Abstract Amy Sara Carroll's ReMex: Toward an Art History of the NAFTA Era interprets Mexico City-based, feminist, and border, or Chicano, art in and around the 1990s. Its premise is that aesthetics and politics “form a loop” in order to express what the author calls “Greater Mexico.” With this term, Carroll proposes that “Mexico” is no longer a territory but rather an imaginary that transcends its geographic borders. In her view, the denationalization brought about by the liberalization of markets led to a multicultural utopia best expressed in border art and art concerned with race and gender issues. In her account, aesthetic practice must serve as a direct weapon against “NAFTAfication” and colonial heteropatriarchy. Carroll draws an analogy between the selling out of the nation through the NAFTA treaty and the selling out of “post-Mexican” art to the global culture industry through the ambition of curators, cultural managers and artists who placed Mexico and Mexican contemporary art as key global art destinations by taking advantage of generous State sponsorship brought about by market liberalization. Any hint of cosmopolitism is suspicious and thus Carroll insists on “ReMexing” Mexico.

中文翻译：

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艾米·萨拉·卡罗尔的 ReMex：迈向北美自由贸易协定时代的艺术史

摘要 Amy Sara Carroll 的 ReMex：迈向北美自由贸易协定时代的艺术史诠释了 1990 年代及前后墨西哥城的女权主义和边境或奇卡诺艺术。它的前提是美学和政治“形成一个循环”，以表达作者所说的“大墨西哥”。通过这个术语，卡罗尔提出“墨西哥”不再是一个领土，而是一个超越其地理边界的想象。在她看来，市场自由化所带来的非国有化导致了一个多元文化的乌托邦，这种乌托邦最能体现在与种族和性别问题有关的边境艺术和艺术中。在她看来，审美实践必须成为对抗“北美自由贸易”和殖民异父权制的直接武器。卡罗尔将通过北美自由贸易协定将国家出售与通过将墨西哥和墨西哥当代艺术视为关键的策展人、文化管理者和艺术家的雄心将“后墨西哥”艺术出售给全球文化产业之间进行了类比利用市场自由化带来的国家慷慨赞助，打造全球艺术目的地。任何世界主义的暗示都是可疑的，因此卡罗尔坚持要“再Mexing”墨西哥。