Postcommodity Coyotaje

Art in General presents Postcommodity, Coyotaje, the collective’s first solo exhibition in NY opening Friday, March 24, and continuing through June 3, 2017.

Postcommodity Coyotaje

Art In General | 145 Plymouth Street | Dumbo

Art in General presents a newly commissioned installation by Postcommodity, Coyotaje, marking the collective’s first solo exhibition in New York opening Friday, March 24, with a reception from 6–8pm. The exhibit runs from March 25 – June 3, 2017.

Composed of artists Raven Chacon, Cristóbal Martínez, and Kade L. Twist, Postcommodity’s multidisciplinary practice reveals and examines Indigenous cultural narratives and their relationships to broader social, political, and economic dialogues and actions. For the exhibition Coyotaje, Postcommodity continues its several years-long investigation of the military and economic life of the US-Mexico borderlands, highlighting the complex dynamics between US Border Patrol, the communities living in the San Pedro River Valley region, and individuals moving across the border. The exhibition is made possible through Art in General’s New Commissions Program, and is included in a season-long exploration of the politics related to geographic boundaries and the histories, possession, and accessibility of land.

As part of the project, Postcommodity engaged the US Border Patrol in a dialogue on the role of decoys in its offensive and defensive operations. Decoys are sometimes used by Border Patrol agents to apprehend individuals trying to cross the border, to push passage in specific directions, and to discourage migration into the United States. Given that many individuals encounter decoys in darkness, they have become shrouded in mythology, taking on auras and personas drawn from local folklore and oral traditions. Coyotaje will feature large-scale sculpture inspired by these conversations and Postcommodity’s intimate knowledge of the Douglas/Agua Prieta landscape, as well as a multi-channel sound work that references sonic decoys used by border agents. Conceived as potentially functional decoys, the works highlight the peculiar nature of these forms, as they represent both the tactical needs of agents and the cultural manifestations of those who encounter them.

Postcommodity, Es más alcanzable de lo que se imaginaban, 2017. Courtesy the artists.

Moving the conversation on border security beyond simplistic, mass-oriented appeals, Coyotaje instead examines the real-life experiences of those living and moving near and around the border. Postcommodity’s work breaks down some of the arbitrary and falsely-created barriers among peoples of this region, and looks to establish new constructs that speak more readily to the social, geographic, and cultural histories of these borderlands.

Postcommodity was formed in 2007. The collective is comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist, and has previously included other artists living in the Southwestern United States. Postcommodity has presented work across the United States and around the world, including Australia, Belgium, and Canada. In 2015, Postcommodity installed the much-acclaimed public work Repellent Fence at the US-Mexico border near Douglas, AZ and Agua Prieta, SON, marking the creation of one of the largest public art installations by two nations. Postcommodity will also be featured in the upcoming editions of the 2017 Whitney Biennial and documenta 14.


For more than 30 years, Art in General has provided two of the scarcest resources to artists – space and funding. In a city teeming with creativity, it helps local and international artists produce major groundbreaking projects that would otherwise not be realized.

Art in General was founded in 1981 by two artists, Martin Weinstein and Teresa Liszka, in the General Hardware building as a space for artists to inspire, meet, and exhibit. A pioneering force since the 1980s, it has grown into a New York institution unlike any other in the city, supporting thousands of local and international artists through deep personal connections and direct funding.

Art in General has a long history of supporting artists early in their careers. From Glenn Ligon in 1991, to Marina Abramović in 1993, to Gabriel Orozco in 1994, Art in General is often at the forefront of giving artists their first New York exhibitions. Most recently, New Commissions artists have gone on to be included in the Whitney Biennial, documenta, Istanbul Biennial, and the Venice Biennale, among others, as well as in exhibitions at major institutions in New York abroad, such as MoMA, the New Museum, and the Tate Modern.

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