Amy Sara Carroll, a 2017–2018 Society Fellow in Cornell University’s Society for the Humanities, is the author of two poetry collections SECESSION and FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for Fordham University’s Poets Out Loud Prize. Since 2008, Carroll also has been a member of Electronic Disturbance Theater 2.0/b.a.n.g. lab, coproducing the Transborder Immigrant Tool.

REMEX can be read as another form of the atlas, with the fundamental difference that it is a cartography that maps and interprets the archive it produces…Carroll's book offers the clearest vision of the path that Mexican art took during the consolidation of the neoliberal paradigm...its research on sources and problems is exhaustive. (Journal of Latin American Cultural Studies) Carroll's superb research makes a seismic contribution to understanding Mexican and US Mexico border art in the post-NAFTA age. Aside from being an essential book in US-Mexico art, borderlands, history, interdisciplinary studies, political science, and women's studies courses, REMEX needs to be on everyone's reading list so we can all make sense of how we got to the haze permeating our countries. (Chiricú Journal) [REMEX] presents a welcome challenge to existing histories of Mexican art since 1984 and is a significant contribution to the growing field of border art studies...By critically examining canonical and lesser-known artists alike, REMEX reveals a nuanced and complex new understanding of the impact of neoliberal economic policy and the Mexican culture industry...Indeed, the consistent and well-researched political and economic parallels that are brought into dialog with interdependent movements in the art world constitute a great strength of this book. Carroll’s expanded borders, made possible by the parsing of performative allegory, open avenues for examining other (non)sites shaped by NAFTA and will undoubtedly influence future studies of the period. (Latin American and Latinx Visual Culture) Carroll’s [REMEX] is an attempt to write a history of Mexican art of [the NAFTA era] and, in so doing, to propose an alternative lineage for Latin American Conceptualism. (ARTMargins)

• Prelude. The Allegorical PerformativeIntroduction. Remix re: Mex REMEX: Toward an Art History of the NAFTA EraCity Nafta-Era Performance and Conceptualism’s Prehistory Mexico City, Readymade: The “PIAS Forms,” Mexico's 1968, and Los Grupos"Naco" as the Taco: No-Grupo, Maris Bustamante’s La patente del taco, and Melquiades Herrera’s Object LifeworldsPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation The Almost Ex-Teresa GenerationVicente Razo’s Anthropological MaterialismYoshua OkÓn’s Art and AdministrationMinerva Cuevas’s LogocentrismFrancis Alÿs, Santiago Sierra, and the Age of CuauhtÉmocTeresa Margolles, RemainderedWoman ¿Desmodernidad? Literalists to the Core! Polvo de Gallina Negra’s Maternal ProsthesisReallegorizing the Female Form Lorena Wolffer’s “El Derecho de RÉplica”Katia Tirado’s Pub(l)ic NichesSilvia Gruner’s Fucked-Up EthnographiesNao Bustamante’s Inter-American PageantryBorder NAFTA-Era Performance and Conceptualism’s Prehistory Art and Design: The Mexico-US Border after 1965The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and LaboratoryPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation Guillermo GÓmez-PeÑa’s North American Free Art AgreementinSITE Specificity/Tijuana, Capital of the Twenty-First CenturyFrom Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________)Postlude. REMEX re: Mex Remix: Untoward Art Histories of the Third MillenniumAcknowledgmentsNotesReferencesIndex

Amy Sara Carroll, a 2017–2018 Society Fellow in Cornell University’s Society for the Humanities, is the author of two poetry collections SECESSION and FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for Fordham University’s Poets Out Loud Prize. Since 2008, Carroll also has been a member of Electronic Disturbance Theater 2.0/b.a.n.g. lab, coproducing the Transborder Immigrant Tool.

REMEX can be read as another form of the atlas, with the fundamental difference that it is a cartography that maps and interprets the archive it produces…Carroll's book offers the clearest vision of the path that Mexican art took during the consolidation of the neoliberal paradigm...its research on sources and problems is exhaustive. (Journal of Latin American Cultural Studies) Carroll's superb research makes a seismic contribution to understanding Mexican and US Mexico border art in the post-NAFTA age. Aside from being an essential book in US-Mexico art, borderlands, history, interdisciplinary studies, political science, and women's studies courses, REMEX needs to be on everyone's reading list so we can all make sense of how we got to the haze permeating our countries. (Chiricú Journal) [REMEX] presents a welcome challenge to existing histories of Mexican art since 1984 and is a significant contribution to the growing field of border art studies...By critically examining canonical and lesser-known artists alike, REMEX reveals a nuanced and complex new understanding of the impact of neoliberal economic policy and the Mexican culture industry...Indeed, the consistent and well-researched political and economic parallels that are brought into dialog with interdependent movements in the art world constitute a great strength of this book. Carroll’s expanded borders, made possible by the parsing of performative allegory, open avenues for examining other (non)sites shaped by NAFTA and will undoubtedly influence future studies of the period. (Latin American and Latinx Visual Culture) Carroll’s [REMEX] is an attempt to write a history of Mexican art of [the NAFTA era] and, in so doing, to propose an alternative lineage for Latin American Conceptualism. (ARTMargins)

• Prelude. The Allegorical PerformativeIntroduction. Remix re: Mex REMEX: Toward an Art History of the NAFTA EraCity Nafta-Era Performance and Conceptualism’s Prehistory Mexico City, Readymade: The “PIAS Forms,” Mexico's 1968, and Los Grupos"Naco" as the Taco: No-Grupo, Maris Bustamante’s La patente del taco, and Melquiades Herrera’s Object LifeworldsPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation The Almost Ex-Teresa GenerationVicente Razo’s Anthropological MaterialismYoshua OkÓn’s Art and AdministrationMinerva Cuevas’s LogocentrismFrancis Alÿs, Santiago Sierra, and the Age of CuauhtÉmocTeresa Margolles, RemainderedWoman ¿Desmodernidad? Literalists to the Core! Polvo de Gallina Negra’s Maternal ProsthesisReallegorizing the Female Form Lorena Wolffer’s “El Derecho de RÉplica”Katia Tirado’s Pub(l)ic NichesSilvia Gruner’s Fucked-Up EthnographiesNao Bustamante’s Inter-American PageantryBorder NAFTA-Era Performance and Conceptualism’s Prehistory Art and Design: The Mexico-US Border after 1965The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and LaboratoryPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation Guillermo GÓmez-PeÑa’s North American Free Art AgreementinSITE Specificity/Tijuana, Capital of the Twenty-First CenturyFrom Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________)Postlude. REMEX re: Mex Remix: Untoward Art Histories of the Third MillenniumAcknowledgmentsNotesReferencesIndex

Amy Sara Carroll, a 2017–2018 Society Fellow in Cornell University’s Society for the Humanities, is the author of two poetry collections SECESSION and FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for Fordham University’s Poets Out Loud Prize. Since 2008, Carroll also has been a member of Electronic Disturbance Theater 2.0/b.a.n.g. lab, coproducing the Transborder Immigrant Tool.

REMEX can be read as another form of the atlas, with the fundamental difference that it is a cartography that maps and interprets the archive it produces…Carroll's book offers the clearest vision of the path that Mexican art took during the consolidation of the neoliberal paradigm...its research on sources and problems is exhaustive. (Journal of Latin American Cultural Studies) Carroll's superb research makes a seismic contribution to understanding Mexican and US Mexico border art in the post-NAFTA age. Aside from being an essential book in US-Mexico art, borderlands, history, interdisciplinary studies, political science, and women's studies courses, REMEX needs to be on everyone's reading list so we can all make sense of how we got to the haze permeating our countries. (Chiricú Journal) [REMEX] presents a welcome challenge to existing histories of Mexican art since 1984 and is a significant contribution to the growing field of border art studies...By critically examining canonical and lesser-known artists alike, REMEX reveals a nuanced and complex new understanding of the impact of neoliberal economic policy and the Mexican culture industry...Indeed, the consistent and well-researched political and economic parallels that are brought into dialog with interdependent movements in the art world constitute a great strength of this book. Carroll’s expanded borders, made possible by the parsing of performative allegory, open avenues for examining other (non)sites shaped by NAFTA and will undoubtedly influence future studies of the period. (Latin American and Latinx Visual Culture) Carroll’s [REMEX] is an attempt to write a history of Mexican art of [the NAFTA era] and, in so doing, to propose an alternative lineage for Latin American Conceptualism. (ARTMargins)

• Prelude. The Allegorical PerformativeIntroduction. Remix re: Mex REMEX: Toward an Art History of the NAFTA EraCity Nafta-Era Performance and Conceptualism’s Prehistory Mexico City, Readymade: The “PIAS Forms,” Mexico's 1968, and Los Grupos"Naco" as the Taco: No-Grupo, Maris Bustamante’s La patente del taco, and Melquiades Herrera’s Object LifeworldsPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation The Almost Ex-Teresa GenerationVicente Razo’s Anthropological MaterialismYoshua OkÓn’s Art and AdministrationMinerva Cuevas’s LogocentrismFrancis Alÿs, Santiago Sierra, and the Age of CuauhtÉmocTeresa Margolles, RemainderedWoman ¿Desmodernidad? Literalists to the Core! Polvo de Gallina Negra’s Maternal ProsthesisReallegorizing the Female Form Lorena Wolffer’s “El Derecho de RÉplica”Katia Tirado’s Pub(l)ic NichesSilvia Gruner’s Fucked-Up EthnographiesNao Bustamante’s Inter-American PageantryBorder NAFTA-Era Performance and Conceptualism’s Prehistory Art and Design: The Mexico-US Border after 1965The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and LaboratoryPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation Guillermo GÓmez-PeÑa’s North American Free Art AgreementinSITE Specificity/Tijuana, Capital of the Twenty-First CenturyFrom Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________)Postlude. REMEX re: Mex Remix: Untoward Art Histories of the Third MillenniumAcknowledgmentsNotesReferencesIndex