Index 
Published essays
by Armando Rascón 
1981-2008




Curatorial essay by Armando Rascón, Xicano Ricorso: 
a Thirty Year Retrospect from Aztlán, Museum of Modern Art, 
1994, New York City. Thirty-year survey of Chicano/a video organized 
by Armando Rascón.
The project at MOMA ran concurrent with Rascón’s project at INTAR 
Armando Rascón: Xicano Anesthetic. 



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Curatorial essay by Armando Rascon, Xicano Progeny: 
investigative agents, executive council and other 
representatives from the sovereign state of Aztlán 
The Mexican Museum, San Francisco, California. 1995

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Synopsis: Untitled (Double Cryogenic), 1986, one of the works 
created by Armando Rascon during his AIDS activist years (from 
the series Decay and Resurrection 1981-1993). The synopsis was 
written by Rascon (in 2019) and presented to David Evans Frantz of 
the One Collection Foundation, University of Southern California as a 
possible gift to the collection from a private collector (in August of 2019.) 
The collector read the synopsis and decided to keep the work instead.




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Skatelore Expo: California Skate(board)ing Index to Concepts, Forms, Life1998, Contemporary Arts Forum, Santa Barbara, California. Curatorial essay by Armando Rascón,
Skatelore Expo Curated by Armando Rascon
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Project essay Armando Rascon: Postcolonial Califas, 1997


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Armando Rascon: Latina Postcolonial Photobureau 
+ 7 Related Media Installations ,
Blue Star Art Space, San Antonio, Texas. 1998.

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Curatorial essay by Armando Rascon, Waveforms: 
skating the urban forest, 1996
The Santa Cruz Museum of Art and History




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BORDER METAMORPHOSIS: the Binational Mural Project
A historic community-involved two-mile mural project painted directly on the US/Mexico border fence in Mexicali/Calexico between the years 1998 thru 2002. 
The work was destroyed during the first Trump Administration, and replaced by the WALL —a campaign promise (“Mexico will pay for the Wall”). 
For a deeper dive into the history of Border Metamorphosis: the Binational Mural Project 
visit the project portal at the link below:



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Curatorial essay by Armando Rascon for exhibition Corporate Crime / Malicious Mischief, 1987, INSTALLATION Gallery, San Diego and MEDIA Gallery, San Francisco.



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Exhibition catalog Armando Rascon: Xicano AnestheticINTAR Gallery, New York, New York. 1994
Link to Rascon essay manuscript PDF Link to INTAR catalog
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Curatorial essay by Armando Rascon, A Quincentenary Ricorso: Redeeming Our Dead 1992, Dia de Muertos/Day of the Dead exhibition at Galeria de la Raza, San Francisco.
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Curatorial essay by Armando Rascon for exhibition Light Spirit Dream, 1990, TERRAIN, San Francisco.



Project for New Observations Armando Rascon: Pendant Bell with Eagle Warrior, 1992
Rascón article in Observations
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Exhibition pamphlet Armando Rascon: The Multicultural Reading Room 1991, Project Space, Randolph Street Gallery

Link To printed matter Link to brochure on The Multicultural Reading Room


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Armando Rascon: Existential Monochrome 1992, Randolph Street Gallery, Chicago, Illinois, exhibition pamphlet.



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Armando Rascon: Sociocultural Reading Room 1992-93, Santa Barbara Contemporary Arts Forum and Santa Barbara Main Public Library, California.




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Lagrimas y Sonrisas: the first (Re)Generation Exhibition 1995, Celebrating 25 Years, Galeria de la Raza, San Francisco.
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La Moda, 1993, Galeria de la Raza, San Francisco, Caifornia.




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Rascón Curatorial Projects
1980-2008
INFORMATION
TERRAIN Gallery in San Francisco, January 1990.
Curated by Robert Nickas, Armando Rascón and Peter Wright.
Information was an ambitious media exhibition involving 100 artists --from Vito Acconci to Lawrence Weiner.
The artists faxed the art directly to the gallery. The artists kept the original. All transmitted faxes were available for sale at the same $200 price point. No contract, no gallery commissions,.
The project opened on January 4, 1990 (the artists had been instructed to transmit their work beginning on January 1, 1990).

Photo: a sampling of 12 works on vellum fax paper, installed with map pins the moment they arrived on the fax machine.
TERRAIN published an exhibition catalog.
Dark Planet: The Absolute and Unflinching Nature of Beauty, a 1996 group exhibition at TERRAIN Gallery in San Francisco, curated by Armando Rascón. 1996. 

From left to right: William Burroughs, Jaune Quick-to-see Smith, Chris Eisner, Iñigo Manglano-Ovalle. and  Brian D. Tripp. 
Not in view: Gary Komarin, Julio Morales + Domingo Nuno, and Hulleah J. Tsinhnahjinnie.

The subtitle, “The Absolute and Unflinching Nature of Beauty,” suggests the show was pushing against conventional aesthetics — very much in line with Terrain’s reputation for experimental, politically charged programming in the 1990s.
 
Skatelore Expo: California Skate(board)ing Index to Concepts, Forms, Life
Curated by Armando Rascón at the Contemporary Arts Forum, Santa Barbara, California. 

Top photo: Curator's Lecture. Armando Rascón with the audience in the exhibition space on April 4, 1998.

Bottom photo: Skate Street Demo on the Bone Brigade's half pipe, downstairs from the Contemporary Arts Forum on de la Guerra Street. Day of exhibition opening.
Several professional skate teams were represented: Powell, Toy Machine, Stereo, Girl, and Santa Cruz Skateboards.



MATTER ANTI-MATTER: Defects in the Model
curated by Armando Rascón
at TERRAIN, San Francisco
19 January through 18 February, 1989
Photo Album Gallery Place Holder - Please wait while the Photo Album loads. If the album does not show, please refresh the page to try again.
QQmMATTER ANTI-MATTER: Defects in the Model
TERRAIN, San Francisco, California
19 January through 18 February, 1989
Foregroimd:
AIAN RATH, "Watcher of the Skies I I , " 1987,
Aluminum, a c r y l i c , electronics, cathode ray tube
53 X 15 X 10"
On wall (left to r i g h t ):
PETER FEND, "CALIFORNIA AFTER THE US," 1989,
Text, aeronautical charts of California Current
slope & California Gulf Basin laminated on plexiglass
5 x 5 ' overall dimensions
FELIX GONZALEZ-TORRES
"1988," 1988, photostat and metallic frame, 11 x 13"
"1987," 1987, photostat and metallic frame, 10 x 13"
"Double Fear," 1987, photo transfer, 10 x 13"
RENE DE GUZMAN
"Trope," 1989, Two white cubes, 18 x 6 x 4"
"Untitled," 1989, Three rectangles, 25 x 9\"
"Humus," 1989, Wax on pad of paper, 12 x 4 x 7"
Photography courtesy TERRAIN, San Francisco, California
MATTER ANTI-MATTER: Defects in the Model
TERRAIN, San Francisco, California
19 January through 18 February, 1989
Foregroimd:
AIAN RATH, "Watcher of the Skies I I , " 1987,
Aluminum, a c r y l i c , electronics, cathode ray tube
53 X 15 X 10"
On wall (left to r i g h t ):
PETER FEND, "CALIFORNIA AFTER THE US," 1989,
Text, aeronautical charts of California Current
slope & California Gulf Basin laminated on plexiglass
5 x 5 ' overall dimensions
FELIX GONZALEZ-TORRES
"1988," 1988, photostat and metallic frame, 11 x 13"
"1987," 1987, photostat and metallic frame, 10 x 13"
"Double Fear," 1987, photo transfer, 10 x 13"
RENE DE GUZMAN
"Trope," 1989, Two white cubes, 18 x 6 x 4"
"Untitled," 1989, Three rectangles, 25 x 9\"
"Humus," 1989, Wax on pad of paper, 12 x 4 x 7"
Photography courtesy TERRAIN, San Francisco, California
MATTER ANTI-MATTER: Defects in the Model
TERRAIN, San Francisco, California
19 January through 18 February, 1989
Foregroimd:
AIAN RATH, "Watcher of the Skies I I , " 1987,
Aluminum, a c r y l i c , electronics, cathode ray tube
53 X 15 X 10"
On wall (left to r i g h t ):
PETER FEND, "CALIFORNIA AFTER THE US," 1989,
Text, aeronautical charts of California Current
slope & California Gulf Basin laminated on plexiglass
5 x 5 ' overall dimensions
FELIX GONZALEZ-TORRES
"1988," 1988, photostat and metallic frame, 11 x 13"
"1987," 1987, photostat and metallic frame, 10 x 13"
"Double Fear," 1987, photo transfer, 10 x 13"
RENE DE GUZMAN
"Trope," 1989, Two white cubes, 18 x 6 x 4"
"Untitled," 1989, Three rectangles, 25 x 9\"
"Humus," 1989, Wax on pad of paper, 12 x 4 x 7"
Photography courtesy TERRAIN, San Francisco, CaliforniaMatter Anti-Matter: Defects in the Model curated by Armando Rascón at TERRAin, sAN fRANCISCO, 1989
MATTER ANTI-MATTER: Defects in the Model TERRAIN, San Francisco, California
19 january through 18 February, 1989
Foreground:
AlAN RATH, "Watcher of the Skies II," 1987, Aluminum, acrylic, electronics, cathode ray tube 53 X 
16 X 10"
On wall (left to right):
PETER FEND, "CALIFORNIA AFTER THE US," 1989,
Text, aeronautical charts of California Current slope & California Gulf Basin laminated on 
plexiglass 5 x 5' overall dimensions
FELIX GONZALEZ-TORRES
"1988," 1988, photostat and metallic frame, 11 x 13"
"1987," 1987, photostat and metallic frame, 10 x 13"
"Double Fear," 1987, photo transfer, 10 x 13"
RENE DE GUZMAN
"Trope," 1989, Two white cubes, 18 x 6 x 4" "Untitled," 1989, Three rectangles, 25 x 9½" "Humus," 
1989, Wax on pad of paper, 12 x 4 x 7"
Photography courtesy TERRAIN, San Francisco, Californ
MATTER ANTI-MATTER: Defects in the Model
TERRAIN, San Francisco, California
19 January through 18 February, 1989
Foregroimd:
AIAN RATH, "Watcher of the Skies I I , " 1987,
Aluminum, a c r y l i c , electronics, cathode ray tube
53 X 15 X 10"
On wall (left to r i g h t ):
PETER FEND, "CALIFORNIA AFTER THE US," 1989,
Text, aeronautical charts of California Current
slope & California Gulf Basin laminated on plexiglass
5 x 5 ' overall dimensions
FELIX GONZALEZ-TORRES
"1988," 1988, photostat and metallic frame, 11 x 13"
"1987," 1987, photostat and metallic frame, 10 x 13"
"Double Fear," 1987, photo transfer, 10 x 13"
RENE DE GUZMAN
"Trope," 1989, Two white cubes, 18 x 6 x 4"
"Untitled," 1989, Three rectangles, 25 x 9\"
"Humus," 1989, Wax on pad of paper, 12 x 4 x 7"
Photography courtesy TERRAIN, San Francisco, California
iNSTALLATION VIEW:

MATTER ANTI-MATTER: Defects in the Model
curated by Armando Rascón
at TERRAIN, San Francisco
19 January through 18 February, 1989

Left: Peter Fend
Center: Félix González-Torres
Freestanding: Alan Rath
Back wall: Rene de Guzman
Storefront window A Quincentenary Ricorso: Redeeming Our Dead
Día de Los Muertos | Day of the dead Exhibition Curated by Armando Rascón
October 1992
Galería de la Raza, San Francisco, CA 
CORPORATE CRIME/MALICIOUS MISCHIEF
Group Exhibition curated by Armando Rascón
INSTALLATION, San Diego, California 1987
MEDIA, San Francisco, California 1988

Richard Armijo
Julie Ault
Lutz Bacher
Jane Bauman
Beach Party
Tricia Collins and Richard Milazzo
Michael Corris
Peter Frank
Guillermo Gómez-Peña
Félix González-Torres
Lynn Hershman
Richard Irwin Irwin
Peter Nagy
Michael Peppe
Nancy Spero
Christine Tamblyn
Mark Van Proyen
Stephen Westfall
Untitled (xucanex gestalt) 2025, from the AMAYA PROJECT 2006-2026 © Armando Rascón 2006-2026
Armando Rascón: Occupied Aztlán
1994 catalog 
Adaline Kent Award Exhibition
San Francisco Art Institute
Image: "Border Wall, East First Street, Calexico, California, December 24, 1993"
by Armando Rascón ©1993-2026
In the 80's I was friends with the Rivington School artists. I had met Richard Armijo in 1977 
when I pulled my 1960 Corvair van over to the side of the road to board a hitchhiker in Los Angeles, on my 
way to Santa Barbara. He said he was going to an opening reception at the College of Creative Studies. On a Sunday? Perfect, I was one of the 20 or so enrolled art students there. SO we arrived and our friend Chaz Garabedian gave Richard a great big hug. Richard knew everybody, yet he hadn't ever been a student at CCS. We stayed in touch and Richard introduced me to Félix. 

It was 1986, andI had just returned from Paris where there was an amazing exhibition at 
the Beauborg titled the Age of Splendor. The curatorial effort was about the most amazing I had ever witnessed, so I set about to replicate something similar in spirit, albeit of political art in the USA. I would call the show "Corporate Crime/Malicious Mischief" and I invited Félix and Richard to participate. 

The following correspondence is from 1987, a time of sheer creativity with the freedom to make big political activist statements with people that I knew from the NY and West Coast art worlds. I share these here, sometimes with the tag "from the AMAYA PROJECT" as a way to poke the bear (the FGT Foundation folks ears are finely attuned, thnx 4 what u do!) The point is THIS is NOT a website, rather it is a temporary ephemeral html experience that I have assembled for the simple purpose of allowing the contributors of the conceptually based book "Proof of Concept" to be able to have access to my ARCHIVE. Therefore, please enjoy these moments of a bygone era when folks like myself and my dearly departed friends --taken too soon by the ravaging AIDS epidemic-- held forth with a sort of back and forth in dialog with the zetgeist and ourselves. Martin Wong, David Cannon Dashiell, Irwin Irwin, Félix GT, the infinity of the waves crashing on the shores of all oceans remember you.

You know, after everything is said and done, the only things that appear to remain sacred are the truthful exchanges that continue to exist when the receipts are placed on the table. I leave it at that, right there, on the table. Enjoy my little parchments from the archive.
Félix Correspondence Map 1987 (I), from the AMAYA PROJECT 1987-2026 © Armando Rascon 1987-2026
Félix Correspondence Map 1987 (II), from the AMAYA PROJECT 1987-2026 © Armando Rascon 1987-2026
Félix Correspondence Map 1987 (III), from the AMAYA PROJECT 2006-2026 © Armando Rascon 1987-2026