public Art Resource Center, Venice, California.
"La Frontera/The Border: Art About the Mexico/United States Border Experience,” Museum of Contemporary Art San Diego, Centro Cultural de la Raza, San Diego.
"Laughing Matters,” L.A. Municipal Art Gallery, Los Angeles.
"The Big Sweep (a photonovela noir),” Southern California Library for Social Studies and Research, Los Angeles.
"Trade Routes,” The New Museum of Contemporary Art, New York.
"Wings of Change,” The Directors Guild of America, Los Angeles.
1992 "Counterweight,” Santa Barbara Contemporary Arts Forum, Santa Barbara, California.
"Aktuelle Kunst Aus Mexico,” Frankfurter Kunstverein, Frankfurt, Germany.
"Virgin Territories,” (L.A. Freewaves), Long Beach Museum of Art, Long Beach, California.
"Identity's Voice" (L.A. Freewaves), USC School of Cinema-Television, Critical Studies, Los Angeles.
"Lust for Life,” Otis Parsons College of Art, Los Angeles.
"Confrontation 1992,” Social and Public Art Resource Center, Venice, California.
"Beyond the Color Line: Reflections on Race,” (L.A. Freewaves), Barnsdall Art Park, Los Angeles. South Bay Contemporary Museum of Art, Torrance, California. Artspace Gallery, Woodland Hills, California. Watts Towers Arts Center, Los Angeles. William Grant Still Art Center, Los Angeles. Angels Gate Cultural Center, San Pedro, California. Mc Groarty Arts Center, Tujunga, California. Wexner Center Film/Video Theater, Columbus University, Columbus, Ohio.
"Between Two Worlds, The People of the Border,” The Oakland Museum, Oakland, California.
"Breaking Barriers: Revisualizing the Urban Landscape,” Santa Monica Art Museum, Santa Monica, California.
"Fotografía Construida,” Primera Bienal de Fotografía, Tenerife, Spain.
"Rueda Como Naturaleza,” Hospicio Cabañas, Guadalajara, Jalisco, Mexico.
"Through the Path of Echoes: Contemporary Art in Mexico,” University Galleries, University of Massachusetts, Amherst, Massachusetts. Yellowstone Art Center, Billings, Montana. Fresno Art Museum, Fresno, California.. Grand Rapids Art Museum, Grand Rapids, Michigan.
"Between Worlds,” Nexus Contemporary Art Center, Atlanta, Georgia. University of Colorado Art Gallery, Colorado. California Museum of Photography, Riverside, California. Photographer's Gallery, Dublin, Ireland. Bass Museum, Miami Beach, Florida. Limerick City Gallery, Limerick, Ireland.
1991 "Between Worlds,” Canon Image Center, Amsterdam, The Netherlands. San Antonio Art Institute, San Antonio, Texas. Santa Monica Museum of Art, Santa Monica, California.
"The Perennial Illusion of a Vulnerable Principle,” Art Center College of Design, Pasadena, California.
"Photo Salon,” Turner/Krull Gallery, Los Angeles.
"The Gathering Storm,” Maryland Art Place, Baltimore, Maryland.
"Trough the Path of Echoes: Contemporary Art in Mexico,” Stedman Art Gallery, Rutgers University, Camden, New Jersey. Western Art Gallery, Western Washington University, Bellingham, Washington. Art Museum of South Texas, Corpus Christi, Texas. The Art Museum, Florida International University, Miami, Florida.
1990 "Contemporary Mexican Painting,” Mexican Fine Arts Center, Chicago, Illinois.
"Between Worlds,” Impressions Gallery, York, England, University of East Anglia, Gallery, England. Camden Arts Center, London, Institute of Contemporary Photography, New York.
"Lo Que Abre el Camino,” Galería del sur, Universidad Autónoma Metropolitana, Xochimilco, Mexico.
"La Toma del Balmori,” Balmori Building and Salón des Aztecs, Mexico City.
"Mexico: Out of the Profane" Contemporary Art Centre of South Australia, Adelaide, Australia. Art Gallery of Western Australia, Perth, Australia. National Art Gallery, Wellington, New Zeland.
"Through the Path of Echoes,” Archer M. Huntington Art Gallery, Austin Texas, Museo del Barrio, New York.
"Aquí y Allá,” The Los Angeles Municipal Art Gallery, Los Angeles., Centro Cultural Tijuana, Tijuana, B.C., Mexico.
1989 "De cabeza,” Polyforum Cultural Siqueiros, Mexico City.
"Yo Colecciono,” Museo Carrillo Gil, Mexico City.
"Desnudos,” Galería La Agencia, Mexico City.
"20 Festival of Art and Latin American Culture,” Museum of Art, Brasilia, Brazil.
"Artistas en Residencia,” Galería de Artes Plásticas, I.N.B.A., Mexico City.
1988 "Six Pack de los Sesentas" Galería Carlos Ashida, Guadalajara, Mexico.
"Somos o nos Parecemos". Galería OMR, Mexico City.
"Doce Meses, Doce Artistas." Galería La Agencia, Mexico City.
"Mitologías Privadas en Torno a la Muerte" Cultural Forum Santo Domingo. Mexico City.
"De los Jovenes". Museo Carrillo Gil, Mexico City, Museo Biblioteca Pape, Monclova, Coahuila, Mexico.
"Iconografía de la Anticipación,” Foro Cultural Santo Domingo, Mexico City.
"Vírgenes de Guadalupe,” Centre Culturel du Mexique, Paris, France.
1987 "Salón Nacional De Pintura,” Galería del Auditorio Nacional, Mexico City.
"Seis de los Sesentas,” Galería Collage, Monterrey, Mexico.
"Sin Motivos Aparentes 3,” Museo Carrillo Gil, Mexico City.
"Colectiva de Verano,” Galeria de Arte Contemporaneo, Mexico City.
"Juventud Divino Tesoro,” Casa de la Cultura, Universidad del Estado de México, Mexico City.
"Paper Works,” La Agencia Gallery, Mexico City.
"Mexico Hoy: Una Vista Nueva. Mexico today: A New View,” Diverse Works Artspace, Houston , Texas. Blue Star, San Antonio, Texas. Dinnerware Artists Cooperative Gallery, Tucson, Arizona.'
"Salón de Espacios Alternativos,” Museum of Modern Art, Mexico City.
"Contemporary Mexican Photography,” California Museum of Photography, University of California, Riverside, California.
1986 "39 Mexican Photographers,” Houston Center for Photography, Houston, Texas.
"Sexto Encuentro Nacional De Arte Joven,” Casa de la Cultura de Aguascalientes, Aguascalientes, Aguascalientes. Galería del Auditorio Nacional, Mexico City.
1985 "Sin Motivos Aparentes,” Museo Carrillo Gil, Mexico City.
"Sección de Espacios Alternativos,” Salón Nacional de Artes Plásticas, Galería del Auditorio Nacional, Mexico City.
"Taller de Verano, Instituto de Artes Plásticas de Taxco,” Galeria Los Talleres, Coyoacán, Mexico City.
1984 "Taller de Manipulación y Experimentación Fotográfica,” Galería de la E.N.A.P., U.N.A.M., Mexico City.
"Painting Exhibition,” BSO, Milan, Italy.
"Cuarto Encuentro Nacional de Arte Joven,” Casa de la Cultura, Aguascalientes, Aguascalientes. Galer ía del Auditorio Nacional, Mexico City.
"Bienal de Fotografía,” Museo de la Fotografía, Pachuca, Hidalgo. Palacio de Bellas Artes, Mexico City.
"Sobre la piel,” Consejo Mexicano de Fotografía, Mexico City.
1983 "Sección de Dibujo,” Salón Nacional de Artes Plásticas, Palacio de Bellas Artes, I.N.B.A. Mexico City.
"Tercer Encuentro Nacional De Arte Joven,” Casa de la Cultura, Aguascalientes, Aguascalientes. Palacio de Bellas Artes, I.N.B.A., Mexico City.
"La Calle, Adonde Llega?,” Museo de Arte Moderno, Mexico City.
"Neográfica en Gran Formato,” Museo del Chopo, Mexico City.
1982 "Tres Tristes Tigres,” Galeria Los Talleres, Mexico City.

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MEISEL, Myron: “Camelia La Tejana: Only the Truth: Opera Review. Long Beach Opera wrestles with Mexico’s bloody drug war,” The Hollywood Reporter, March 25, Hollywood, http://www.hollywoodreporter.com/review/camelia-la-tejana-truth-opera-430720
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SILVA, Elda: “Heavy Medal: Artpace’s first-ever Fiesta bling features Ozzy, Alamo,” mysanantonio.com, April 22, San Antonio, http://blog.mysanantonio.com/artbeat/2013/04/heavy-medal-artpaces-first-ever-fiesta-bling-features-ozzy-alamo/
JOHNSON, Reed: “Rumor, legend and a tabloid report sparked ‘Camelia la Tejana.’ The Meta-opera, which will have performances at Long Beach Opera, tries to deconstruct the mythology around its central character,” The Los Angeles Times, Arts & Culture, March 16, Los Angeles.
KREIMER, Julian: “The Mexican Tourist,” Pre-Columbian Remix. The Art of Enrique Chagoya, Demián Flores, Rubén Ortiz Torres and Nadín Ospina, Neuberger Museum of Art, Purchase College, State University of New York, New York, pp. 86-99.
MEISEL, Myron: “Camelia La Tejana: Only the Truth: Opera Review,” The Hollywood Reporter, March 25, Hollywood, CA.
“Ópera de Long Beach presenta Camelia La Tejana inspirada en corrido de @tigresdelnorte,” Radionotas.com, March 22, Los Angeles, http://radionotas.com/musica/opera-de-long-beah-presenta-camelia-la-tejana-inspirada-en-corrido-de-tigresdelnorte/
PRIETO, Patricia: “Estrenan ópera inspirada en ‘Camelia la Tejana’ en LA. Estrena en LA la ópera ‘Camelia la Tejana. Únicamente la verdad’, inspirada en el popular” La Opinión, Entretenimiento, March 14, Los Angeles.
RIBERA D’EBRE, Rodrigo: “Contraband and Betrayal,” The California Westsider, March 28, http://thewestsiderblog.wordpress.com/2013/03/28/contraband-and-betrayal/
SCHWENDENER, Martha: “Pre-1492, Artistic Notions Worth Borrowing, A Review of ‘Pre-Columbian Remix’ Exhibition, at the Neuberger Museum,” The New York Times, N.Y./Region, May 12, New York, p. WE9.
SIERRA, Sonia: “Frontera, común denominador en una exposición del MARCO. Son siete los creadores que integran la muestra Registro 03. Espejo Reflejo, con video, foto, pintura, dibujo y arte objeto,” El Universal, Cultura, February 6, Mexico.
STAMPLEMAN, Arthur: “Neuberger Museum Reopening,” The Rye Record, April 18, http://ryerecord.com/ae/neuberger-museum-reopening.html, Rye, NY.
SWED, Mark: “Review: ‘Camelia la Tejana’ sifts legend from truth. Gabriela Ortiz’s fact-shifting, cross-border tale is ambitiously presented by Long Beach Opera,” Los Angeles Times, Arts & Culture, March 27, Los Angeles.
WALLACE, George M.: “Print the Legend ‘Camelia la Tejana: Only the Truth’ Long Beach Opera,” A fool in the forest, March 26, Pasadena, CA. http://www.afoolintheforest.com/2013/03/camelia-la-tejana-only-the-truth-long-beach-opera.html
2012 ALDANA, Erin: “Rubén Ortiz-Torres: Portrait of an Artist as a Young Man,” caa.reviews, December 12, CrossRef DOI: 10.3202/caa.reviews.2012.140
ANABITARTE, Ana: “Arte latinoamericano de los 80 llega al Reina Sofía,” El Universal, Cultura, October 28, Mexico City.
BAUTISTA, Virginia: “La Transformación como guía plástica. El mexicano Rubén Ortiz Torres, radicado en Los Ángeles, inaugura Retrospectiva en un minuto,” Excelsior, Comunidad, July 19, Mexico City, p. 11.
BURSTEIN HEWITT, Lonnie: “Exhibition of Art Prize winners opens at Athanaeum. Rubén Ortiz-Torres, 2011 San Diego Art Prize recipient,” La Jolla Light, A & E, Art, April 6, http://www.lajollalight.com/?p=61896
CELDRÁN, Helena: “Una exposición repasa la ‘mexicanidad’ de Los Ángeles,” 20minutos.es, Artrend, January 20, Madrid, http://www.20minutos.es/noticia/1279566/los-angeles/arte-mexicano/exposicion/
FARRELL, John: “Artwork you can play with,” Press Telegram, June 31, Long Beach, http://www.presstelegram.com/ci_20754716/john-farrell-artwork-you-can-play
GALPIN, Amy: “An American Art for San Diego: Rethinking Cultural Boundaries in Southern California,” Behold, America! Art of the United States From Three San Diego Museums, Museum of Contemporary Art San Diego, The San Diego Museum of Art, Timken Museum of Art, San Diego, pp. 280-285.
GALPIN, Amy: “Notes by Amy Galpin, Curator, San Diego Museum of Art, on Rubén Ortiz Torres,” San Diego Visual Arts Network, San Diego Art Prize, San Diego, http://www.sdvisualarts.net/sdvan_new/pdf/ArtNotes2011.pdf
GONZALEZ ROSAS, Blanca: “Arte: La pintua termosensorial de Rubén Ortiz,” Proceso, Cultura y Espectáculos, August 21, Mexico City.
LEñERO, Isabel: “Galería OMR: Obra de Rubén Ortiz,” Proceso, Cultura en la mira, August 21, Mexico City.
MACMASTERS, Merry: “México se convierte en un centro de interés para el arte, dice creador visual. Rubén Ortiz Torres presenta Retrospectiva en un minuto en la Galería OMR. En un video incluye más de mil obras que se pueden observar “en un minuto,” La Jornada, Cultura, July 31, Mexico City, p. 14.
MORENO, Concepción: “Retrospectiva en un minuto, sensual como carrera en Ferrari,” El Economista, Julio 29, Entretenimiento, Mexico.
RIVAS, Ana Sofía: “Identidad de la Frontera (Parte II),” Omnívoro, February 12,
RODRIGUEZ, Marisol: “Retrospectiva en un Minuto,” La Semana de Frente, no 62, August 2, Mexico.
ROSENBLUM, Beth: “MEX/L.A.: ‘Mexican’ Modernism(s) in Los Angeles, 1930-1985,” ArtNexus, Issue #84, March-May, Volume 10, Bogota, Colombia, pp. 136-138.
“Rubén Ortiz Torres en OMR,” Espacio Blanco, Agenda, August 17, http://espacio-blanco.com/2012/08/ruben-ortiz-torres-en-omr/
SHICK, Rock: “#162 Retrospective in a New York Minute,” Rock Shick. A Sketchbook of Styles, September 11, New York, http://www.rockshic.com/my-blog/2012/09/162-retrospective-in-a-new-york-minute.html
SIERRA, Sonia: “30 años de arte, en un minuto. La Galería OMR muestra pinturas y dibujos de Rubén Ortiz, junto a un video-retrospectiva que dura 60 segundos,” El Universal, Cultura, July 24, Mexico City.
TORRES, Mireille: “Retrospectiva en un Minuto. Rubén Ortiz-Torres,” Arte al Día Mexico, August 14,Mexico City, http://artealdia.mx/resena/retrospectiva-en-un-minuto-ruben-ortiz-torres/
2011 CHENG, Scarlet: “MEX/LA: Mexican-American Modernisms,” Art Ltd., November, Woodland Hills, CA. http://www.artltdmag.com/index.php?subaction=showfull&id=1320362044&archive=&start_from=&ucat=28&
GHANBARI, Sheena: “New Take on Old Work: San Diego Museum of Art Surveys Prof’s Punk Period,” ucsdnews, July 5, San Diego, http://ucsdnews.ucsd.edu/newsrel/general/20110705ProfPunk.asp
GUZMAN-LOPEZ, Adolfo: “Exhibit explores Mexican impact on L.A.,” 89.3 KPCC, September 19, Pasadena. http://www.scpr.org/news/2011/09/19/28925/mex-la-exhibit-explores-mexican-american-two-way-s/
“Lanzan ópera de Camelia la Texana,” Sopitas.com, March 14, Mexico City, http://www.sopitas.com/site/209357-lanzan-opera-de-camelia-la-texana/
LEON DE LA BARRA, Pablo: “Arqueología conceptual: Sobre la exposición Incidentes de viaje espejo en Yucatán y otros lugares…,” Incidentes de viaje Espejo en Yucatán y otros lugares. Incidents of Mirror-Travel in Yucatán and Elsewhere, Museo Tamayo, Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, Mexico City, p. 21, p. 34.
MIZOTA, Sharon: PST, “A to Z: ‘MEX/LA’ at the Museum of Latin American Art,” Los Angeles Times, Culture Monster, September 27, Los Angeles. http://latimesblogs.latimes.com/culturemonster/2011/09/pst-a-to-z-mexla-at-the-museum-of-latin-american-art.html
MORENO, Concepción: “La odisea de Stephens y Catherwood revive,” El Economista, Entretenimiento, July 21, Mexico.
MORLAN, Kinsee: “Rubén Ortiz-Torres captures cultural collisions,” San Diego City Beat, Art & Culture, August 31.
PENER, Degen: “The MEX/LA Art Show: Five Things to Know,” The Hollywood Reporter, December 12, Hollywood, http://www.hollywoodreporter.com/news/mex-la-art-show-ruben-guevara-269432
PLAGENS, Peter: “Laying Claim to Its Place in the Sun,” The Wall Street Journal, Arts and Entertainment, October 13, New York.
SMITH, Roberta: “A New Pin on the Art Map,” The New York Times, Art & Design, November 13, New York, p. AR1
WATSON, Elizabeth A: “Rubén Ortiz-Torres. San Diego Museum of Art,” ArtNexus, no. 83, Volume 10, December 11-February 12, Bogota, Colombia, pp. 126-127.
VAN ANTWERPEN, Julie: “Artist Rubén Ortiz-Torres’ New Art Show in San Diego,” Mexico Today, October 28, http://mexicotoday.org/article/artist-rubén-ortiz-torres’-new-art-show-san-diego
ZIEMBA, Christine N.,: “San Diego Museum of Art Presents Early Works of Rubén Ortiz-Torres,” 24700 News From California Institute of the Arts, July 25, Valencia, CA, http://blog.calarts.edu/2011/07/25/san-diego-museum-of-art-presents-early-works-of-ruben-ortiz-torres/
2010 ALONSO, Idurre: “From Documenting the Surrounding Environment To Constructing an Artificial Reality/De la Documentación del Entorno a la Construcción de una Realidad Artificial,” Changing the Focus, Latin American Photography 1990-2005, Museum of Latin American Art, Long Beach, California, p. 20.
BARRADAS, Jorge: “Sonaron siete balazos… El estreno de ¡Únicamente la Verdad!” L’Orfeo. Música Clásica Hoy, L’Opera, April, Mexico, http://www.lorfeo.org/2aEd/7a/Opera/opera.html
BARRADAS, Jorge: “¡Únicamente la verdad! Amarillismo Inspirador,” L’Orfeo. Música Clásica Hoy, L’Opera, February, Mexico, http://www.lorfeo.org/2aEd/5a/Opera/opera.html
BRENNAN, Juan Arturo: “Nota al Programa,” Únicamente la verdad. La auténtica historia de Camelia “La tejana,” fmx-Festival de México, Mexico City, pp. 3-5.
BRENNAN, Juan Arturo: “…Y nada más que la verdad,” La Jornada, Cultura, March 20, Mexico City.
“Camelia la tejana” abre el FMX,” Mundo52.com, March 11.
CASTELLANOS, Alejandro: “Memory and Irony: Contemporary Photography in Latin America/Memoria e Ironía: Fotografía Contemporanea en América Latina,” Changing the Focus, Latin American Photography 1990-2005, Museum of Latin American Art, Long Beach, California, p. 33-38.
CHARNA LYNN, Karyl: “Unicamente la Verdad (Only the Truth), Gabriela Ortiz, Libretto by Rubén Torres,” Opera Now, Live Reviews, July/August, London, p. 111.
“Debuta Camelia en la opera,” El Diario, Espectáculos, March 21, Ciudad Juarez, Mexico.
ECKMANN, Teresa: “Introduction: Defining Neo-Mexicanism and Neo-Mexicanists,” Neo Mexicanism. Mexican Figurative Painting and Patronage in the 1980’s, University of New Mexico Press, Albuquerque, pp. 1-28.
ECKMANN, Teresa: “Rubén Ortiz Torres: Neo-Mexicanism and Postmodernism,” Neo Mexicanism. Mexican Figurative Painting and Patronage in the 1980’s, University of New Mexico Press, Albuquerque, pp. 209-238.
FIGUEROA, Adrián: “Y Camelia La Tejana se hizo ópera,” La Crónica de Hoy, Culturas, March 13, Mexico City.
GÁMEZ, Silvia Isabel: “Vuelven opera mito de Camelia la Texana,” Reforma, Cultura, March 5, Mexico City.
GONZALEZ, Jennifer: “Drug Violence Hits the Stage in Mexico City Opera,” Banderasnews.com, March 22, Puerto Vallarta, http://www.banderasnews.com/1003/ent-camilalatexana.htm
HERNANDEZ, Daniel: “Mexican opera tackles the myth of ‘Camelia la Tejana,’ icon of narcocorridos,” Los Angeles Times, La Plaza, News from Latin America and the Caribbean,
HERNÁNDEZ CHONG CUY, Sofía: “Only the truth-contemporary opera and the making of legends,” Sideshows, March 15, http://blog.sideshows.org/
JOHNSON, Ken: “They’re Chicanos and Artists, But is Their Art Chicano?,” The New York Times, Art & Design, April 10, New York, p. C1.
MEDINA, Cuauhtémoc: “Narcobrechtiano,” Reforma, Cultura, El Ojo Breve, March 17, Mexico City, p. 21.
MERCADO, José Noé: “Únicamente la verdad en el teatro Julio Castillo,” Pro Ópera, Festivales, Mayo-Junio, Mexico City, pp. 19-21.
MIGLIERINI, Julián: “Drugs opera opens in Mexico City,” BBC News, Americas, March 12, http://news.bbc.co.uk/2/hi/americas/8563528.stm
MOLINA, Juán Antonio: “Monumento, documento y replica. Una lectura postnacionalista. Ensayo presentado al encuentro de críticos e Investigadores PhotoEspaña/Transatlántica, 2010,” Scribd, January 27, http://www.scribd.com/doc/25916104/Monumento-documento-y-replica-Una-lectura-postnacionalista
MORENO, Concepción, “Únicamente la Verdad”, Camelia la Tejana me desconcertó,” El Economista, Entretenimiento, March 13, Mexico City.
MORALES, Noé: “Únicamente la Verdad,” La Jornada, La Jornada Semanal, El Mono de Alambre, no 787, April 4, Mexico City.
NÁJAR, Alberto: “México estrena la primera ‘narco-ópera’,” BBC Mundo-América Latina, March 11, http://www.bbc.co.uk/mundo/america_latina/2010/03/100311_1030_narco_opera_mexico_gtg.shtml
PADILLA, Ignacio: Arte y Olvido del Terremoto, Editorial Almadía S.C., Estuario Ensayo, Oaxaca, pp. 100-101.
PAUL, Carlos: “Reflexión sobre el narco, desde la cultura, desde la cultura, abrirá el encuentro fmx,” La Jornada, Cultura, February 4, Mexico City, p.4.
QUIRARTE, Xavier: “México. Camelia la tejana a la opera,” Centro Latinoamericano de Creación e Investigación Teatral, La escena iberoamericana, March 4, Buenos Aires, http://www.celcit.org.ar/noticias_2175_camelia.la.tejana.a.la.opera.html
RÁBAGO PALAFOX, Mauricio: “Los valores de “Camelia La Tejana,” Conaculta en los Medios, March 21, Mexico City.
RÁBAGO PALAFOX, Mauricio: “Únicamente la verdad,” Pro Ópera, year XVII, no. 3, May-June, Mexico City, pp. 1-2.
RIVAS ITURRALDE, Vladimiro: “Únicamente la verdad,” Pro Ópera, year XVII, no. 3, May-June, Mexico City, p. 2.
SÁNCHEZ, Luis Carlos: “Narcocorrido llega a la opera. El FMX Festival de México arrancará con Únicamente la verdad. La auténtica historia de Camelia La Tejana,” Excélsior, February 7, Comunidad, Mexico City.
SIERRA, Sonia: Camelia “La Tejana”, un mito que se transforma en opera,” El Universal, Cultura, March 7, Mexico City.
QUIRARTE, Xavier: “Camelia la tejana a la opera,” Milenio, March 3, Mexico City.
VARGAS, Ángel: “El Mito de Camelia ‘La Texana’. Únicamente la verdad”, explora como se creó esta leyenda con el personaje del corrido Contrabando y traición , opera de Gabriela y Rubén Ortiz sera la encargada de abrir el FMX…,” Diario de Chiapas, Arte y Espectáculos, March 11, Tuxtla Gutiérrez, Chiapas, México,
VARGAS, Ángel: “Únicamente la verdad inaugurará las actividades del fmx Festival de México,” La Jornada, Cultura, March 8, Mexico City, p. a11.
VARGAS, Ángel: “Explora opera cómo se creó el mito de Camelia, La Tejana,” La Jornada, Cultura, March 8, Mexico City, p. a10.
VÉRTIZ DE LA FUENTE, Columba: Camelia “La Tejana”, a la opera,” Proceso, Cultura y Espectáculos, March 9, no 1740, Mexico City, pp. 72-73.
WETMORE SIMPSON, Ashley: “High Meets Low: Anna Nicole Smith, ‘Atonement’ and Narcocorrido, the Opera,” BlackBook, March 22, New York, http://www.blackbookmag.com/article/high-meets-low-anna-nicole-smith-atonement-and-narcocorrido-the-opera/17249
YRÍZAR, Manuel: “El K.brón que escribió la rolita ‘Camelia la tejana’ en el Fmx. 2010,” Operópatas de todos los paises…¡uníos!, lacoctelera.com March 13, http://manuel-yrizar.lacoctelera.net/post/2010/03/13/el-k-bron-escribio-rolita-camelia-la-tejana-el-fmx
ZALCE, Beatriz: “Fue un reto ponerle música al Alarma!,” El Financiero, Cultural, Fugas y Caprichos, March 10, Mexico City, p. 33.
2009 HUGUES, Alejandra: “Presencia Flagrante. Presencia flagrante, apropiación acrítica del pasado, realismo nostálgico, comodidad en lo kitsch, revival, todo en cierta burla y cinismo…,” Luka Hughes, September 22, http://huguesluka.blogspot.com/2009/09/presencia-flagrante.html
GARCÍA LEYVA, Cynthia: “Petit Mal//MUCA Ciudad Universitaria,” Apolorama NetZine, June 22, http://www.revistaapolorama.com/2009/06/petit-mal-muac-ciudad-universitaria.html
LEÓN, Edna Edith: “Petit Mal, ni máquina ni individuo: Autonomía del deseo en el MuAC,” Artes e historia de México, June 21, Mexico, http://www.arts-history.mx/semanario/index.php?id_nota=20062009163159
MEDINA, Cuauhtemoc: “La Ruina en Serie,” Reforma, Cultura, El Ojo Breve, September 30, Mexico City, p. 24.
MINERA, María: “El Pasado ya no es lo que Era,” Letras Libres, November, Mexico City.
PARASCANDOLA, Mark: “The Past is Not What it Used to Be,” Mark Parascandola Photography, October 23, Washington, http://www.parascandola.com/blog/2009/10/23/the-past-is-not-what-it-used-to-be.html
ZALDÍVAR, Fabián: “Presencia flagrante de Marcos López y Rubén Ortiz en el Centro de la Imagen de la Ciudad de México,” Filmeweb, September 5, no 108, Mexico, http://www.filmeweb.net/magazine.asp?id=3671
2008 CONTRERAS, Gabriel: “Abre Rubén Ortiz Mediarte,” Milenio, Cultura, September 24, Monterrey, Mexico, p. 44.
FOX, Howard: “Rubén Ortiz-Torres,” Phantom Sightings. Art After the Chicano Movement, University of California Press, Los Angeles County Museum of Art, Berkeley, Los Angeles, London, p. 189.
GURZA, Agustin: “Beyond Rebellion. Chicano art gets a rare LACMA focus, and a new generation steps forward,” Los Angeles Times, Arts & Music Calendar, April 6, Los Angeles, pp. F1-F9.
HADDAD, Natalie, “Phantom Sightings,” Frieze, no 117, September, London, pp. 185-186.
HERNÁNDEZ, Édgar: “Critican la Homogeneidad,” Excelsior, Comunidad, May 31, Mexico,
HERNÁNDEZ, Édgar: “Ruinas sin Historia. El artista Rubén Ortiz-Torres ha recorrido diversas geografía en busca de vestigios apócrifos que responden a un exotismo fruto de la globalización,” Excelsior, Expresiones, June 8, Mexico, p. 8.
JACOBI, Peter: “Unusual ‘Videopera’ Deserves a Future,” Herald Times, August 11, Bloomington, Indiana.
JOHNSON, Reed: “Puerto Vallarta’s not just for tourists, it’s for artists too,” Los Angeles Times, Calendar, June 4, Los Angeles.
KNIGHT, Christopher: “Chicano Road. Mexican American art has come a long way since the movement of the 1970’s. LACMA’s Phantom Sightings’ traces its zigzag path,” Los Angeles Times, Calendar, April 15, Los Angeles, pp. E-1-E-6.
LERNER, Jesse: “Ruinas que Migran,” El Replicante, no 15, año IV, May-July, Guadalajara, pp. 79-81.
MYERS, Holly: “Phantom Sightings: Art After the Chicano Movement,” ArtReview Magazine, July 11, Contemporary Artists and Photography.
NORIEGA, Chon: “The Orphans of Modernisn,” Phantom Sightings. Art After the Chicano Movement, University of California Press, Los Angeles County Museum of Art, Berkeley, Los Angeles, London, p. 35.
PIZARRO, Sal: “An illumiunating start. San Jose opens its digital arts festival,” San Jose Mercury News, West Valley, June 5, San Jose, pp. 1B-2B.
2007 “Blogger Without Borders,” Tu Ciudad, August, Los Angeles, p. 42.
BURMAN, Jenny, “Mexipunx,”, LA Observed, Chicken Corner, http://www.laobserved.com/echopark/2007/08/mexipunx.php
CONN, Cyndi: “Chopped, Chromed, Customized,”Chopped, Chromed, Customized, Center for Contemporary Arts, Santa Fe, pp. 1-2.
CIFARELLI, Gabriel: “Rubén Ortiz Torres,” COLA07. Individual Artist Fellowships, Department of Cultural Affairs, City of Los Angeles, pp. 35-37.
CUEVAS, Tatiana: “Mexiko-Kabinett. Nachträge zu Einer Kollektiven Träumerei,” 7 Internationale Foto Triennale, Esslingen 2007, Villa Merkel, Galerien der Stadt Esslingen am Neckar, Villa Merkel/Banhnwärterhaus, Esslingen am Neckar, Germany, p. 181.
CUEVAS, Tatiana: “Mexico Cabinet. Supplements to a Collective Reverie,” 7 Internationale Foto Triennale, Esslingen 2007, Villa Merkel, Galerien der Stadt Esslingen am Neckar, Villa Merkel/Banhnwärterhaus, Esslingen am Neckar, Germany, p. 213.
DEBROISE, Olivier: “Puntos de Entrada: El Arte Mexicano se Globaliza 1987-1992,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 331-336.
DEBROISE, Olivier: “Entry and Exit: A New Internationalization of Mexican Art 1987-1992,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 341-346
DEBROISE, Olivier, Cuauhtemoc Medina: “Genealogía de una Exposición,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 18-19.
DEBROISE, Olivier, Cuauhtemoc Medina: “Genealogy of an Exhibition,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, p. 25.
DIAZ. Felipe: “AutoBiographies. How we Share the Road,” Autobiographies, Dunlop Art Gallery, Regina, Canada, p. 8.
“Efímera Modernidad/Ephemeral Modernity”, La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 296-297.
“InSite,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 424-425.
LA CRONE: “Tropical América,” Children of the Staircase, http://www.childrenofthestaircase.com/2007/08/tropical-america.html
“La Ilusión Perene de un Principio Vulnerable/The Perennial Ilusion of a Vulnerable Principle,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 390-391.
“La Quiñonera,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 360-361.
MATOS, Dennys, Lorena Peres Rumpler, “La Parodia y la Sátira,” Exposición: Arte, Sátira…¡Subversión! 5 Visiones Iberoamericanas, CasAmérica, Madrid, p. 2.
MATOS, Dennys, Lorena Peres Rumpler, “Rubén Ortiz Torres,” Exposición: Arte, Sátira…¡Subversión! 5 Visiones Iberoamericanas, CasAmérica, Madrid, pp. 7-8.
MOLINA, Juán Antonio: “El pasado ya no es lo que era. Monumento, documento y replica (una lectura postnacionalista),” Trasatlántica, PhotoEspaña, Encuentro de críticos e investigadores, Centro Cultural de España en México, Scribd, http://www.scribd.com/doc/25916104/Monumento-documento-y-replica-Una-lectura-postnacionalista
MYERS, Holly: “Taking on elements of Picasso,” Los Angeles Times, Calendar, February 2, Los Angeles, p. E24.
NAVARRETE CORTES, Alejandro: “La Producción Simbólica en México Durante los Años Ochenta,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 286-288.
NAVARRETE CORTES, Alejandro: “Symbolic Production in Mexico in the 1980’s,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 293-295.
NORIEGA, Chon: “The Orphans of Modernism,” Aztlán. A Journal of Chicano Studies, University of California in Los Angeles, vol 32, no 2, fall, Los Angeles, pp. 1-17.
“Perdidos en México/Lost in Mexico: Javier de la Garza, Enrique Guzmán, Julio Galán, Rubén Ortiz Torres ,” La Era de la Discrepancia The Age of Discrepancies. Arte y Cultura en México, Art and Visual Culture in Mexico, Museo Universitario de Ciencias y Arte, Universidad Nacional Autónoma de México, Mexico, pp. 316-321.
ROBERTS, Kathleen: “Chrome Becomes Canvas. Exhibit Shows the Art Behind the Lowrider Subculture,” Journal Santa Fe. A Zoned Publication of the Albuquerque Journal, Venue, August 24, Santa Fe, pp. S1-S3.
RUIZ, Laura: “Arte, Sátira…¡Subversión!. Artistas de cinco países latinos se ríen de los estereotipos de sus respectivas sociedades,” La Razón, Cultura, July 13, Madrid, p. 34.
SANDOVAL, Marta, “El Arte de la Subversión. Cinco artistas muestran en Casa de América su vision irónica de la sociedad,” El País, Revista de Verand, July 18, Madrid, p. 34.
TORRES, Noelia: “Visión Lúdica de la Realidad. Cinco Artistas Latinoamericanos muestran mediante la sátira y la parodia las peculiaridades de sus países,” El Mundo S. XXI, Madrid, July 20, p. 3.
WEIDEMAN, Paul, “Getting Low and Arty,” The New Mexican, Pasatiempo, August 24-30, Santa Fe, p. 32.
2006 FINKEL, Lori: “Recipe for Revolution: Take 11,000 Photos,” The New York Times, January 29, New York, p. 32.
FUNG, Richard: “The Power of Light: aluCine 7th Toronto Latin@ Media Festival’s Uncontrolled Reflections,” Fuse Magazine, vol 29, no 3, July, Toronto, pp. 45-48.
JOHNSON, Reed: “A New Page for Mexican Book Fair. Ten-day event opens its arms to L.A.’s Chicano writers and artists,” The Los Angeles Times, Calendar, October 4, Los Angeles, pp. E1-E7.
MEDINA, Cuauhtemoc: “Bocetos Fotográficos,” Reforma, Cultura, El Ojo Breve, March 15, Mexico City, p. 13.
PHILLIPS, Glenn: “Upside-Down and Backwards: L.A. Artists go to the Fair,” Fair Exchange, Millard Sheets Gallery, L.A. County Fair, Pomona, CA, pp. 54-56.
STERLING, Bruce: “The Interventionists. The ‘creative class’: Tech geeks and fine artists are jostling onto the same page,” Make, Volume 07, August, Sebastopol, CA, pp. 26-27.
WILDER, Matthew: “An Image Bank for Everyday Revolutionary Life,” Arforum.com, February 3.
2005 ABAROA.Eduardo: “Rubén Ortiz Torres, Alien Toy/La Ranfla Cósmica,” Eco: arte contemporáneo mexicano, Museo Nacional de Arte Reina Sofía, Turner, Madrid, p. 176.
ABAROA.Eduardo: “Moving,” Eco: arte contemporáneo mexicano, Museo Nacional de Arte Reina Sofía, Turner, Madrid, p. 193-194.
DEBROISE, Olivier: “Fin de temporada: saldos,” Eco: arte contemporáneo mexicano, Museo Nacional de Arte Reina Sofía, Turner, Madrid, pp. 183-184.
CHARPENEL, Patrick: “Pequeños Manifiestos,” Solo Los Personajes Cambian, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico, p. 30.
CHAVOYA, Ondine: “Rubén Ortiz Torres,” Art in General, New York.
MALLET, Ana Elena: “Rubén Ortiz Torres y Eduardo Abaroa: “Maíz Transgénico,” Eco: arte contemporáneo mexicano, Museo Nacional de Arte Reina Sofía, Turner, Madrid, p. 110.
MEDINA, Cuauhtemoc, “Jim Mendiola and Rubén Ortiz Torres,” Jim Mendiola and Rubén Ortiz Torres 01.3, Artpace, San Antonio, 8 pp.
MYERS, Holly: ” State of the Art ’05, “ LA Weekly, October 28-November 3, Los Angeles.
ROUG, Louise: “Where Art is Job 1, a burgueoning museum amid a workaday muffler shop in East Los Angeles? Seeing is believing, but then again, even that might not be enough,” Los Angeles Times, Calendar, April 3, Los Angeles, p. E40.
SMITH, Courtenay, Sean Tophan: “Rubén Ortiz Torres, Baseball Hats,” Xtreme Fashion, Prestel Verlag, Munich, Berlin, London, New York, pp. 128-131.
SOMERSTEIN, Rachel: “True to Grit,” Artnews, vol. 104, no. 2, February, New York, p. 36.
2004 CASTELLOTE, Alejandro: “Mapas Abiertos,” Mapas Abiertos, Fotografía Latinoamericana, 1991-2002, Lunwerg Editores, Madrid and Barcelona, p. 43.
CASTELLOTE, Alejandro: “Transmigraciones. La fotografía en México, 1989-2001,” Mapas Abiertos, Fotografía Latinoamericana, 1991-2002, Lunwerg Editores, Madrid and Barcelona, p. 295.
CHAVOYA, Ondine: “Customized Hybrids: The Art of Rubén Ortiz Torres and Lowriding in Southern California,” CR: The New Centennial Review, vol 4, no 2, Michaelsen, S. & Johnson, E., Michigan State University Press, Lansing, MI., pp. 141-185.
LAMOUREUX, Johanne: “La Rencontre de deux Amériques,,” Histories des Ameriques, “nous venons en paix…, ” Musée d’art contemporain de Montréal, Montreal, p. 26.
LANDRY, Pierre: “Histories des Amériques,” Histories des Ameriques, “nous venons en paix…, ” Musée d’art contemporain de Montréal, Montreal, p. 10.
LEHMANN, Ulrich: “Auto-nom. Das Fahrzeug als unabhängiges Objekt in der Kunst der Gegenwart,” Auto-nom. Das Automobil in der zeitgenössischen Kunst, Eine Ausstellung des NRW-Forum Kultur und Wirtschaft, Dusseldorf, p. 102.
LIPPERT, Werner: “Vom Rausch zur metaphysischen Vollbremsung Das Automobil als Kulturobject,” Auto-nom. Das Automobil in der zeitgenössischen Kunst, Eine Ausstellung des NRW-Forum Kultur und Wirtschaft, Dusseldorf, p. 54.
LUCIE-SMITH, Edward: “The Present Day,” Latin American Art of the 20th Century, Second Edition, Thames & Hudson, World of Art, London, pp. 210-211.
OLSEN, Valerie Loupe: “Rubén Ortiz Torres, The Texas Leaguer,” The Glassell School of Art, The Museum of Fine Arts, Houston, pp. 7-17.
OKEKE, Chika: Lost in Translation: Dilemmas of a Strange Planet,” Strange Planets, Ernest G. Welch School of Art & Design Gallery, Atlanta.
RIMMER, Cate: “Introduction,” Rubén Ortiz Torres: Behind the Garage Funk, Charles H. Scott Gallery, Emily Carr Institute, Vancouver, pp. 6-8.
ROCA, José: “Cartels allongés,” Histories des Ameriques, “nous venons en paix…, ” Musée d’art contemporain de Montréal, Montreal, p. 10.
SHOLETTE, Gregory: “Interventionism and the historical uncanny…Or can there be a revolutionary art without the revolution!,” The Interventionists, User’s Manual for the Creative Disruption of Everyday Life, MASS MoCA, North Adams, MA, MIT Press, Cambridge, MA, pp. 133-140.
TOSS, Michael: “Raza Cósmica-Monarquía Americana,” Grenzgänge, Fotos für Pressefreiheit, 10 Jahre Reporter ohne Grenzen, Berlin, p. 54.
VARGAS-LUGO, Pablo, “Rubén Ortiz Torres,” Los Usos de la Imagen. Fotografía, Film y Video en la Colección Jumex, Museo de Arte Latinoamericano de Buenos Aires-Jumex, Espacio Fundación Telefónica, Buenos Aires, pp. 135-138.
VOSE, Ken: “Low Rider, Lawn Mower,” Monster Nation, Meredith Books, Des Moines, Iowa, p.165.
WELCHMAN, John: “Ekeko to Mufflers: Rubén Ortiz Torres on Kustom, Kamouflage, and Kitsch,” Rubén Ortiz Torres: Behind the Garage Funk, Charles H. Scott Gallery, Emily Carr Institute, Vancouver, pp. 9-23.
2003 FEDER, Elena: “Nations, Pollinations and Dislocations: Changing Imaginary Borders in the Americas,” Argosfestival 2003, Argos editions, Brussels, pp. 22-24.
MEDINA, Cuauhtemoc: “Jim Mendiola, Rubén Ortiz-Torres,” in PACE, Linda, Jan Jarboe Russell, Eleanor Heartney, Kathryn Kanjo, Dreaming Red: Creating Art Pace, ArtPace, A Foundation for Contemporary Art, San Antonio, pp. 240-245.
2002 ARRIOLA, Magali: “Hopscotch: Between Heaven & Earth,” Axis Mexico: Common Objects and Cosmopolitan Actions, San Diego Museum of Art, San Diego, pp. 32-45.
CHENG, Scarlet: “As the Borders Blurs and the Cultures Become One,” Los Angeles Times, Calendar, August 25, Los Angeles, pp. 50-51.
COTTER, Holland: “A Mexican Anti-Fiesta Full of Uneasy Realities,” The New York Times, Section E, July 5, p. 33.
GOMEZ, Cecilia M: “Two Shows Capture Border Life and Beyond. Views: Four Artists reveal the ‘Invisible’ border in a show at Sweeney Art Gallery.” The Press Enterprise, E Section, Living, March 21, Riverside, CA, pp. E1-E2,.
GONZALEZ ROSAS, Blanca: “Documenta y Calimocho.” Proceso, #1332, May, Mexico City.
HERTZ, Betti-Sue, FONG, Pamela: “Catalogue,” Axis Mexico: Common Objects and Cosmopolitan Actions, SanDiego Museum of Art, San Diego, pp. 86-89
KIDERRA, Inga: “Aztec to High-Tech. USC art exhibit examines culture of ‘Bajalta,’” Chronicle, USC, vol 22, no 1, August 26, Los Angeles.
KNIGHT, Christopher: “The Border Realigned,” The Los Angeles Times, Calendar, September 20, Los Angeles, p.1.
LECLERC, Gustavo and Michael Dear: “Hitting Soft and Looking South,” Mixed Feelings, Art and Culture in the Postborder Metropolis, Fischer Gallery, University of Southern California, Los Angeles, pp 14-31.
LIDA, David: “Ciudad de México: una exposición,” Reforma, El Ángel, August 3, Mexico City.
MEDINA, Cuauhtemoc: “Mutual Abuse,” An Exhibition about the Exchange Rates of Bodies and Values, P.S.1 MoMA, KW Institute for Contemporary Art,
MEDINA, Cuauhtemoc: “Refinement by Corruption: The Speedy Enjoyment of Gonzales Global Culture,” Axis Mexico: Common Objects and Cosmopolitan Actions, San Diego Museum of Art, San Diego, pp. 134-143.
MEIXNER, Christiane: “Foto-Mutationen von Ruben Ortiz Torres,” Berliner Morgenpost, October, 10, Berlin
MAC MASTERS, Merry: “Rubén Ortiz y Eduardo Abaroa colaboran en Calimocho Styles,” La Jornada, Cultura, May 6, Mexico City
MORENO, Gean: “The (new) Order of Things. Art, Car, Customizing and Hybrid Dreams,” Art Papers, March/April, Atlanta, pp. 32-36
NUNGESSER, Michael: “Könige auf dem Rummelplaty. Ywei Foto-Ausstellungen erforschen den mexikanischen Umgang mit Farbe und Kitsch,” Der Tagesspiegel, Berlin Kultur, October, 13, Berlin.
PAGEL, David: “This Glittery Lawn Mower Cuts to the Tough Questions”, Los Angeles Times, Calendar, September 6, Los Angeles, P. 6.
PINCUS, Robert: “2 Shows, Nothing in Common. Rubén Ortiz Torres Delivers Surreal Border Bauble Sculpture; in Coronado, an Oddly Incomplete Look at Monty Lewis’ Work,” The San Diego Union Tribune, Visual Arts, March 21, San Diego, pp. 40-41.
ROTHER, Hans-Jörg, “Nadelstiche und Wechselkurse. Berliner Austellungsmarathon mit Werken neuer Mexikanischer Kunst,” Märkische Oderzeitung, November 27, Eisenhüttenstadt, Germany,
SULLIVAN, Edward J.: “The Borderless Baroque. A traveling exhibition examines the scope and sensibility of what its curators call “post-Latin American” art.” Art in America, no 7, July, New York, pp. 37-41.
WAHJUDI, Claudia: “12 Wochen Mexiko. Es ist das größte Mexiko -Festival, das je auf europäischem Boden stattfand: ‘MEXartes’spiegelt den Stand mexikanischer Kultur und Politik wider. Eine Reise durch das Land enthüllt verblüffende Verbindungswege nach Berlin,” Zitty, no 20, Berlin, pp. 24-27.
“Zebra Crossing, Zeitgenössische Kunst aus Mexiko,” Vernissage, no 03/02, Berlin.
2001 CORDOVA, Edgar: “La illusion óptica Mexico-EU,” Milenio, sección C, November 22, Mexico City, p.49.
GARCíA, Adriana: “Ejercen la fotografía como un ‘acto de fe’,” El Universal, sección F, November 20, Mexico City, p. 1.
JOHNSTON, Katie: “Artmobile, Passion drives art at high-octane exhibit of custom-built low-riders and hot rods,” The Gazette, Arts & Stage, May 25, Colorado Springs, Colorado, p.22.
KOSLOW MILLER, Francine: "Customized,” Artforum, XXXIX , no 7, March, New York, pp. 147-148.
KUTNER, Janet: “Strange Beauty, Exhibit sheds light on Latin artists’ views of their culture,” Dallas Morning News, February 11, Dallas, pp1C-6C.
MC CABE, Bret: “Ultrabaroque. Aspects of Post Latin American Art,” Artl!es, Spring, pp. 63-64.
MAC MILLAN, Kyle: “Start Your Engines,” Denver Post, Weekend Entertainment, June 1, Denver, pp. 1E-18E.
SILVA, Elda: “Alamo art: Thanks for the memories, ArtPace collaboration pays homage to off-center recollections of San Antonio’s famed structure,” San Antonio Express-News, S.A. Life, Section G, November 14, San Antonio, Texas, pp. 1G-3G.
2000 ALLAN, Lois: "'Departures: 11 Artists at the Getty' at the J. Paul Getty Museum,” Artweek, May, San Jose, California.
ALBERTINI, Rosanna: "Departures,” Artpress, no 257, Paris, pp. 69-71.
CHABOYA, C. Ondine: "Rubén Ortiz Torres: Style Politics and Hydraulic Hijinx,” Customized: Art Inspired by Hot Rods, Low Riders and American Car Culture, Harry N. Abrams, Inc., Publishers, in association with The Institute of Contemporary Art, Boston, New York, PP. 43-47.
COOPER, Jaqueline: "Departures,” New Art Examiner, July/August, Chicago, p. 37.
DEE MITCHELL, Charles: "True South? Artists Explore the Myths and Realities of Latino Culture,” Dallas Morning News, November 8, Dallas.
DONOHUE, Marlena: "High-minded low riding,” Our Times (A supplement of the Los Angeles Times), Eye on Art, July 16, Santa Monica, California, p. 12.
ELLIOT, Kev: “Customized,” Custom Car, October, London.
HARVEY, Doug: "Mounds. Monumental Edibles at the Getty Contemporary,” LA Weekly, The Arts, March 10-16, Los Angeles, pp. 37-38.
INFANTE, Victoria: "Arte que danza sobre ruedas, La exposición Departures: 11 Artists at the Getty alberga un estilizado auto 'lowrider' que en su forma original perteneció al guerrillero Ernesto 'Che' Guevara en Cuba,” La Opinión, Espectáculos, Sección D, March 20, Los Angeles, pp. 6D.
INFANTE, Victoria: "Pintores con humor. Tres artistas latinos que coinciden en la manera de expresar su arte reunidos en una original e interesante muestra,” La Opinión, Espectáculos, Sección E, August 16, Los Angeles, pp. 6E.
KNIGHT, Christopher: “Art Reviews, Images of Invention,” Los Angeles Times, Calendar, July 7, Los Angeles, p. 22.
KNIGHT, Christopher: “Updating Baroque" Los Angeles Times, Calendar, October 3, Los Angeles, pp. F1-F9.
KNIGHT, Christopher and Suzanne Muchnic: “Faces to Watch 2000, Future Presence, Art, Ruben Ortiz Torres,” Los Angeles Times, Sunday Calendar, January 2, Los Angeles, p. 9.
LITTLEJOHN, David: "The Gallery: Hilltop Invitational. Eleven Artists Vie With Getty's Permanent Collection: China Kitsch to Low Riders,” The Wall Street Journal, April 25, New York, p. A24.
LYONS, Lisa: "Rubén Ortiz Torres, La Zamba del Chevy,” Departures, 11 Artists at the Getty, J. Paul Getty Trust, Los Angeles, pp. 36-39.
Mc MASTERS, Merry: "Ortiz Torres: no hago pintura o fotografía sino cultura,” La Jornada, Cultura, January 20, Mexico City.
MUCHNIC, Suzanne: "Creative Drive,” Art News, May, New York, p. 52.
PAGEL, David: "Rubén Ortiz Torres,” Bomb, no 70, Special The Americas 2000, Winter, New York, pp. 16-21.
PINCUS, Robert: "attitude adjustment, Latin American artists take Baroque and run with it,” The San Diego Tribune, Night and Day, September 28-October 4, San Diego, pp. 4-5.
SILVER, Joanne: “Art lovers, start your engines, The ICA gets ‘Customized’,” Boston Herald, Arts & Culture, October 27, Boston, pp. S7-S10.
SONKIN, Rebecca: “Sweet’n’Low,” Artnews, November, New York.
WOLF, Sara: "A Departure for the Getty, The museum reimagines itself in a dialogue with contemporary art,” Los Angeles County Register, Encore, The Fine Arts, March 12, Orange County, California.
1999 ABAROA, Eduardo: “Todo hombre (o mujer) es un extraterrestre O la usurpación de Rubén Ortiz Torres,” Desmothernismo, Museo Universitario de Ciencias y Artes, Mexico City, pp. 3-8.
COTTER, Holland: “After the Gold Rush,” The New York Times, Weekend, Fine Arts, Leisure, June 18, New York, p. E33.
CRUZVILLEGAS, Abraham: “Inmundo nos Vigila.” Reforma, November, 17, Mexico City, p. 3C.
HOLLANDER, Kurt: “L’objet et l’installation, art du multiculturalisme, Object Relations in Mexico City,” Artpress, no 243, February, Paris, pp. 23-27.
FREDERICKSEN, Eric: “Cross the Border,” The Stranger, vol 8, no 46, August 5-11, Seattle, Washington, p. 68.
JARRET, Dennis: “Fat Man and Wickedbed,” Santa Fe Reporter, February 10-16, Santa Fe, New Mexico.
ROSE, Cynthia: “Humorist Uses Art to Explore Life’s Borders,” The Seattle Times, Real Life, July 27, Seattle, Washington, p. E2.
ROSE, Cynthia: “Zen and the Art of Little Green Man,” The Seattle Times, Ticket, The Times’ Weekly Entertainment Guide, August 5, Seattle, Washington, p. 23.
STALLINGS, Tyler: Like Infants from the Breast: “The Cathode-Ray Milk of North America,” Art Papers, January-February, Atlanta, pp. 35-36.
WILSON-POWELL, Malin: Albuquerque Journal, February 11, Albuquerque, New Mexico. P. 6.
1998 CAMARENA, Ricardo: “Arte que hace ‘Performance’, Elementos de las Culturas ‘Chilanga’ y Chicana se Mezclan en la Obra del Artista Rubén Ortiz Torres”: La Opinión, Espectáculos, Sección D, January 12, Los Angeles, pp. 1D-8D.
COOPER, Jacqueline: “Ruben Ortiz-Torres”: New Art Examiner, Chicago, December/January, 1998/1999, p.59.
DE GUZMAN, René: “The City of Re-use”: ¡Mexcelente!, Yerba Buena Center for the Arts, San Francisco, pp. 2-3.
GREENE, David A: “Wetback!,” Desmothernismo, Smart Art Press, Travesías, Huntington Beach Art Center, Santa Monica, California, Guadalajara, Mexico, Huntington Beach, California, pp. 30-45.
HOLLANDER, Kurt: “Crossover Dreams”: Art in America, vol 86, no 5, May, New York, pp. 46-51.
HOLLANDER, Kurt: “ Rubén Ortiz Torres” Poliester, vol 6, no 22, Summer, Mexico City, pp. 18-23.
JUSIDMAN, Yishai: “INSITE 97,” Artforum, March, New York.
KNIGHT, Christopher: “Fall’s Fresh Faces, Art, Rubén Ortiz Torres, 34, Mixed Media Artist”: Los Angeles Times, Calendar Weekend, September 10, Los Angeles, p. 9.
KNIGHT, Christopher: “Works That are Hybrid to the Core. Art Review: Modernist Ideas of Purity are of no Interest to Rubén Ortiz Torres, Who Celebrates his Cross Pollinated Subject Matter in Eclectic Ways”: Los Angeles Times, Calendar, September 26, Los Angeles, pp. F6-F8.
MEDINA, Cuauhtemoc: “As Quetzalcoátl Said: “I Shall Return in a one Reed Year, all in Green, and in my Flying Saucer.,”” Alien Toyz, Smart Art Press, Santa Monica, California.
MYERS, Terry R.: “Rubén Ortiz Torres at Track 16,” LA Weekly, Art Reviews, January 10-February 5, Los Angeles, p. 53.
PATCHETT, Tom: “Rubén Ortiz Torres,” Double Trouble, The Museum of Contemporary Art, San Diego and The Auditorio de Galicia, Santiago de Compostela, Spain, pp. 202-205.
RUIZ, Blanca: “Irrumpe ‘Border Patrol’ en Expoarte Guadalajara,” Reforma, Cultura, September 12, Mexico City, p. 4C.
SCHOENKOPF, Rebecca: “Beware the Mexican Devil,” OC Weekly, Art, October 2-October 8, p. 29.
STALLINGS, Tyller: “Cross-Cultural Customizer,” Desmothernismo, Smart Art Press, Travesías, Huntington Beach Art Center, Santa Monica, California, Guadalajara, Mexico, Huntington Beach, California, pp. 8-29.
TAKAHAMA, Valerie: “Seeing the Area Where Cultures Come Together. The Sum is More Interesting than the Parts, Artist Rubén Ortiz Torres Says”: The Orange County Register. Show Thursday, September 24, Orange County, California, pp.1-3.
TIBOL, Raquel: “Becas Reproducen Becas,” Proceso, no.1145, October 11,
1997 DOCTOR, Rafael: “Imágenes Singulares,” Territorios Singulares, Fotografía Contemporánea Mexicana, Sala de Exposiciones del Canal de Isabel II, Madrid, p. 16.
GREENSTEIN, M.A.: “Distant Relations, Cercanías Distantes/Clann I gCein,” World Art, No. 12
HOLLANDER, Kurt: “Rubén Ortiz Torres,” Grand Street, All American, no 61, New York, p. 33.
JUSIDMAN, Yishai: “Mucho Ruido y Bastantes Nueces,” Reforma, Cultura, November 5, Mexico City, P. 3C.
JUSIDMAN, Yishai: “Rubén Ortiz Torres,” Artforum, XXXV, no 6, February, New York, p. 95.
KNIGHT, Christopher: “inSITE, OUTTA SIGHT. Artists in two border cities blast away at artificial barriers in a compelling show of talent come of age,” Los Angeles Times, Calendar, October 4, Los Angeles, pp. F1-F16.
KNIGHT, Christopher: “Right Here, Right Now, A record number of Los Angeles artists have attained global status in recent years, and more are on the rise. What makes this the best moment ever to be an artist in L.A.?,” Los Angeles Times, Calendar, May 18, Los Angeles, pp. 4-52.
MARTIN LOZANO, Luis: “Visión de los Volcanes,” Reforma, El Angel, January 5, Mexico City, pp. 1-2.
MENDOZA, Patricia: “Territorios Singulares, Fotografía Contemporanea Mexicana,” Territorios Singulares, Fotografía Contemporánea Mexicana, Sala de Exposiciones del Canal de Isabel II, Madrid, p. 22.
LEVY STRAUSS, David: “Distant Relations,” Artforum, XXXV, no 5, January, New York, pp. 90-91.
PINCUS, Robert, L.: “Two Autobiographers Give InSITE97 Some Wheels,” The San Diego Tribune, Night & Day, The Weekly Guide, October 9-15, San Diego, p. 26.
PINCUS, Robert, L.: “Ortiz-Torres Shifts Gears, Medium to Create Video Theater on Wheels,” The San Diego Union Tribune, The Arts, July 13, San Diego, pp. E2-E10
TIBOL, Raquel: “Cercanías Distantes (o Cercanías Forzadas),” Proceso, no. 1061, March 2, Mexico City, pp. 63-65.
1996 BOBKA, Vivian: “Rubén Ortiz-Torres,” Jurassic Technologies Revenant, 10th Biennale of Sydney, Biennnale of Sydney, Sydney, New South Wales, Australia, p. 140.
CAMHI, Leslie: “Travelling Shots,” Jurassic Technologies Revenant, 10th Biennale of Sydney, Biennnale of Sydney, Sydney, New South Wales, Australia, p. 40.
CARRERA, Mauricio: "Una Mezcla de lo Mejor y lo Peor de E.U. y México. Fronterilandia: La pelîcula,” Uno mas Uno, Antropología y Cultura, May 16, Mexico City, p. 23.
CHALON SMITH, Mark: "Blurred Perceptions Seen in Sharp Focus,” Los Angeles Times, Orange County Edition, June 7, Orange County, California, p. F6
COHN, Terri: "An America Dilemma, Points of Entry: Tracing Cultures,” Afterimage, vol. 23, no. 3, November/December, Rochester, NY, p. 15.
CULLEN, Fintan: "Confronting Multiculturalism,” Circa, Spring, Dublin, Ireland, p. 21.
DROHOJOWSKA-PHILP, Hunther: “Cultural Perversity, In the Work of Rubén Ortiz-Torres, Cultural Symbols Collide in a Border Town of the Mind,” Sí, October, Los Angeles, pp. 24-29.
GALVAN, Kyra: "Muestra de Artistas Chicanos, Irlandeses y Mexicanos,” El Universal, Cultura, February 4, Mexico City, p.2.
GEER, Suvan: “‘Distant Relations’ at the Santa Monica Museum of Art,” Artweek, vol. 27, no. 12, December, San Jose, California.
HUNT, Ian: "Appreciating the Other,” New Statesman, January 5, London England.
KNIGHT, Christopher: “Refreshing Look at “Relations” Between Mexico and Ireland”. Los Angeles Times, Calendar, September 14, Los Angeles, pp. F1-F14
LABELLE, Charles: "Rubén Ortiz Torres": Poliester, vol. 4, no 14, Mexico City, pp. 58-59.
MASTERSON, Piers: "Distant Relations: A Dialogue between Chicano, Irish and Mexican Artists,” Art Monthly, no. 193, February, London, pp. 34-35.
NARANJO, Eduardo: “Rubén Ortiz, El Arte de Reírse de Salinas,” Siglo 21, Vida & Cultura, September 29, Guadalajara, Jalisco, Mexico, p. 2.
ROSTEN, Carrie: “Exhibit Attempts to Take Back Cultural and National Identities,” Daily Bruin, Arts & Entertainment, September 23-26, Los Angeles,
RUIZ, Blanca: “Conjugan “Poesía Cotidiana” con “Espejos de Realidades,”” Reforma, Sección C, Cultura, September 3, Mexico City, p.12 C.
SMITH, Roberta: “Savoring a Medium Whose Bite Has Grown With Age,” New York Times, June 19, New York City.
TALBOT, Linda: "For Tastes both Catholic and Catholic": Hamstead & Highgate Express, February 16, London, p.32.
WYE, Deborah: Thinking Print: Books to Billboards, 1980-95, The Museum of Modern Art, distribuido por Harry N. Abrams, Inc., New York, pp. 86, 133, 144, 149, 152, 138.
1995 ÅMAN, Jan: "Spy, spy, spy,” Svenska Daglabet, Kultur, May 16, Stockholm, Sweden, p.31.
BAKER, Kenneth: "Politics of Identity in Latino-Made Art,” San Francisco Chronicle, Datebook, May 16, San Francisco, pp. E1-E3.
BONETTI, David: "Artist look at immigration, loss. Photos focus on cultural viewpoints of "displacement,”” San Francisco Examiner, Weekend, September 15, San Francisco, p C-15.
BRENNAN, Juan Arturo: "Sceanchai Rappers: The Wait is Over: "Distant Relations, Cercanías Distantes, Clann I gCéin, Smart Art Press, New York, pp. 208-215.
CLARK, Robert: "Distant Relations,” The Guardian, November 21, London.
DROHOJOWSKA-PHILP, Hunther: "When Worlds Collide. Confused about what's Mexican and what's American? Artist Rubén Ortiz-Torres explores that rocky terrain through his photographic works and a new feature-length documentary,” Los Angeles Times, Calendar, September 3, Los Angeles, pp. 58-61
GREEN, David: "Border Crossings, Rubén Ortiz-Torres Blurs Cultural Boundaries,” Los Angeles Reader, vol. 17, no. 52, October 6, p.16.
GREVILLE, Janie: "Thought-provoking Exploration of Cultures,” Birmingham Post, November 25, Birmingham, England.
GRUNDBERG, Andy: "Introduction,” Points of Entry, Tracing Cultures, The Friends of Photography, San Franciscolifornia, distributed by The University of New Mexico Press, Albuquerque, New Mexico, p. 11.
HELFLAND, Glen: "The Offspring,” San Francisco Weekly, Art, May 3-9, San Francisco, p.37.
KANDEL, Susan: "Capturing Multiculturalism in New Light,” The Los Angeles Times, Calendar, September 15, Los Angeles, p. f-30
KNIGHT, Christopher: "Carolina, Here he Comes. South of the Border isn't just a state of mind, it's a real place , and a perfect jumping-off point for Ortiz's film odyssey "Frontierland/Fronterilandia" Los Angeles Times, Calendar, September 3, Los Angeles, p.61.
KNIGHT, Christopher: "Enthusiastic Hybridity,” Los Angeles Times, Calendar, October 28, Los Angeles, pF6
LERNER, Jesse: "The Works of Others #1,” Poliester, vol. 4, no. 5, Winter, Mexico City, pp. 8-17.
MEDINA, Cuauhtemoc: "Irony, Barbary, Sacrilege,” Distant Relations, Cercanías Distantes, Clann I gCéin, Smart Art Press,, pp. 94-97.
MUCHNIC, Suzanne: “Rubén Ortiz Torres,” Art News, December, New York, p. 156.
PAGEL, David: "Rubén Ortiz Torres,” Frieze, Issue 25, November /December, London, pp. 64-65.
RASCóN Armando: "Xicano Progeny, Investigative Agents, Executive Council and Other Representatives from the Sovereign State of Aztlán,” Xicano Progeny, Investigative Agents, Executive Council and Other Representatives from the Sovereign State of Aztlán, The Mexican Museum, San Francisco, p.17.
1994 COHEN, Michael: "Pachuco Style,” Flash Art, Vol. XXVII, #176, May/June, New York, pp.87-90.
MORALES, Rafael: "Fueron Detenidos dos Cineastas por Ofender a Nuestra Bandera Nacional,” El Sol de Tijuana, Seccion A, Policia, July 13, Tijuana, Baja California, Mexico, p. 8.
KESTER, Grant H.: "Taking Out the Trash,” Afterimage, Summer, New York, pp.15-16.
RUBINSTEIN, Raphael: "Catching the Trade Winds,” Art in America, No 5, May, New York, pp. 36-43.
1993 BARNATAN, Marcos, R.: "Diálogos de Sordos, El Arte de los Jovenes en la Casa de América,” El Pais, Madrid, p. 66.
BRENNAN, Juan Arturo: "Irlanda del Norte o la Inevitable Politizacion de la Cultura,” La Jornada, January 24, Mexico City, pp. 41-42.
CASTELLANOS, Alejandro: "Rubén Ortiz Torres,” Uno mas Uno, March 27, Mexico City.
FERRER, Elizabeth: A Shadow Born of Earth: New Photography in Mexico, The American Federation of Arts & Universe Publishing, New York, pp.57-63.
FERRER, Elizabeth: "Rubén Ortiz,” Poliester, vol. 2, no. 5, Spring, Mexico City, pp. 41-42.
GREEN, David, A.: "Art and its Double: Photographs by Rubén Ortiz Torres,” Art Issues, no. 29, September/October, Los Angeles, pp. 17-20.
JIMENEZ, Carlos: "Confrontaciones,” Lápiz, September, Madrid, pp. 89-90.
KNIGHT, Christopher: "Exploring the Border Experience,” Los Angeles Times, March 13, Los Angeles, pp. F1-F8.
MEDINA, Cuauhtémoc: "Rubén Ortiz: La Frontera Ubicua,” La Jornada, September 21, Mexico City.
PAGEL, David: "Fun and Games? Don't Be So Sure,” Los Angeles Times, April 29, Los Angeles, p. F8.
PINCUS, Robert L., "Theology and Baseball Caps,” The San Diego Union Tribune, July 18, San Diego, The Arts, Section E, pp E1-E2.
STALLINGS, Tyler: "Essay,” Laughing Matters, L.A. Municipal Art Gallery, Los Angeles.
TIBOL, Raquel: "Rubén Ortiz en la Línea Para el Otro Lado,” Proceso, no. 858, April 12, Mexico City, pp.51-53.
1992 BROOS, Susanne: "Versunkene Welten,” Darmstädter Echo, September 26, Frankfurt, Germany.
BUCK, Ernst: "Kunst in schroffen Gegensätzen,” Offenbach-Post, October 11, Offenbach, Germany.
DRÄGER, Anne: "Viva Zapata,” Journal Frankfurt, October, Frankfurt, Germany.
GOLDMAN, Shifra: "Mexican Splendor, The Official and Unofficial Stories,” Visions, vol 6, no 2, spring, Los Angeles, pp. 8-13.
GRIES, Benjamin: "Pathos Und Gewalt,” Rhein-Zeitung, September 23, Frankfurt, Germany.
HOLLANDER, Kurt: "Iluminando Fronteras,” Poliester, no. 1, spring, Mexico City, pp.16-20.
HOLLANDER, Kurt: "Report from Los Angeles, Community Access,” Art in America, June, New York, pp. 57-61.
HUTHER, Christian: "Aktuelle Kunst aus Mexiko,” Aachener Nachrichten, September 30, Aachen, Germany.
HUTHER, Christian: "Das Schrekliche ist oft ein Rätsel,” Rheinische Post, October 1st, Düsseldorf, Germany.
HUTHER, Christian: "Pathos und Gewalt,” Der Tagesspiegel, October 2nd, Frankfurt, Germany.
HUTHER, Christian: "Pathos und Gewalt in Bildern,” Badische Neueste Nachrichten, September 23, Frankfurt, Germany.
HUTHER, Christian: "Surreales zwischen Coke und Mickey Mouse,” Die Welt, September 30, Germany.
HUTHER, Christian: "Trivialkultur, Pathos und Gewalt,” Dresdener Neuste Nachrichten, October 1st, Dresden, Germany.
LERNER, Jesse: "Simultaneous Realities": Afterimage, October, Rochester, New York, pp.15-16.
ROSE, Cynthia: "Border Art,” The Face, London, no. 46, July, p.17.
WOLFF, Thomas A.: "Elend als Begleiter des Alltags,” Franfurter Rundschau, September 28, Franfurt, Germany, p.19.
WRIGHT, Patricia: "Mexican Art: Heat and Light,” Daily Hampshire Gazette, February, 13, Amherst, Mass., pp.19-22.
1991 COLEMAN, A.D.:"Letter From: New York, No.21,” Photo Metro, San Francisco.
DROHOJOWSKA, Hunter: "The Gray Caballeros,” Art Issues, no.20, November/December, Los Angeles, pp. 20-22.
HEREDIA, Jorge: "Between Worlds: Contemporary Mexican Photography,” Perspektief, Amsterdam, Netherlands, no. 42, October, pp. 64-65.
KNIGHT, Christopher: ""Perennial Illusion"" Fills In Some Modern Gaps Left by "Splendors,”” Los Angeles Times, Calendar, September 29, Los Angeles, p. 7- p. 98.
KOHEN, Helen L.: "Mexican Art Show Melds Past, Present Art Treads Unfamiliar Ground,” The Miami Herald, Section I, October 27, Miami, Florida, pp. 1I-4I.
MARTINEZ, Ruben: "Free-Trade Art: The Frida Kahlo-ization of L.A.,” L.A. Weekly, November 1-November 7, Los Angeles pp. 16-26.
MERRILL, R.J.: "The Big World Beckons, The Perennial Illusion of a Vulnerable Principle: Another Mexican Art at the Art Center College of Design,” Artweek, vol . 22, no. 33, October 10, San Jose, California, p. 1-p. 16.
McKENNA, Kristine: "From Mexico, Photography With a Social Conscience,” Los Angeles Times, september 17, Los Angeles, pp. F1-F7.
SOZANSKI, Edward J.: "Political Art that Seeks to Effect Social Change,” The Philadelphia Enquirer, January 31, Philadelphia, Pennsylvania.
1990 AVALOS, Andy: "An Exhibit Unites Artistic Heritage,” Los Angeles Times, September 10, Los Angeles, P. F4.
COLEMAN, A.D.: "Depth, Not Breadth, in Images From Mexico,” The New York Observer, December 10, New York.
DEBROISE, Olivier: "From a Different Mexico,” Aquí y Allá, Los Angeles Municipal Gallery, Los Angeles.
EPELSTEIN, Rina: "Lo que Abre el Camino,” Lo que Abre el Camino, Seis Artistas, Universidad Autónoma Metropolitana, Xochimilco, Mexico.
FADANELLI, Guillermo: "¿Donde Estás Buñuel?,” La Pusmoderna, no 2, may, Mexico City.
FERRER, Elizabeth: "Through the Path of Echoes: Contemporary Art in Mexico,” Through the Path of Echoes: Contemporary Art in Mexico, Independent Curators Incorporated, New York.
GONZALEZ, Flavia: "De la Reconquista de la idea: Rubén Ortiz,” Arte Conceptual en México: Cuatro Artistas de los Ochentas, Universidad Iberoamericana, Mexico City, pp. 27-39.
GRUNDBERG, Andy: "Another Facet of Mexico's Artistic Achievement,” The New York Times, November 16, New York, p. C38.
MEREWETHER, Charles: "In The Name of Myth. Sacred Images and Signs of Everyday Life,” Mexico: Out of the Profane, Contemporary Art Centre of South Australia, Adelaide, Australia, pp. 3-13.
PLATTEN, Bronwyn: “Poor Mexico, so far away from God and so close to America. Mexico Out of the Profane,” Broadsheet, vol. 19, no. 2, June, Adelaide, Australia, pp13-14.
SPRINGER, José Manuel: "Mexico: The Next Generation,” Latin American Art, vol. 2, no. 4, fall, pp. 79-84.
1989 DEBROISE, Olivier: Pintura, Galería de Arte Contemporaneo, Mexico City, September 18- October 14.
FERNANDEZ, Marcial: "Poder, Corrupcion y Mentiras,” El Economista, La Plaza, September 28, Mexico City, p. 30.
1988 ABELLEYRA, Angelica: "El que no Tenga Estilo, una Propuesta en sí: Rubén Ortiz,” La Jornada, July 10, Mexico City, p. 27.
CONDE, Teresa del: "Los Rechazados del M.A.M.,” La Jornada, July 9, Mexico City, p. 19.
CONDE, Teresa del: "Instant Sensibilities,” Mexico Today: a New View. Diverse Works, Inc. Houston, Texas.
GODDARD, Dan R.: ""Mexico Hoy" Shows Bold New Energy,” The Sunday Express News, March 27, San Antonio, Texas, p. 7H..
GOREN WESER, Marcia: "Young Artists Provide New Glimpse of Another Mexico,” The Light, March 27, San Antonio, Texas, p. J16.
JOHNSON, Patricia C., "Young Mexican Artists in 'view',” Houston Chronicle, January 14, Houston, Texas.
OXMAN, Nelson: "Las Formas de la Posmodernidad,” La Jornada, Mexico City.
PEREZ, Joel: "The Ebb and Flow of Life: Contemporary Mexican Photography,” Contemporary Mexican Photography, California Museum of Photography, University of California, Riverside, California.
SALAZAR, Gregorio: "Contemporary Mexican Art,” Public News, January 6, Houston, Texas, p. 11.
TULISSIO, David: "Artquake: Recent Painting in Mexico City,” Art Monthly, July-August, London, pp. 9-11.
1987 ABELLEYRA, Angélica: "Llevar a la Provincia los Salones de Pintura: Tibol,” La Jornada, May 11, Mexico City, p. 29.
CHADWICK, Susan: "Shows Introduce Works of Michigan and Mexico,” The Houston Post, December 25, Houston, Texas, p. 4D.
CONDE, Teresa del: "Las Pinturas del Salón 87 en el Auditorio,” Uno mas Uno, Sábado, Mexico City, p. 5.
CONDE, Teresa del: "En Tlalpan, Juventud, Divino Tesoro,” Uno mas Uno, September 12, Mexico City.
DEBROISE, Olivier: "Un Postmodernismo en México?,” México en el Arte #16, I.N.B.A., Spring Issue, Mexico City, pp. 56-63.
PATINO, Adolfo: Catalogue essay for Seis Artistas Nacidos en los Sesentas, Galería Collage, Monterrey, Mexico.
1986 ABELLEYRA, Angélica: "Rubén Ortiz: la Alternativa Artística no Está en el I.N.B.A.,” La Jornada, August 18, Mexico City, p. 23.
DEBROISE, Olivier, Marco Diaz, Mario García Navarro, Oliverio Hinojosa, Herlinda Sanchez Laurel: VI Encuentro Nacional de Arte Joven, Galeria del Auditorio Nacional, Mexico City, pp. 2-4.
DEBROISE, Olivier: "La Cultura de la Catástrofe,” La Jornada, May 20, Mexico City.
MARSH, Steven: "Portrait of a Young Artist,” The News, Arts and Leisure, August 31, Mexico City., pp. 17-23.
PERALTA, Braulio: "Pobreza y Falta de Originalidad en el Encuentro Nacional de Arte Joven,” La Jornada, August, Mexico City.
SESIN, Saide: "El Arte Joven, con Poca Presencia de la Provincia,” Uno mas Uno, August 16, Mexico City, p.25.
1985 CURTADE BEVILACQUA, Ira: "El Arte en los Años 80 Tiene Como Fin la Estética y la Expresión: Ortiz Torres,” Uno mas Uno, June 29, Mexico City, p.17.
LUKE JENSEN, Herdis: "Las Becas, Posibilidad Para Jóvenes Fotógrafos,” Excelsior, June 20, Mexico City.
ROMERO, Elizabeth: "Piel Sobre el Papel... Fotográfico,” Punto, no 128, April 15-21, Mexico City, p. 21.
TIBOL, Raquel: "Algo mas Sobre Espacios Alternativos,” Proceso, February 4, Mexico City, p. 53.
TIBOL, Raquel: "Espacios Alternativos 1985,” Proceso, January 28, Mexico City, pp. 58-59.
GUZMAN URBIOLA, Xavier: "Sobre la Piel,” La Jornada, April 25, Mexico City, p. 21.
1984 LUQUE, Antonio: "Presentación,” Salón Nacional de Artes Plásticas, Sección Bienal de Fotografía 1984, I.N.B.A., Mexico City, pp. 9-13.
POLIDORI, Ambra: "Alta Calidad Estética en la Bienal de Fotografía,” Uno mas Uno, June 9, Mexico City, p. 15.

VIDEOS & FILMS.

2014 “El Oeste es una Peste,” digitized S8 transferred to HD video, 11.31 min., sound by the Fourth Factory, Raza Cósmica Productions.
2012 “Como TVHD,” digitized S8 from betamax transferred to HD video, original footage from 1985 produced in collaboration with Emmanuel “Chivo” Lubezki, 3.32 min., La Compañía de Luz y Fuerza, original music Oscar Santos based in the original soundtrack by Gabriela Ortiz and Saúl Hernandez.
“Retrospective in a New York Minute,” 1.00 min., Raza Cósmica Productions.
“Retrospective in a Mexican Minute,” 2.05 min., Raza Cósmica Productions.
2011 “Como TV,” digitized S8 from betamax, original footage from 1985 produced in collaboration with Emmanuel “Chivo” Lubezki, 3.35 min., La Compañía de Luz y Fuerza.
“La Ballena Blanca,” two channel video, 11.17 min, Power Tools.
2010 “¡Únicamente la Verdad!,” videos and visuals in four channels for an opera, Raza Cósmica Productions.
2008 “Hi ‘n’ Lo,” DV, 5.07 min, music: Clorofila (Nortec Collective), Power Tools, Los Angeles.
“Nuevo Vallarta,” DV, 60 min (looped continously), Raza Cósmica Productions.
“Sand Castles,” DV, 60 min (looped continously), Raza Cósmica Productions, Puerto Vallarta.
“¡Únicamente la Verdad!,” videos and visuals for an opera, Raza Cósmica Productions.
2006 “The Dream of Reason Still Produces Monsters,” DV, 13.07 min (looped continuously and projected in a corner), Raza Cósmica Productions, Los Angeles.
2005 “Manhattan Dub,” music: Double Horizontal, DV, 6.02 min, New York.
2004 “If Manhattan doesn’t go to the Mountain…,” DV, 60 min (looped continuously), Raza Cósmica Productions, New York.
“The Manhattan Project,” DV, documentation of public intervention 5.57 min, mutating graffiti sequence 1.34 min, Raza Cósmica Productions, New York.
2003 “Backyard Boogie Woogie,” 1.45 min. (looped continuously), DV, Power Tools, Los Angeles.
“2nd Generation,” (produced in collaboration with Eduardo Abaroa), DV, 5.39 min. (looped continuously), Calimocho Styles, Los Angeles.
“P2-3D” (produced in collaboration with Yoshua Okón), 3D DVD with surround sound, 14 min., Calimocho Styles, Los Angeles.
“The Mapping of the Mascot Genome” (produced in collaboration with Jimmy Mendiola), two synchronized DVD’s, 16 x 9 anamorphic, 90 degrees clock-wise position monitors, 2.17 min., Bad Ass Pictures, Los Angeles.
2002 “El Bodhisattva” (produced in collaboration with Eduardo Abaroa), DV, 5.55 min (looped continuously), Calimocho Styles, Los Angeles.
“The Garden of Earthly Delights,” DV, 3.20 min., music: Gabriela Ortiz, Power Tools, Los Angeles.
2001 “Spectacle/Spaztec Aztec Visits the Alamo” (produced in collaboration with Jimmy Mendiola), 3D DVD with surround sound, 5.05 min., Bad Ass Pictures, San Antonio.
2000 "La Zamba del Chevy,” 3D DVD with surround sound, 5.56 min, Raza Cósmica Productions, Los Angeles.
1997 “Alien Toy,” 3/4” SP, 8 min, Power Tools, Los Angeles.
1995 "Frontierland" (produced in collaboration with Jesse Lerner). video version Betacam SP, 56min. 10.sec, Film version 16 mm., 77 min, ITVS, U.S.-Mexico Fund for Culture, Banff Center for the Arts.
1992 "Custom Mambo,” 3/4,” 5 min. 13 sec., ChiL.A.ngo Productions, CalArts, Valencia, California.
1991 "How to Read Macho Mouse,” 3/4,” 8 min. 21 sec., L.A. Chingadera Productions (produced in collaboration with Aaron Anish), CalArts, Valencia, California.
"The Fence,” 3/4,” 10 min.13 sec., ChiL.A.ngo Productions, CalArts, Valencia, California.
1986 "La Ciudad Rota,” 3/4,” Televisa, Mexico City.
1985 “Como TV”, (produced in collaboration with Emmanuel Lubezki), super 8, looped continuously, Mexico City.

BOOKS

2012 ORTIZ TORRES, Rubén, Milo J. Aukerman, Waleed Rashidi, Mimi Thi Nguyen, et al, edited by Zack Furness: Punkademics. The basement show in the ivory tower, Minor Compositions, Brooklyn, 230 pp.
2011 A True Account Concerning Conquests of the New America. Only the Truth! The Real Story of Camelia “La Tejana,” White Wine Press, Smart Art Press, Pisuéña Press, no 13, Santa Monica, CA, Cantabria, Spain, 50 pp.
ORTIZ TORRES, Rubén, Jesse Lerner, Mariana Botey, Olivier Debroise, Harry Gamboa, Denise Sandoval, Catha Paquette, et al: Mex/L.A. “Mexican” Modernism(s) in Los Angeles, 1930-1985, The Museum of Latin American Art, Hantje Cantz Verlag, Long Beach, CA, Ostfildern, Germany, 215 pp.
2005 ORTIZ TORRES, Rubén, Victor Muñoz: Lourdes Grobet, Turner, Publicaciones, Madrid, 496 pp.
2000 ORTIZ TORRES, Rubén, Brenda Jo Bright, C. Ondine Chavoya, Nora Donelly, Royal Ford, Pat Ganahl, Leah M. Kerr and Dale Peck: Customized: Art Inspired by Hot Rods, Low Riders and American Car Culture, Harry N. Abrams, Inc., Publishers, in association with The Institute of Contemporary Art, Boston, New York, 159 pp.
1998 ORTIZ TORRES, Rubén, Tyller Stallings, David Green: Desmothernismo, Smart Art Press, Travesías, Huntington Beach Art Center, Santa Monica, California, Guadalajara, Mexico, Huntington Beach, California, 72 pp..
1997 ORTIZ TORRES, Rubén, Stephen Callis, Leslie Ernst: Murder in My Suite/ Bienvenidos al Hotel California, John Brown Books, Salem, Oregon, 64 pp..
1993 ORTIZ TORRES, Rubén, Stephen Callis, Leslie Ernst, and Sandra Ramirez: La Gran Limpieza/The Big Sweep, California Classics Books, Los Angeles, 64 pp..
1990 Posturas. Tres Ensayos Sobre Realismo, Arte e Identidad en Cierto Arte de Fin de Siglo. Universidad Nacional Autónoma de México, Mexico City, 90 pp.

STATEMENTS AND WRITINGS BY THE ARTIST.

2015 “Cañón del Cobre,” Monochrome Undone, Sayago & Pardon, Irvine, CA, Editorial RM. Mexico. P. 90.
2014 “¡Únicamente la Verdad! La Auténtica Historia de Camelia la Texana,” ¡Únicamente la Verdad!, Quindecim Recordings, Mexico City. pp. 31-53.
“Textos Introductorios,” ¡Únicamente la Verdad!, Quindecim Recordings, Mexico City. pp. 17-20.
2013 “Kustom Kolor Kloset Pintura Remix,” Registro 03 Espejo Reflejo, Museo de Arte Contemporáneo de Monterrey, Monterrey, pp. 90-93.
“Mexipunx,” Luna Córnea, 34 Viajes al Centro de la Imagen II, Consejo Nacional Para la Cultura y las Artes, Mexico City, pp. 416-431.
2012 “It’s a Drone!” Artbound, KCET.org, May 11, San Diego, http://www.kcet.org/arts/artbound/counties/san-diego/here-come-the-drones.html
“Mexipunx,” Punkademics. The basement show in the ivory tower, edited by Zack Furness, Minor Compositions, Brooklyn, pp. 187-201.
2011 “Como te ves me vi, como me veo te verás,” Aitor Lajarín, (1977-). From here to everywhere: profiling Postcity, Artium, Arte Garaikideko Euskal Zentro-Museoa, Vitoria-Gasteiz, Euskadi, pp. 169-172.
“Does L.A. Stand for Los Angeles or Latin America,” Mex/L.A. “Mexican” Modernism(s) in Los Angeles, 1930-1985, Museum of Latin American Art, Hatje Cantz Verlag, Pacific Standard Time: Art in L.A. 1945-1980, Long Beach, California, pp. 14-15.
Frank Lloyd Wright Knew the Replicants were Coming,” Estrella Cercana, Kurimanzutto, October 15, Mexico City, pp. 3-5.
“Sueño Androide de una oveja maya o las ruinas de la modernidad/Android Dreams of Maya Sheep,” Incidentes de viaje Espejo en Yucatán y otros lugares. Incidents of Mirror-Travel in Yucatán and Elsewhere, Museo Tamayo, Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, Mexico City, pp. 161-167.
“The Present-Day Pachuco Refuses to Die!” Mex/L.A. “Mexican” Modernism(s) in Los Angeles, 1930-1985, Museum of Latin American Art, Hatje Cantz Verlag, Pacific Standard Time: Art in L.A. 1945-1980, Long Beach, California, pp. 22-33.
“Acknowledgements,” Mex/L.A. “Mexican” Modernism(s) in Los Angeles, 1930-1985, Museum of Latin American Art, Hatje Cantz Verlag, Pacific Standard Time: Art in L.A. 1945-1980, Long Beach, California, pp. 10-13.
2010 “Hi ‘n’ Lo,” Petit Mal, Universidad Nacional Autónoma de México, Museo Universitario de Arte Contemporaneo, Mexico City, p. 29.
“Introducción,” Historia Verdadera de la Conquista de La Nueva América. ¡Únicamente la Verdad! La Auténtica Historia de Camelia “La Tejana”, White Wine Press, Smart Art Press, Pisuéña Press, no 13, Santa Monica, CA, Cantabria, Spain, pp. 23-25.
“Introduction,” Transurbaniac (art emotions & someo city trances), Universidad Nacional Autónoma de México, Museo Universitario de Arte Contemporaneo, Mexico City, pp. 27-28.
“¡Únicamente la Verdad! La Auténtica Historia de Camelia “La Tejana,” Historia Verdadera de la Conquista de La Nueva América. ¡Únicamente la Verdad! La Auténtica Historia de Camelia “La Tejana”, White Wine Press, Smart Art Press, Pisuéña Press, no 13, Santa Monica, CA, Cantabria, Spain, pp. 27-48.
2009 “Other presidents of African descent in America,” For the Record, January 19, http://rubenortiztorres.org/for_the_record/2009/01/other-presidents-of-african-descent-in.html
“Presencia Flagrante/ El Pasado ya no es lo que Era,” For the Record, September 20, http://rubenortiztorres.org/for_the_record/2009/09/presencia-flagrante-el-pasado-ya-no-es.html
“¿Realidad o Ficción, Arte o Documento?,” ¿Afirmar la Realidad?, Cuaderno de Trabajo/ Simposio Injerto 2009, Ambulante Gira de Documentales 2009, Injerto, Fundación/ Colección Jumex, Mexico City, pp. 18-21.
2008 Translated by Roberto Tejada, “A True Account Concerning Conquests of the New America,” [fragments], Mandorla, no 11, Illinois State University, Normal, Illinois, pp. 29-32.
“Barbie Desciende en Paracaidas en el Wal-Mart de Puerto Vallarta,” Puerto Vallarta Arte Contemporaneo 08. Extended Borders: Shifting Cartographies, May 28-June 1 2008, Puerto Vallarta, p. 4.
“Mestizo, No te Entiendo, El Camino, Trabantimino, & Others,” Liz Cohen. Radical Mod, Scottsdale Public Art, Scottsdale Museum of Contemporary Art, Scottsdale, Arizona, pp. 2-4.
ORTIZ TORRES, Rubén, Jim Mendiola: “The Truthful History of the Conquest of New Aztlán, Phantom Sightings. Art After the Chicano Movement, University of California Press, Los Angeles County Museum of Art, Berkeley, Los Angeles, London, pp. 218-231.
“Rubén Ortiz Torres,” Los Angeles Times, Arts & Music, Calendar, April 6, Los Angeles, p. F9.
2006 An Image Bank for Everyday Revolutionary Life, Redcat, Los Angeles. P. 12.
A Walk to Remember, Revolver, Frankfurt. P. 26.
2005 La Panadería, Editorial Turner de México, Mexico, p. 102.
“La República Popular de la Gráfica,” El Replicante, no 5, año II, nov. 2005/ene. 2006, Mexico, pp. 113-114.
“La Hija del Santo,” Lourdes Grobet, Turner Publicaciones, Madrid, pp. 43-51.
“Robert Yager, The Playboys,” The Fader, the photography issue, no 30, May/June, New York, p. 123.
“Rubén Ortiz Torres,” No. 1 First Works by 362 Artists, D.A.P./Distributed Art Publishers, Inc., New York, p. 275
2004 “A Virtual Magic Reality,” Scale, vol 1, UCSD, San Diego.
“Los Primeros Registros,” Reforma, El Ángel, June 27, Mexico City, P.4.
Mapas Abiertos, Fotografía Latinoamericana, 1991-2002, Lunwerg Editores, Madrid and Barcelona, p. 128.
“Poder, Corrupción y Video,”Reforma, El Ángel, June 27, Mexico City, p. 6.
“The A Files,” Histories des Ameriques, “nous venons en paix…, ” Musée d’art contemporain de Montréal, Montreal, pp. 74-76.
2002 “Exile on Main Street,” Annual Report , Fiscal Years 2000 and 2001, Museum of Contemporary Art, Los Angeles, p. 10.
Artist Statement, Mixed Feelings, Art and Culture in the Postborder Metropolis, Fischer Gallery, University of Southern California, Los Angeles, p. 56.
“Colores,” RiM, no 2, Winter, Los Angeles, Mexico City, pp. 6-7.
2001 “Historia Verdadera de la Conquista de la Nueva América/L’Histoire Véridique de la Conquête de la Nouvelle Amérique”: Parachute, no 104, September, November, December, Montreal, pp. 74-86.
"Rinkeby Svenska": Curare, no 17, January/June, Mexico City, pp. 147-150.
2000 “Cathedrals on Wheels”: Customized: Art Inspired by Hot Rods, Low Riders and American Car Culture, Harry N. Abrams, Inc., Publishers, in association with The Institute of Contemporary Art, Boston, New York, pp. 37-38.
1999 “Holly Power Tools, Batman!”: Art Issues , no 57, March/April, Los Angeles, pp. 30-31
“Le Maître du Ring”: Close to Me Against You: Cameron Jamie & Elke Krystufek, Georges Tony Stoll, Université de Rennes, Rennes, France, pp 7-11.
“Ooh, L.A. L.A.”: Poliester, vol. 7, #25, Los Angeles, Spring/Summer, Mexico City, pp. 6-7.
1998 “Alien Speech”: Alien Toys, Smart Art Press, Santa Monica, California.
“Alien Toyz”: Ciudad Híbrida, Hybrid City, The Production of Art in “Alien Territory,” Sci-Arc Public Access Press, SC2, Southern California Studies Center and ADOBE LA, Los Angeles, pp. 22-25
“Cathedrals on Wheels”: Art Issues , no 54, September/October, Los Angeles, pp. 26-31.
“Rock and Roll All Night”: Anthony Burdin, Three Day Weekend, Los Angeles.
“Yepa, Yepa, Yepa!”: Desmothernismo, Smart Art Press, Travesías, Huntington Beach Art Center, Santa Monica, California, Guadalajara, Mexico, Huntington Beach, California, pp. 46-59.
1997 “Arte y Poder Ejecutivo”: La Pus Moderna, no 8, Spring, Mexico City, pp. 30-32.
“La Casa de los Espejos”: Territorios Singulares, Fotografía Contemporánea Mexicana, Sala de Exposiciones del Canal de Isabel II, Madrid, pp. 217-218.
“La Ranfla Cósmica ORNI (Objeto Rodante no Identificado)/Alien Toy UCO (Unidentified Cruising Object)”: Guide/Guía, InSITE97, San Diego/Tijuana, U.S./Mexico, p. 39.
“Mario Ybarra Jr.”: Poliester, vol 6, no 21, Winter, Mexico City, pp. 38-43.
1996 “Sacrificios y Pirámides: Obra Reciente de Vicente Razo”: Curare, no 9, July/September, Mexico City, pp. 30-31.
"Spanish Caprice" (in collaboration with Jesse Lerner): Art Issues, no 41, January/February, Los Angeles, pp. 23-25.
1995 "Colors": Xicano Progeny, Investigative Agents, Executive Council and Other Representatives from the Sovereign State of Aztlán, The Mexican Museum, San Francisco, p. 36.
Distant Relations, Cercanías Distantes, Clann I gCéin, Smart Art Press, New York, , p 122.
"Gang Art": La Pus Moderna, no 5, Mexico City, pp. 9-14.
"La Cortina de Nopal en el Lado Oscuro de la Luna": La Pus Moderna, no 5, Mexico City, pp.15-17.
"GuaTexMex": El Regional, Oxpak', March 31-April 6, Guatemala, Guatemala, p. 6.
Points of Entry, Tracing Cultures, The Friends of Photography, San Franciscolifornia, distributed by The University of New Mexico Press, Albuquerque, New Mexico, p. 62.
"The House of Mirrors/La Casa de los Espejos,” http://zonezero.com
1993 "Gang Art": El Gallito Inglés, El Vato Loco, no 12, Mexico City, pp. 3-15.
"Pedro Meyer": Poliester, vol 2, no 5, Spring, Mexico City, pp. 62-65.
1992 "La Bochornosa Realidad: Notas sobre Fotografía,” La Pusmoderna, no 4, spring, Mexico City, pp. 40-43.
"Persönliche Äusserung,” Aktuelle Kunst aus Mexiko, Frankfurter Kunstverein, Frankfurt, Germany, p. 58.
1990 "Apparitions,” Between Worlds, Contemporary Mexican Photography, New Amsterdam Books, New York, and Bellew publishing, London, pp. 128-131.
1988 "Respuesta a los Críticos" La Jornada, July 10, Mexico City, p. 27.
1987 "Y Retiemble en su Centro la Tierra." México en el Arte, #16, I.N.B.A. Spring issue, Mexico City, pp. 34-39.
1981 “Rosalinda,” Tropos, no 2, October/November, Mexico City, p. 21.

INTERVIEWS.

2014 ARCOS, Betto: “An opera tries to explore and debunk a popular Mexican border myth,” PRI’s The World, Arts, Culture & Media, November 19, http://www.pri.org/stories/2014-11-19/opera-tries-explore-and-debunk-popular-mexican-border-myth
GARSD, Jasmine: “’Only the Truth’ Gets At Reality Through Legend,” NPR Music, Southern California Public Radio, All Things Considered, November 20, Los Angeles, http://www.npr.org/2014/11/20/365473557/only-the-truth-gets-at-reality-through-legend
“La Abstracción y la Bandera,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
Bandera Negra de Rubén Ortiz,” imryt.org, Morelos en la Hora Nacional, December 7,
“Conferencia Magisterial,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
“La Bandera como Símbolo,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
“Pinturas Activas,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
“Pintura Automotiva,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
“Pinturas Monocromáticas y Minimalismo,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
“Pocho Hour of Power,” KPFK 90.7 FM, Los Angeles.
“Rubén Ortiz Torres: Los Angeles,” Colección Cisneros, Artists’ Cities, September 22, New York, http://www.coleccioncisneros.org/editorial/artists-cities/ruben-ortiz-torres-los-angeles
“Siqueiros y los Artistas Revolucionarios del Futuro,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
“Siqueiros y los Artistas del Futuro,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
TERRONES ESQUIVEL, Humberto, Killradio.org, April 14, Los Angeles.
TV Azteca, Azteca Noticias, November 29, Mexico City.
“Visita Guiada,” Sala de Arte Público Proyecto Siqueiros La Tallera, La Tallera, Videos, Rubén Ortiz Torres, Bandera Negra, http://www.saps-latallera.org/saps/videos/
2013 ARCOS, Beto, KPFK, 90.7 FM, Global Village, March 19, Los Angeles.
2012 GALPIN, Amy: “Interview with Rubén Ortiz-Torres,” Behold, America! Art of the United States From Three San Diego Museums, Museum of Contemporary Art San Diego, The San Diego Museum of Art, Timken Museum of Art, San Diego, pp. 289-297.
Pacific Standard Time interviews, Getty Center, Los Angeles.
Play With Me, Museum of Latin American Art, Long Beach, CA, pp. 36-37
2009 ABELLEYRA, Angélica: “El Linde 1,” Arte en Construcción, Canal 22, Fundación Jumex, Mexico City.
2008 MOSS, Karen: “Rubén Ortiz Torres,” 2008 California Biennial, Orange County Museum of Art, Newport Beach, p. 164.
2007 CARBALLAS, Mónica: “O Absurdo que Resulta Gracioso. Rubén Ortiz Torres, artista mexicano a residir nos USA, revela-nos pormenores sobre o seu trabalho, a cultura Americana e a cidade que elegeu para residir, Los Angeles,” Artes & Leilões, no. 2, Nobember, Lisboa, pp. 37-42.
TEVERE, Valerie, Angel Nevarez: “Power Tools,” Neurotransmitter, WUNP 95.2 FM, The United Nations Plaza Radio Network, Berlin.
THOMAS, Eduardo: “Entrevista con Rubén Ortiz Torres,” Revista Ambulante, Gira de Documentales 2007, Mexico, p. 87.
VEGA, Antonio: “Rubén Ortiz Torres en ‘la Casa de la Nueve’ Café,” Youtube.
2006 KIM, Queena: “An Image Bank for Everyday Revolutionary Life,” Pacific Drift, KPCC 89.3 FM, Los Angeles.
2005 KIM, Queena: “A Walk to Remember. El Pedorrero,” Pacific Drift, KPCC 89.3 FM, Los Angeles.
2004 CHAVOYA, Ondine: “Rubén Ortiz-Torres, Interview with C. Ondine Chavoya,” The Interventionists, User’s Manual for the Creative Disruption of Everyday Life, MASS MoCA, North Adams, MA, MIT Press, Cambridge, MA, pp. 53-56.
DEVIS, Juán: “Inter-State”, Abrepalabra/LA Freewaves, Los Angeles.
2003 “Camino Tierra Adentro,” Radio Arte, May 23, Chicago.
HARRIS, Sara: Studio 360, WNYC, NPR.
2001 KELLEY, Bill: http://www.latinart.com/faview.cfm?id=8.
2000 PAGEL, David: "Rubén Ortiz-Torres,” Bomb, Special The Americas 2000, no 70, Winter 2000, New York.
GUZMAN, Adolfo, KPBS radio, San Diego.
VIGLIETTI, Daniel: Tímpano, December 31, Montevideo.
1998 ORTIZ PARTIDA, Victor: “Desmothernismo, ‘un modelo de adaptación, hibridismo, negociación y diálogo cultural”., Siglo XXI, Vida y Cultura, December 16, Guadalajara, Mexico, pp. 6-7.
1997 “Imaginarte,” Canal 28, October 16, Monterrey, Mexico.
“Taller Abierto,” Canal 28, October 28, Monterrey, Mexico.
Channel 52, Los Angeles.
1996 Interview with Jerry Fialka.
1995 "Sistema Nacional de Creadores,” Radio Educación, Mexico City.
Illegal Interns, channel 38, Los Angeles
1993 KFI, indepent public radio station, Minneapolis, Minnesota.
1990 ALVAREZ, Patricia "Contemporary Artists of Mexico. Interviews,,” 15 Contemporary Artists of Mexico, Mexican Fine Arts Center Museum, Chicago, Illinois, pp.17-18.
VÉLEZ, Gonzalo: "Dudar de la Modernidad es Poner en Tela de Juicio el Universalismo y la Razón,,” Uno mas Uno, February 27, Mexico City, p. 28.
1986 RIUS CASO, Luis, Sin Motivos Aparentes , pp. XX-XXIV, Consejo Nacional de Recursos Para la Atención de la Juventud, S.E.P., Mexico.

ILLUSTRATIONS, PHOTOGRAPHS, ALBUM COVERS, CARTOONS, ETC.

2014 ¡Únicamente la Verdad!, photography and art direction, Quindecim Recordings, Mexico City.
2013 “Heavy Medal,” design for medal produced by Artpace for the San Antonio Fiesta in collaboration with Jimmy Mendiola.
2012 T-shirt design for: “Behold America,” Museum of Contemporary Art San Diego, San Diego Museum of Art, Timken Museum of Art, San Diego.
ISEA2012 Albuquerque: Machine Wilderness, The Albuquerque Museum of Art and History, Radius Books, Santa Fe, NM, pp. 92-93.
Perder la forma humana. Una imagen sísmica de los años ochenta en América Latina, Museo Nacional Centro de Arte Reina Sofía, Madrid, p. 211.
Photograph in The Wave. MOLAA’s Inaugural Live Art Action catalog, Museum of Latin American Art, Long Beach, CA.
2011 Photograph in Estrella Cercana, Kurimanzutto, October 15, Mexico City, pp. 4-5.
Photographs in LEON DE LA BARRA, Pablo: “’Incidents of Mirror Travel in Yucatan and Elsewhere’ curated by Pablo León de la Barra at Museo Tamayo,” Centre for the Aesthetic Revolution, July 19, http://centrefortheaestheticrevolution.blogspot.com/
Photographs in WESSANG, Adeline: “Ruben Ortiz Torres,” No blah blah, December 14, http://www.noblahblah.org/?tag=ruben-ortiz-torres
2009 Korda’nin Objektifinden Che: Bir Portrenin Devrimle Baslayip Ikonla Biten Öyküsü, Santralistanbul, Istanbul Bilgi Üniversitesi Yayinlari, Istanbul, p. 148.
2008 Art Basel. Miami Beach. 4-7, Dec, 2008, Hatje Cantz Verlag, Basel, p. 281.
Photographs in “Ruinas que Migran,” El Replicante, no 15, año IV, May-July, Guadalajara, pp. 79-81.
“The Past is not What it Used to be,” cover and photographic portfolio, Mandorla, no 11, Illinois State University, Normal, IL, pp. 32-44.
Photographs in “Ruinas que Migran,” El Replicante, no 15, año IV, May-July, Guadalajara, pp. 79-81.
2005 “Rubén Ortiz Torres,” No. 1 First Works by 362 Artists, D.A.P./Distributed Art Publishers, Inc., New York, p. 275.
2004 Rojo Magazine, Rojo Fros, Barcelona, pp. 46-49.
2001 Photographs, Les Chiens Andalous, Smart Art Press, Santa Monica, California.
2000 "Art Issues Showing the Work of Rubén Ortiz Torres,” a selection of work without critical commentary, Art Issues, no 62, March/April, Los Angeles, pp. 30-35.
Guapacheando, Professor Angel Dust and the PH Force, photography and artwork, Virgin Records España, Spain.
1999 “Para leer Macho Mouse,” video still for the cover and “Shrine/Altar” photograph (p.18), Artpress, no 243, February, Paris.
1998 “Baseball Caps,” Luna Córnea, no 16, September/December, Mexico City.
“Retrato de vida y muerte,” photograph, Aperture, Río de Luz, no 153, New York, p. 66.
1997 “Santo niño/ Holly Kid,” cover photograph, Los Angeles Times, Calendar, May 18, Los Angeles. p.1.
“The Hall of Mirrors,” photographic portfolio, Grand Street, All American, no 61, New York, pp. 24-32.
1996 “Heroes and Bandits,” art project in: Art & Design, Art & Design Profile no 51, Art & the Home, guest edited by David A. Greene, London, Great Britain, pp. 10-18.
Photograph, Harper’s Magazine, vol 293, no 1756, September, New York, p. 25.
1995 Photograph, See: a Journal of Visual Culture, issue 1:3, San Francisco, p. 12.
1992 Cartoons, Art issues, no 21, January/February, Los Angeles, p.6, p.40.
Cover art, Poliester, no 2, summer, Mexico City.
"How to Read Macho Mouse" and "The Fence" (reproductions of videos): Poliester, no 1, spring, Mexico City, pp. 34-35.
Cover Photograph in: Visions, vol 6, no 2, spring, Los Angeles.
Artwork: Teen Angel's, no 113, Rialto, California.
1991 Cover art: L.A. Weekly, November 1-November 7, Los Angeles.
Cartoon: Art issues, no 20, November/December, Los Angeles, p.40.
Photograph in: Frame-work, Southern California, portfolio 1991, vol 4, no 2, LACPS, Los Angeles., p.30..
1990 Drawings in: La Pusmoderna, no 2, Mexico City, Mexico.
Photograph in: The Face, no 24, September, London, England, pp. 94-95.
1987 Photographs in: La Regla Rota, no 4, Spring, Mexico City, p. 23, p. 26, pp. 98-101, pp. 110-115.
1986 Photographs, graphic work and backcover art in: La Regla Rota, no 3, Mexico City, pp. 103-106.
1985 Photographs in: Cartapacios, no 10, September, Mexico City, pp.16-21.
Illustrations in: La Trama, no 1, Mexico City.
Photograph in: MUTIS, Alvaro and Pablo Ortiz Monasterio: Historia Natural de las Cosas, 50 Fotógrafos, Mexico City, Mexico, Fondo de Cultura Económica, p. 36.
Illustration in: México en el Arte, no 9, Summer, Mexico City, pp. 16-18.
1984 Illustrations in: Desblusadero (Poemas del Taller de Rock en Secreto), Ediciones revista Punto de Partida, cuadernillo de taller y seminario no. 35, Mexico City.
1982 Illustrations in: Chispa, no 18, Mexico City, pp. 10-11.
Illustrations in: Poesía Joven de Perú, Ediciones revista Punto de Partida, cuadernillo de taller y seminario no. 30, Mexico City.
1981 Illustrations in: Chispa, no 9, Mexico City, pp. 8-11.
1980 Comic “Pater Thanathoen,”: Trohpos, no 1, September/October, Mexico City, p. 60.
Cartoon in: Sucesos, no 2404, January 22, Mexico City, p. 39.
Cartoons in: Sucesos, no 2403, January 14, Mexico City, pp. 54-55.
1979 Cartoon in: Sucesos, no 2402, December 27, Mexico City, p. 52.

INTERNET.

2016 “Rubén Ortiz Torres: Works,” America Pink, http://america.pink/ruben-ortiz-torres_3827897.html
2015 rubenortiztorres.com
2007 “For the Record,” http://rubenortiztorres.org/for_the_record/
“Power Tools,” http://www.myspace.com/powertools_califas
2002 Desmothernismo.com
2001 Featured artist at: http://www.latinart.com
2000 MILLER, Pat: La Zamba del Chevy, http://otisphoto.net/zamba/, http://abstractmachine.com
1995-1996 Photography portfolio at: http://zonezero.com

ACADEMIC EXPERIENCE.

2016 “Dialogues in the Present Tense: Latino and Latin American Art through the Lens of Pacific Standard Time: LA/LA,” Harold M. Williams Auditorium, The Getty Center.
“Latin American Photography in LA,” PhotoLA, The REEF/LA Mart, Los Angeles.
“Pacific Standard Time: LA/LA Press Conference,” St Vibiana cathedral, Los Angeles.
2015 “Abstraction and the Everyday in Latin American Art,” REDCAT, November 17, Los Angeles.
“LA/LA: Place and Practice,” symposium, The Getty Center, Los Angeles, CA.
2014 “Ricardo Valverde: Experimental sights,” panel discussion, Vincent Price Museum, Los Angeles.
Conversation with visual arts students of the Universidad Autónoma de Morelos (UAEM), La Tallera, September 26, Cuernavaca, Mexico.
“Tijuana Inovadora,” symposium of Mexican UCSD faculty, CECUT, Tijuana.
2013 Academic director, “Programa de Alto Rendimiento en Arte Contemporáneo,” Conarte Nuevo León, Monterrey, Mexico.
SOMA, visiting artist and workshop, Mexico City.
“The Border of Hope and Despair,” discussion with Gregorio Luke about the Long Beach Opera US premiere of Camelia la Tejana-Only the Truth, Museum of Latin American Art, Long Beach.
2012 California State University in Long Beach, Long Beach, CA, Visiting Artist.
Lecture for ISEA2012 Albuquerque: Machine Wilderness, Albuquerque Museum of Art and History, Albuquerque, New Mexico.
Academic director, “Programa de Alto Rendimiento en Arte Contemporáneo,” Conarte Nuevo León, Monterrey, Mexico.
2011 “Arte y Recuerdo del Terremoto,” Teoría y Práctica de la Catástrofe, Un Sampler Mínimo de Eventos Catastróficos, SITAC, Teatro Julio Castillo, Mexico City, January 27th.
“L.A. Xicano: A Symposium on Art and Place,” Fowler Museum at UCLA, Los Angeles.
“Pacific Standard Time Initiative,” The Getty Center, Los Angeles.
“Summer Salon Series,” artist talk in conjunction with the exhibition Portrait of an Artist as a Young Man: Works by Rubén Ortiz Torres, The San Diego Museum of Art, San Diego.
“Vantage Point: UCSD Visual Dialogues,” panel discussion related to the exhibition with the same name, Oceanside Museum of Art, Oceanside, California.
2010 “Chewbacca to Zapata: Revisiting the Myth of the Mexican Revolution,” panel discussion, Morono Kiang Gallery, Los Angeles.
“Conversation between an artist and a curator with Cuauhtemoc Medina and Rubén Ortiz Torres,” Blanton Museum of Art, The University of Texas at Austin, Austin.
Emily Carr University of Art + Design, Vancouver, visiting artist.
“Herramientas de Alto Poder,” FAVCA 10, Campeche Mexico.
“Latino Art Now, Plenary Session 1: Curating Los Angeles: Pacific Standard Time Initiative,” Plaza de la Raza, East Los Angeles.
“Origen, Desarrollo y Producción de la opera Únicamente la Verdad,” Seminario de Música Contemporánea, Escuela Nacional de Música, Universidad Nacional Autónoma de México.
“PST Faculty Meeting,” Armand Hammer Museum, Los Angeles.
Simon Fraser University, Vancouver, visiting artist.
2008 “Algunas reflexiones sobre la producción artística y la escritura de la historia,” Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires.
“Conversations with Artists,” Los Angeles County Museum of Art, Los Angeles.
“De un Lado al Otro 1: Arte Contemporaneo de LA al DF,” Auditorio Cecatur, Puerto Vallarta Arte Contemporaneo, Puerto Vallarta.
“Discurso Alienígena Transgénico,” (in collaboration with VJ Thai), Medi@rte 6.0 Festival, Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico.
LA Escena: El Centro no es la Periferia y la Mayoría no es la Minoría,” Auditorio Cecatur, Puerto Vallarta Arte Contemporaneo, Puerto Vallarta.
Latin American Music Center, Indiana University School of Music, Bloomington, Indiana, visiting artist.
“Sitio, presencia y ausencia. Apariciones y estrategias del arte después del movimiento chicano,” Museo Tamayo, Mexico City.
2007 “Cultivating Wildness,” The Foundation for Art Resources, CalTrans building, Los Angeles.
Fabric Workshop, Philadelphia.
2006 Taller Integral, Centro de la Imagen, Mexico City.
2005 Harvard University, Carpenter Center, Cambridge, Mass, visiting artist.
Calarts, Valencia, CA, visiting artist
“The Paint’s not Dry, Mexico City in the 1990’s,” Haudenschild Garage and University of California, San Diego, San Diego.
2004 “Alta y Baja Tecnología. Objetividad y Subjetividad en la Representación,” Centro de la Imagen, Mexico City.
Universidad de Morelos, Cuernavaca, Mexico, visiting artist.
Universidad Iberoamericana, Tijuana, visiting artist.
2002 Art Center College of Art & Design, Pasadena, visiting artist in Mike Kelley’s class.
Core Program, Glassell School of Art, Visiting Art Professional Series.
2001 Otis College of Art & Design, Los Angeles, teacher of color and basic photography.
2000 Claremont Colleges, teacher of video production.
Otis College of Art & Design, Los Angeles, teacher of color and basic photography.
Southern California Institute of Architecture, Spring 2K Lectures, Los Angeles.
University of California at Riverside, Riverside, California, basic and intermediate photography.
1999 California Institute of the Arts, Valencia, California, visiting artist.
College of Art Association conference 1999, “Artistic Production and Curatorial Projects in Towns along the U.S.-Mexico Border,” Los Angeles Convention Center, Los Angeles, Lecturer.
Otis College of Art & Design, teacher of color & basic photography.
Otis College of Art & Design, Summer of Art Program, photography.
“Stop Doing Ready Mades and Start your own Country (Artworld),” Track 16 Gallery, Moderator.
The National Hispanic Academy of Media Arts & Science, “Latino Aesthetics,” Museum of Contemporary Art, Los Angeles, Panelist.
University of California at Riverside, teacher of basic photography.
1998 Claremont College, Claremont, California, Visiting Artist.
“Custom-Détournment,” visiting faculty of the graduate art department, winter quarter, University of California in San Diego
“La Imagen es de Quién la Trabaja,” Centro de la Imagen, Mexico City, Universidad de Nuevo León, Monterrey, Mexico.
University of California in Irvine, Irvine, California, Visiting Artist.
University of California in Riverside, Riverside, California, Visiting Artist.
1997 “Bienal de Integración,” Universidad de Monterrey, Monterrey, Mexico.
IV Jornadas sobre Fotografía Contemporanea Comunidad de Madrid, Encuentro con la Fotografía Iberoamericana, ”El Autor y su Obra,” Arco’97, Parque Ferial Juan Carlos I, Madrid.
Otis College of Art & Design, teacher of New Genres, Photography and Subcultures, Los Angeles.
“Taller de Cine Experimental Instantaneo,” Centro de la Imagen, Mexico City.
“Taller de Cine Experimental Instantaneo,” Nuevas Tendencias Plásticas, CONARTE, Casa de la Cultura de Nuevo León, Monterrey, Mexico.
UCLA Film School, Los Angeles, Visiting Artist.
1996 Amherst College, Amherst Massachussets, Artist screening.
Art Center College of Art and Design, Pasadena, California, Visiting Artist.
California Institute for the Arts, "Hard Boiled Pop,” Valencia, California, Visiting Artist.
California State University Fullerton, Fullerton, California, Visiting Artist.
Camberra University Art School, Camberra, Australia, Visiting Artist.
Centro de Capacitación Cinematográfica, Mexico City. Visiting Artist.
Center for Creative Photography, Tucson, Arizona, Ar tist presentation.
Escuela de Pintura y Escultura “La Esmeralda,” Centro Nacional para la Cultura y las Artes, Mexico City, Visiting Artist.
“Foro Internacionad de Teoría y Arte Contemporaneo,” Guadalajara Jalisco, Mexico, Art & Executive Power. Conference.
Northeastern University, Boston, Massachussets, Artist screening.
Otis College of Art & Design, Los Angeles, Visiting Artist.
Pitzer College, Claremont, California, Artist screening.
Society for Photographic Education National Conference, Los Angeles, Imagemaker presentation.
The Museum of Modern Art, New York, “Conversations with Contemporary Artists”.
“V Coloquío Latinoamericano de Fotografía,” Centro Nacional Para la Cultura y las Artes, Mexico City, “Rinkeby Svenska,” Conference.
Wellesley College, Wellesley, Massachussets, Artist screening.
Western Sydney University, Visiting Artist, Sydney, NSW, Australia, Visiting Artist.
1995 Art Center College of Art and Design, Pasadena, California, Visiting Artist.
Cornell University, Ithaca, New York, Artist screening
Museum of the Photographic Arts, San Diego, Artist presentation.
1994 The Armand Hammer Museum, Los Angeles, "Imaging and Imagining Mexico: What Does One See in the Other,” symposium.
The Minneapolis Institute of Arts, Minneapolis, Minnesota, lecture.
The University of Oklahoma, Norman, Oklahoma, Visiting Artist.
University of California in Irvine, Visiting Artist.
1993 Film in the Cities, St. Paul, Minnesota, International Artist Residency Program.
Instituto Tecnológico de Monterrey, Atizapán, Mexico State, Mexico, Visiting Artist at the Communications School.
Yale University, New Haven, Connecticut, lecture at the Art Gallery.
1992-1993 Otis College of Art and Design, teacher of Documentary Photography. Photo, Art and Popular Culture. Documentary Photography and Community Art.
1992 Art Center College of Art and Design, Pasadena, California, Visiting Artist.
1991-1992 California Institute of the Arts, TA in the Art School.
1987-1988 Escuela Nacional de Artes Plásticas, U.N.A.M., TA in drawing.

PANELS AND CURATORIAL PROJECTS.

2015 “Listening Party,” The Society for the Activation of Social Space Through Art and Sound,” Pasadena, CA.
2011 “MEX/LA, ‘Mexican’ Modernism(s) in Los Angeles 1930-1985, Museum of Latin American Art in Long Beach, Long Beach, CA, main curator.
2010 “Bienal de Arte Emergente,” Monterrey, Mexico.
2007 “Fuel4talk with Eduardo Abaroa,” interview and food selection.
2005 “Secondary Inspection, Videos de la Zona Fronteriza entre las Californias,” program co-curated with Fabián Cereijido, Centro Cultural de España en Buenos Aires, Buenos Aires.
2004 “XI Bienal de Fotografía,” Centro de la Imagen, Mexico City.
2002 “Road Warrior, Paintings by Kevin Wingate,” presented at Class C Gallery in "Sound Rival" Mesa Parking Structure, Univ of Calif. Irvine, Irvine, sweeboyprojects, Glendale, "John Holiday Car Show," adjacent parking lot, Yorba Linda MOCA at the Geffen, Parking Lot, Los Angeles, Acuna-Hansen, Parking Meter, Los Angeles.
1999 Guest editor for Poliester, vol. 7, no 25, Los Angeles, Spring/Summer, Mexico City.
1998 “Tercera Jornada de Cortometraje Mexicano,” Mexico City.
1997 “Poder Ejecutivo/Take me to Your Leader,” LACE, Los Angeles.
1996-1997 Exhibition Panel Committee, LACE (Los Angeles Contemporary Exhibitions), Los Angeles.
1994 "The Independent Film and Videomaker Program,” The American Film Institute, Los Angeles.
1993 "Wings of Change,” Los Angeles.

MEMBERSHIPS.

2007 Artist Pension Trust, Los Angeles.
1995-1996 Los Angeles Printmaking Society.

HONORS, AWARDS AND RESIDENCIES

2015 Pacific Standard Time Initiative LA/LA by the Getty Center, research grant to curate “How To Read el Pato Pascuál” to be presented at the MAK Center and Luckman Gallery.
Pacific Standard Time Initiative LA/LA by the Getty Center, research grant for the book “LA Collects LA”.
2011 SD Art Prize, San Diego.
2010 “Premio Luna,” Espectáculo Clásico, Mexico
2008 MACLA and Zero 1 commission for 01SJ Global Festival of Art on the edge, San Jose, CA.
Research Grant, University of California in San Diego, San Diego.
The Fabric Workshop and Museum, residency, Philadelphia.
2006 C.O.L.A. Individual Artist Fellowship, Los Angeles.
2005 Acadia Summer Art Program, Mount Desert Island, Maine.
California Community Foundation Award, Los Angeles.
2004 Art in General, artist in residence, New York.
2001 Artpace, The International Artist-in-Residence Program, San Antonio.
2000 Foundation for Contemporary Performance Arts, New York.
1999 The Louis Comfort Tiffany Foundation Award, New York.
1998 UC Mexus Grant, University of California in San Diego, San Diego, California.
U.S.-Mexico Fund for Culture, visual arts.
1997 The Andrea Frank Foundation Award, New York.
1996 Mención Especial, Experimental Documentary, XIV Festival Cinematográfico Internacional del Uruguay, Montevideo, Uruguay.
Special Jury Award, Cinefestival, San Antonio, Texas.
1995 Memory/History, Residence Program, The Banff Center for the Arts, Media Arts Program, Banff, Alberta, Canada.
1993 Sistema Nacional de Creadores, Consejo Nacional para la Cultura y las Artes, Mexico City.
I.T.V.S., P.B.S. (Grant shared with Jesse Lerner), Saint Paul, Minnesota,
U.S.-Mexico Fund for Culture (Prize shared with Jesse Lerner), Media Arts.
Film in the Cities, St. Paul, Minnesota, International Artist Residency Program.
1990 Fullbright Award.
1987 Salón Nacional de Pintura, Mexico City.
1986 Encuentro Nacional de Arte Joven, Aguascalientes, Aguascalientes. Mexico.
1985 Special Prize (Prize shared with Diego Toledo and Emmanuel Lubezki), Sección de Espacios Alternativos, Mexico City.
1984 First place, B.S.O. International painting contest, Milan, Italy.
Production Grant, Bienal de Fotografía, I.N.B.A., Mexico City.
Honorary Mention, Cuarto Encuentro Nacional de Arte Joven, Aguascalientes, Aguascalientes, Mexico.
1983 First Honorary Mention in illustration, Punto de Partida, U.N.A.M., Mexico City.

PUBLIC COLLECTIONS.

Armand Hammer Museum of Art & Cultural Center/The Grunwald Art Center for the Graphic Arts, Los Angeles.
California Museum of Photography, Riverside, California.
Carnegie Art Museum, Oxnard, California.
Center for Political Graphics, Los Angeles.
Centro Cultural La Raza, San Diego.
Centro Cultural de Arte Contemporaneo, Mexico City.
Centro de la Imagen, Mexico City.
Cornell Fine Arts Museum, Rollins College, Winter Park, Fl.
Colección FEMSA, Mexico City.
Espacio de Arte Contemporáneo, Mexico City
Instituto de Artes Gráficas de Oaxaca, Oaxaca, Mexico.
Instituto Nacional de Bellas Artes, Mexico City.
La Colección Jumex, Mexico City.
Long Beach Museum of Art, Long Beach, California.
Los Angeles County Museum of Art, Los Angeles.
Mexican Museum of Fine Arts. Chicago.
Museo de Arte Moderno de Aguascalientes, Aguascalientes, Mexico.
Museo Universitario de Ciencias y Arte, Mexico City.
Museo de la Estampa, Mexico City.
Museo de la Fotografía, Pachuca, Mexico.
Museo Nacional Centro de Arte Reina Sofía, Madrid.
Museum of Contemporary Art, Los Angeles.
Museum of Contemporary Art, San Diego.
Museum of Latin American Art, Long Beach, CA.
New York Public Library, New York.
Space Collection, Irvine, CA
Shoes or No Shoes, Kruishoutem, Belgium.
Smithsonian American Art Museum, Washington.
Sweeney Art Gallery, University of California in Riverside, Riverside, CA.
The Brooklyn Museum, Brooklyn, NY.
The Metropolitan Museum of Art, New York.
The Museum of Modern Art, New York.
The Museum of Fine Arts, Houston.
The Spencer Museum, Kansas City.
The Smithsonian Museum of American Art, Washington.
The Tate Modern, London.
Video Out, Vancouver.
Williams College, North Adams, MA.