A man drags her by the arm, doubling himself over to escape the helicopter searchlights scissoring the landscape.
Los Angeles is the biggest Latin American city outside the region and it is permeated by the language, culture, food and music of the south.
And the exhibition at the Los Angeles Municipal Art Gallery, “Condemned to be Modern”, asks uncomfortable questions about the home-grown taste for brutalist architecture in Latin America and what happened when the promised modern future turned into dictatorship and economic stagnation.
A highly academic show, as befits the Hammer’s position as part of University of California, Los Angeles, “Radical Women” is no walk in the park.
A small show at the Craft & Folk Art Museum shows the Mexican-American border not as a wall but as a place of imagination and possibility, and the artists who inhabit it as makers of “cross-border art”: artists like Raquel Bessudo, who makes polyester jewellery based on the route followed by the deadly immigrant train, La Bestia, or Ana Serrano with her village “Cartonlandia” (pictured) and Ronald Rael, who playfully reimagines the border wall as a cycling track, a xylophone or a place to hang a seesaw.