In the Curator’s Words is an occasional series that takes a critical look at current exhibitions through the eyes of curators.
Some exhibitions start with personal connections, and in the case of the San Diego Museum of Art’s Alfredo Castañeda exhibition, it was a visit by the artist’s family that led to the current exhibition “Alfredo Castañeda: Beyond Surrealism,” a monumental assemblage of the artist’s work that’s making its debut at the Balboa Park museum.
Michael Brown, the museum’s senior curator of European art, took some time to talk about the artist — who died in 2010 at the age of 72 — and the exhibit, which is on display through March 1.
Q: Alfredo Castañeda has never had a museum retrospective in the United States, which is surprising. How did SDMA land this exhibition?
A: Castañeda has been a pivotal figure in modern Latin American art in the United States since his first solo exhibitions in New York in the 1980s, organized by renowned gallerist Mary-Anne Martin. However, he’s never had a true retrospective at an American museum until now. We are fortunate to be hosting the first retrospective of his work at a U.S. art museum thanks in large part to the Castañeda family, who visited the San Diego Museum of Art nearly three years ago. From that first touchpoint, the project gained further momentum thanks to the support of our board of trustees.
We began by locating and negotiating loans of Castañeda’s best works with the generous support of the artist’s widow, Hortensia Castañeda, and his daughter, Ibiza, who oversee the artist’s estate in Madrid. As enthusiasm for the project grew, collectors in both Southern California and Mexico pledged their support with loans of paintings.
Instrumental in the success of the exhibition was the engagement of the special guest curator of the show, Mexico City-based critic Raymundo Silva. Working with the SDMA team, Raymundo helped secure impressive loans and interpreted the artist’s work in the gallery labels and in a powerful essay in the beautiful exhibition catalog (published by SDMA and Ediciones El Viso, Madrid).
“Memento for an Exile” (“Recordatorio para un exilado”), a 1989 painting by Alfredo Castañeda is part of an exhibition at the San Diego Museum of Art titled “Alfredo Castañeda: Beyond Surrealism.” (Germán Romero Martínez / Alex Michajlowski)
Q: Why is Castañeda an important artist in the Surrealist movement?
A: Castañeda was a truly international artist, whose experience amidst the modernist movements in both Mexico and Spain inform his artistic practice. As familiar with Salvador Dalí as he was with Frida Kahlo or Diego Rivera, Castañeda built his own practice independent of any one movement. He was particularly close friends with the now-famous British-Mexican artist Leonora Carrington, and their families developed a tradition of sharing meals and conversation, which we explore in “Sobremesa,” an experience that extends the exhibition and invites community participation in a nearby upstairs gallery.
Q: If a viewer has never seen a Castañeda work before, what should he/she look for? Are there techniques or characteristics that say, “Yes, this is by Alfredo Castañeda.”
A: Castañeda developed alter-egos in his paintings, many of which verge on self-portraiture. Once you recognize him, it’s unmistakable. Especially in works such as “Growing Up,” the visitor can see the artist’s idea of himself age. Castañeda was an avid reader, so visitors will find his art is rich with references to poetry, the Bible and folklore. Many of his works also reference the history of European painting, from Leonardo to Velázquez and Zurbarán. One of the inspiring things about hosting the show in San Diego is that visitors have a chance to see some of our great collection of early Spanish and Italian paintings in close proximity to the galleries devoted to Castañeda.
Here Is the Center” (“Aquí es el Centro”), a 1984 work by Alfredo Castañeda, is part of a current exhibit at the San Diego Museum of Art titled “Alfredo Castañeda: Beyond Surrealism.” (Philipp Scholz Rittermann)
Q: What is your favorite piece in this exhibition, and why?
A: I have several favorites. One is “Here is the Center” (“Aquí es el centro”), a visual enigma that suggests we are constantly missing the point by spending too much time and energy on things that really don’t matter in the grand scheme. It’s brilliant and full of humility — the artist is just as guilty as we are! Another favorite is “Nuestro sacrificio,” the retelling of the gripping story of Abraham and Isaac, from the Book of Genesis, which Castañeda reimagines as his own inner struggle. This is a story that helped define the Renaissance. How could a father sacrifice his child, or worse, what kind of God would expect him to do so? Castañeda shows the viewer a ghostly hand coming down from the heavens (look closely or you might miss it), which puts a stop to the sacrifice and reassuringly leads our eyes downward to the lamb at the base of the painting. As with the best Renaissance or Baroque paintings, the viewer is emotionally involved, invited in to contemplate the universal idea of parental love and sacrifice. In the same way, the entire gallery space invites us into the thoughtful and tranquil world of Alfredo Castañeda.
“The Absence” (“La Ausencia”), a 1977 oil on canvas by Alfredo Castañeda is part of a current exhibit at the San Diego Museum of Art titled “Alfredo Castañeda: Beyond Surrealism.” (Gary Payne)
“Alfredo Castañeda: Beyond Surrealism”
When: Through March 1, 2026
Where: San Diego Museum of Art, 1450 El Prado, San Diego
Admission: $20, general admission, $15, for seniors 65 and over; free for youth under 17
Phone: 619-232-7931
Online: sdmart.org