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Photos from - and essays responding to - a museum installation where pre-Colombian sculptures were presented facing away from viewers, toward black mirrors, reflecting on the history of colonialism in the Americas

Table of Contents

Acknowledgments / Agradecimientos xi
Preface / Prefacio, Kimerly Rorschach xiv
Foreword / Prologo, Srinivas Aravamudan 2
Black Mirror / Espejo Negro
Introductory Statement by the Artist / Texto introductorio del artista, Pedro Lasch 10
Black Mirror, Ink Mirror: Fascination as Entrapment / Espejo negro, espejo de tinta: La fascinacion como trampa, Arnaud Maillet 50
Stone Muse / Musa de piedra, Jennifer A. Gonzalez 64
Colonial Reflections/Magical Imaginations: Pedro Lasch's Tezcatlipoca / Reflejos coloniales/imaginaciones magicas: El Tezcatlipoca de Petro Lasch, Pete Sigal 74
Decolonial Aesthetics: Unlearning and Relearning the Museum Through Pedro Lasch's Black Mirror/Espejo Negro / Estetica descolonial: desaprendiendo y reaprendiendo el museo a traves del Black Mirror/Espejo Negro de Pedro Lasch, Walter Mignolo 86
Index / indice 104
Contributors / Contribuyentes 110

About the Author

Pedro Lasch is an assistant research professor in the Department of Art, Art History, and Visual Studies at Duke University. He has shown his work in many venues, including the Queens Museum of Art, the Walker Arts Center in Minneapolis, the Royal College of Art (London), Centro Nacional de las Artes (Mexico City), the Singapore Art Museum, and the Gwangju Biennale (South Korea).