Two works by Carlos Martiel address the invisibility of racial minorities in Latin America in relation to land and national identities. Through a wide diversity of media in which ephemeral acts are the protagonists, the exhibition addresses themes regarding the performativity of desire and self-determination, the seemingly contradictory religious cultures in Latin America, and the possible atonement for the abundance of guilt and resentment we have inherited from different processes of colonization.

This selection of Latinx artists prove that representation and reflection on the margins of gender identity and sexuality need not be condemned to secularism. The curatorial proposal questions ideas around 'latinidad' and its relationship to religion, enfleshment, and sexuality. “Indecent Theology is a theology which problematizes and undresses the mythical layers of multiple oppression in Latin America, a theology which, finding its point of departure at the crossroads of Liberation Theology and Queer Thinking, will reflect on economic and theological oppression with passion and imprudence.” The exhibition Indecencia, curated by artist Nicolás Dumit Estévez at the Leslie-Lohman Museum, provides an aesthetic context inspired by Indecent Theology, a theoretical framework coined by Argentinean Marcella Althaus-Reid (1952–2009). “Eroticism and hunger are sites of pain and liberation.” “Theology happens in the body, whether understood as spiritual or fleshy, inner or outer.”

Dr carlos rodriguez marrero