Alejandra Topete based the curatorial layout of the booth at Zona MACO around the concept of threads, both literal and metaphorical, as lines of tension, connection, weight, and narratives that wove the works into a cohesive dialogue. Starting with Claribel Calderius's embroidered storytelling in No Escuches tu Corazón to Randy Shull's hammock paintings, in which the woven structures and poured paint merged through weightlessness and process, thread operated as structure, memory, and gesture.

This curatorial structure spread to the monumental bronze sculptures of Emilio García Plascencia, whose dense bronze lines contrasted with the lightness of the textiles, to the fragmented Pinturas Cortadas of Ernesto García Sánchez's,  where painting became a way of stitching space, and to the layered surfaces of John R. Thompson's, in which strands of paint accumulate in organic compositions. Ending with William Gaber's Border further reflected this approach by presenting division as a constructed seam rather than a fixed boundary.

Collectively, the presentation proposed material and conceptual connections that unified diverse practices into a dynamic spatial experience.

Learn more about the artists and their work at the booth by listening to interviews with them conducted by Artcrónica Documenta during the fair.