It was really an architectural encounter:

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We can remember that in our discussions the title arose at the point in which one notices that in the absence of the sun, the Mexico City night takes on a chilly breeze and that even though the day was warm, there wasn't quite enough sun for the temperature to not plummet. I'm a little bit cool, and the droning noises from the Roma district have subsided.

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It's about Space. 

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There are so many dynamic spaces in this gallery, and the artists we are working with all have a unique way of re-purposing space. They all excel in re-directing and playing upon setting. In no way do any of the artists  compose form for the sake of formal investigation only. And they surely are not working only with their eyes. They are disrupting cartesian space with the intention of injecting it with politicality, and sometimes with illusions of nature,  and dream states, and other times with inconvenient things like: reality parasitically feeding on remnants of art history; or architectural space being altered by artistic narratives that charge and change the space around the works of art.

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Or, the exhibition must be about now. 

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The ever-present weightiness of now, as we are still sitting here on the bridge and it is getting late. Or the now, which implies the contemporary, and the way in which art is constantly re-defining what we are as a culture. So then, it must be about then, the place that we will get to when the course of these works has been consumed and when we have feasted on the past. And of course we laugh a bit because we realize that we are in between all of those things. And we are happy because we know that the artists we have selected have too ruminated on these ideas and have made their implicit thoughts explicit. 

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Or, fearfully it is a passage.

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On an eschatological level the space between now and then suggests a rite of passage, or a passage to a final destiny. We reflect on the concept of a Mexico with stories existing before stories. And we think about the visual heterodoxy we are presenting. If one were to reach to Catholic ritual, or Mayan prophecy, the space between now and then can represent an apocalyptic eschatology. And if we keep our propositional word as curators, maybe this can explain why some of the works in the exhibition exist as a reckoning.

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If there is a comeuppance at play we can see in this architectural encounter of the gallery space an injection of politicality and current global events acting in a portentous manner.

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