Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art

July 13–Sept 30, 2018

Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art investigates contemporary art practices that preserve and foreground Indigenous American notions of the built environment and natural world. The three words in the exhibition’s title are Quechua, the Indigenous language most spoken in the Americas. Each holds more than one meaning: pacha denotes universe, time, space, nature, or world; llaqta signifies place, country, community, or town; and wasichay means to build or to construct a house. Influenced by the richness of these concepts, the artworks explore the conceptual frameworks inherited from, and also still alive in, Indigenous groups in Mexico and South America that include the Quechua, Aymara, Maya, Aztec, and Taíno, among others.

The show features the work of seven emerging Latinx artists based in the United States and Puerto Rico: william cordova, Livia Corona Benjamin, Jorge González, Guadalupe Maravilla, Claudia Peña Salinas, Ronny Quevedo, and Clarissa Tossin. Their works investigate the complex relationship that indigenous and vernacular notions of construction, land, space, and cosmology have had in the history of modern and contemporary art and architecture in the Americas.

This exhibition is organized by Marcela Guerrero, assistant curator, with Alana Hernandez, curatorial project assistant.

Ver en Español

Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art is part of the Whitney’s emerging artists program, sponsored by

Significant support for this exhibition is also provided by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and by the Whitney’s National Committee.

Additional support is provided by AMEXCID with the Mexican Cultural Institute of New York, the Garcia Family Foundation, and an anonymous donor.

Curatorial research and travel were funded by the Steven & Alexandra Cohen Foundation.

Back

6 / 7

Previous Next

Ronny Quevedo works allude to everything from real structures such as gymnasium flooring to more abstract depictions of Incan constellations. All, however, can be interpreted as maps tracking the trajectory of stars or the migratory movement of people, such as the artist and his family, who came from Ecuador to the Bronx in the early 1980s.The works—which involve a range of different artmaking techniques and media, including screen printing, embossing, and silver and gold leaf overlay—are schematic (and oftentimes highly abstracted) renderings of the markings and lines made on both contemporary playing fields and pre-Columbian ballgame fields. They suggest the quick movement of people, weather athletes or immigrants, and in many ways, resemble migration maps. The abstraction also detaches the works from their references to a real physical space, associating Andean ancestry and contemporary culture to a wider cosmos.

A colorful floor plan covered in arrowed lines.

Artists

Videos

Events

View all

Essays

Conceptual Blueprints: Artistic Approaches to Indigenous Architecture

By Marcela Guerrero, assistant curator
Two years before I was born, the Whitney Museum of American Art had already organized an exhibition exploring ideas central to those in Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art. Allow me to explain.

Read essay
Planos conceptuales: aproximaciones artísticas a la arquitectura indígena

Por Marcela Guerrero, curadora asistente
Dos años antes de que yo naciera, el Whitney Museum of American Art ya había organizado una exposición en la que se exploraban ideas que son fundamentales en Pacha, Llaqta, Wasichay: Espacio indígena, arquitectura moderna, arte nuevo. Permítanme explicarles.

Read essay

Perspectives

Audio

Each artist featured in this exhibition has chosen several songs that inspire them and their artistic practice. As a whole, the playlist is demonstrative of the richness and diverse cultural backgrounds that each of the seven Latinx artists bring forth.

Audio guides

A woman in a leopard suit scaling a wall

“The cultures that these artists are looking towards are not pre-Columbian, in the strict sense of the word, in terms that they're not frozen in time. They're not dead cultures, they're still very much alive.”
—Marcela Guerrero, assistant curator

Hear from the exhibition’s artists and curator about selected works from the exhibition.

View guide

Installation photography

Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, A cycle of time we don’t understand (reversed, invented, and rearranged), 2017; Clarissa Tossin, xojowisaj ja (to make the building dance), 2017; Clarissa Tossin, Ha’ K’in Xook, from Piedras Negras to Hill Street, 2017; Clarissa Tossin, Ch’u Mayaa, 2017; Clarissa Tossin, Yaxchilán Lintel 25 (feathered serpent), 2017; Clarissa Tossin, A two-headed serpent held in the arms of human beings, or, Ticket Window, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, A cycle of time we don’t understand (reversed, invented, and rearranged), 2017; Clarissa Tossin, xojowisaj ja (to make the building dance), 2017; Clarissa Tossin, Ha’ K’in Xook, from Piedras Negras to Hill Street, 2017; Clarissa Tossin, Ch’u Mayaa, 2017; Clarissa Tossin, Yaxchilán Lintel 25 (feathered serpent), 2017; Clarissa Tossin, A two-headed serpent held in the arms of human beings, or, Ticket Window, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, A cycle of time we don’t understand (reversed, invented, and rearranged), 2017; Clarissa Tossin, xojowisaj ja (to make the building dance), 2017; Clarissa Tossin, Ha’ K’in Xook, from Piedras Negras to Hill Street, 2017; Clarissa Tossin, Ch’u Mayaa, 2017; Clarissa Tossin, Yaxchilán Lintel 25 (feathered serpent), 2017; Clarissa Tossin, A two-headed serpent held in the arms of human beings, or, Ticket Window, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, Ch’u Mayaa, 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art(Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, Ch’u Mayaa, 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art(Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, Ch’u Mayaa, 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Jorge González, Ayacavo Guarocoel, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #11, 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Tripa Chuca, 2018; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017; Jorge González, Ayacavo Guarocoel, 2018; Monica Flaherty, Petroglyph studies at Coabey River, Jayuya, Puerto Rico, c. 1957. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Livia Corona Benjamín, Infinite Rewrite VI, 2016; Livia Corona Benjamín, Infinite Rewrite LIII, 2018; Livia Corona Benjamín, Infinite Rewrite LVI, 2018; Livia Corona Benjamín, Infinite Rewrite LII, 2018; Livia Corona Benjamín, Infinite Rewrite L, 2018; Livia Corona Benjamín, Infinite Rewrite XXXI, 2016; Livia Corona Benjamín, Graneros del Pueblo / Nadie Sabe, Nadie Supo, 2016; Livia Corona Benjamín, Infinite Rewrite LV, 2018; Livia Corona Benjamín, Infinite Rewrite LIV, 2018; Livia Corona Benjamín, Infinite Rewrite LI, 2018; Livia Corona Benjamín, Infinite Rewrite XVIII, 2016. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Livia Corona Benjamín, Infinite Rewrite VI, 2016; Livia Corona Benjamín, Infinite Rewrite LIII, 2018; Livia Corona Benjamín, Infinite Rewrite LVI, 2018; Livia Corona Benjamín, Infinite Rewrite LII, 2018; Livia Corona Benjamín, Infinite Rewrite L, 2018; Livia Corona Benjamín, Infinite Rewrite XXXI, 2016; Livia Corona Benjamín, Graneros del Pueblo / Nadie Sabe, Nadie Supo, 2016; Livia Corona Benjamín, Infinite Rewrite LV, 2018; Livia Corona Benjamín, Infinite Rewrite LIV, 2018; Livia Corona Benjamín, Infinite Rewrite LI, 2018; Livia Corona Benjamín, Infinite Rewrite XVIII, 2016. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Livia Corona Benjamín, Infinite Rewrite VI, 2016; Livia Corona Benjamín, Infinite Rewrite LIII, 2018; Livia Corona Benjamín, Infinite Rewrite LVI, 2018; Livia Corona Benjamín, Infinite Rewrite LII, 2018; Livia Corona Benjamín, Infinite Rewrite L, 2018; Livia Corona Benjamín, Infinite Rewrite XXXI, 2016; Livia Corona Benjamín, Graneros del Pueblo / Nadie Sabe, Nadie Supo, 2016; Livia Corona Benjamín, Infinite Rewrite LV, 2018; Livia Corona Benjamín, Infinite Rewrite LIV, 2018; Livia Corona Benjamín, Infinite Rewrite LI, 2018; Livia Corona Benjamín, Infinite Rewrite XVIII, 2016; Ronny Quevedo, Ulama, Ule, Olé, 2012; Livia Corona Benjamín, Zoquitl / Conversion C, 2018; Livia Corona Benjamín, Huapalcalco / Conversion A, 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Claudia Peña Salinas, Cuecan, 2017; Claudia Peña Salinas, Untitled (owl), 2015; Claudia Peña Salinas, Cueyatl, 2017; Claudia Peña Salinas, Tlalicue, 2017; Claudia Peña Salinas, Tlaloc MNA, 2018. In back: william cordova, huaca (sacred geometries), 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Claudia Peña Salinas, Tlachacan, 2017; Claudia Peña Salinas, Tlaloc, 2013. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Claudia Peña Salinas, Tlachacan, 2017; Claudia Peña Salinas, Tlaloc, 2013. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Claudia Peña Salinas, Tlachacan, 2017; Claudia Peña Salinas, Tlaloc, 2013. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Claudia Peña Salinas, Tlaloc MNA, 2018; Claudia Peña Salinas, Tlalicue, 2017; william cordova, untitled, 2015–16; william cordova, untitled, 2016; william cordova, untitled, 2016; william cordova, untitled, 2015; william cordova, untitled, 2016; william cordova, untitled, 2016; william cordova, untitled, 2016; william cordova, untitled, 2016. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From front to back: Claudia Peña Salinas, Cueyatl, 2017; william cordova, huava (sacred geometries), 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Claudia Peña Salinas, Chalchiuhtlicue MNA, 2018; Claudia Peña Salinas, Cuecan, 2017; Claudia Peña Salinas, Untitled (owl), 2015. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: william cordova, untitled, 2015–16; william cordova, untitled, 2016; william cordova, untitled, 2016; william cordova, untitled, 2015; william cordova, untitled, 2016; william cordova, untitled, 2016; william cordova, untitled, 2016; william cordova, untitled, 2016; Claudia Peña Salinas, Chalchiuhtlicue MNA, 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Ronny Quevedo, Ulama, Ule, Olé, 2012; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017; Ronny Quevedo, Field of Play, 2016; Ronny Quevedo, Cabeza Magica, 2012; Ronny Quevedo, quipu, 2017; Ronny Quevedo, every measure of zero (wari textile), 2017; Ronny Quevedo, every measure of zero (up is down), 2017; Ronny Quevedo, oro blanco, 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Ronny Quevedo, quipu, 2017; Ronny Quevedo, every measure of zero (wari textile), 2017; Ronny Quevedo, every measure of zero (up is down), 2017; Ronny Quevedo, oro blanco, 2017; Ronny Quevedo, Notes on the poetics of relation #2, 2015. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, Field of Play, 2016; Ronny Quevedo, Cabeza Magica, 2012. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Ronny Quevedo, Cabeza Magica, 2012; Ronny Quevedo, quipu, 2017; Ronny Quevedo, every measure of zero (wari textile), 2017; Ronny Quevedo, every measure of zero (up is down), 2017; Ronny Quevedo, oro blanco, 2017; Ronny Quevedo, Notes on the poetics of relation #2, 2015; Ronny Quevedo, Ulama, Ule, Olé, 2012; Ronny Quevedo, Errant Globe, 2015. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #8, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #7, 2018; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #4, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #11, 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Tripa Chuca, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #10, 2018; Monica Flaherty, Petroglyph studies at Coabey River, Jayuya, Puerto Rico, c. 1957; Ronny Quevedo, Ulama, Ule, Olé, 2012. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #1, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #9, 2018; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #6, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Guadalupe Maravilla, Tripa Chuca, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #3, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #10, 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Tripa Chuca, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #3, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #10, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #8, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #7, 2018; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #4, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #11, 2018. Photograph by Ron Amstutz
Monica Flaherty, Petroglyph studies at Coabey River, Jayuya, Puerto Rico, c. 1957 (installation view, Whitney Museum of American Art, New York, July 13–September 30, 2018). Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Ronny Quevedo, quipu, 2017; Ronny Quevedo, Errant Globe, 2015; Clockwise, from top left: Alice, n.d.; Robinson, 2017; Secador (Dryer), 2016; Las Lunas, Caguas, Puerto Rico, 2017; Fernando, n.d.; Taller Cabachuela (Cabachuela Workshop), n.d.; Eustaquio, 2016; La Pintadera (Stamp), 2016; Guadalupe, 2016; Monotipo (Monotype), 2016; Center of wall, left to right: Taíno culture, Dominican Republic, Amulet, 1200–1500; Pre-Taíno culture, Dominican Republic, Antillean calendar or seal, n.d.; On right: Jorge González, Banquetas Chévere (Chévere Stools), 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). Clockwise, from bottom left: Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017; Ronny Quevedo, Field of Play, 2016; Ronny Quevedo, Cabeza Magica, 2012. Installed on floor: Ronny Quevedo, Orders of Magnitude (desde Qoricancha), 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). Clockwise, from bottom left: Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, Field of Play, 2016; Ronny Quevedo, Cabeza Magica, 2012; Ronny Quevedo, quipu, 2017. Installed on floor: Ronny Quevedo, Orders of Magnitude (desde Qoricancha), 2018. Photograph by Ron Amstutz
Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). Clockwise, from top left: Ronny Quevedo, Cabeza Magica, 2012; Ronny Quevedo, quipu, 2017; Ronny Quevedo, every measure of zero (wari textile), 2017; Ronny Quevedo, every measure of zero (up is down), 2017; Ronny Quevedo, oro blanco, 2017; Ronny Quevedo, Notes on the poetics of relation #2, 2015; Clarissa Tossin, Yaxchilán Lintel 25 (feathered serpent), 2017; Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, Errant Globe, 2015. Installed on floor: Ronny Quevedo, Orders of Magnitude (desde Qoricancha), 2018. Photograph by Ron Amstutz
Ronny Quevedo (b. 1981), Ulama, Ule, Olé, 2012 (installation view, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, Whitney Museum of American Art, New York, July 13–September 30, 2018). Milk crates and zipties, two parts, dimensions variable. Collection of the artist. Photograph by Ron Amstutz
Ronny Quevedo (b. 1981), Ulama, Ule, Olé, 2012 (installation view, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, Whitney Museum of American Art, New York, July 13–September 30, 2018). Milk crates and zipties, two parts, dimensions variable. Collection of the artist. Photograph by Ron Amstutz
Ronny Quevedo (b. 1981), Ulama, Ule, Olé, 2012 (installation view, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, Whitney Museum of American Art, New York, July 13–September 30, 2018). Milk crates and zipties, two parts, dimensions variable. Collection of the artist. Photograph by Ron Amstutz
william cordova (b. 1971), huaca (sacred geometries), 2018 (installation view, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, Whitney Museum of American Art, New York, July 13–September 30, 2018). Wood and stainless steel, dimensions variable. Collection of the artist; courtesy of Sikkema Jenkins and Co., New York. Photograph by Ron Amstutz
william cordova (b. 1971), huaca (sacred geometries), 2018 (installation view, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, Whitney Museum of American Art, New York, July 13–September 30, 2018). Wood and stainless steel, dimensions variable. Collection of the artist; courtesy of Sikkema Jenkins and Co., New York. Photograph by Ron Amstutz
william cordova (b. 1971), huaca (sacred geometries), 2018 (installation view, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, Whitney Museum of American Art, New York, July 13–September 30, 2018). Wood and stainless steel, dimensions variable. Collection of the artist; courtesy of Sikkema Jenkins and Co., New York. Photograph by Ron Amstutz

In the News

“As indicated by its Quechuan title, to describe the world and its structures in both nuanced yet manifold ways is, in turn, the central premise of this exhibition.”
—Cultbytes