PREVIEW
Adolfo Riestra
Cuerpo de Obra
CURATED BY MAURICIO MARCIN
JULY 11, 2024
  —  
AUGUST 31, 2024
WORKS INDEX
INQUIRE

And how will the artist capture and preserve the fleeting moment?

Adolfo Riestra. Original quote translated into English

This modest effort to exhibit his Body of Work is declared partial. No exhaustive or definitive review was attempted. These signs are offered separately, like a game that allows for the reassembly of another body, the reinvention of another form and another and another. This exhibition is a remembrance.

Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin
Adolfo Riestra
Suicidas de Jim Jones, 1981
Collage, gouache, and ink on paper
32 x 24 cm
view more
Adolfo Riestra
Suicidas de Jim Jones, 1981
Collage, gouache, and ink on paper
32 x 24 cm
view more
Adolfo Riestra
Suicidas de Jim Jones, 1981
Collage, gouache, and ink on paper
32 x 24 cm
view more
Adolfo Riestra
Mujer, 1977
Ink on paper
27.5 x 21 cm
VIEW MORE
Adolfo Riestra
Mujer, 1977
Wax on paper
30.5 x 23 cm
VIEW MORE
Adolfo Riestra
Bailarina, ca. 1970
Acrylic and grease pencil on paper
31.5 x 23 cm
VIEW MORE

His drawings teem with outlawed bodies; they form a revolutionary somateca*—both for his time, the 80s, and ours—by demanding a disidentification. These beings refuse the construction of a stable ego, resist identity labels, and flee fixation through contradiction: they are immobile inks chasing the lightness and mutability of the wind.  

This somateca is filled with monstrous and beautiful inventions: arms stretching to deformity, twisted torsos, swollen thighs, enlarged genitals, steroidal breasts, falling, delicate buttocks, hermaphroditic creatures. Everything in his drawings is flawed, abject desire, capricious forms. His drawings don’t oppose beauty; they implant it with new standards: his song is that of a bird few understand. 

Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin

* The term "somateca," coined by Paul B. Preciado, describes how bodies act as living archives shaped by discourses, practices, and power technologies, transforming identity and subjectivity.

Adolfo Riestra
Calavera en bacinica, 1970
Pastel on paper
45.5 x 61 cm
VIEW MORE
Adolfo Riestra
Hombre, 1977
Ink on paper
27.5 x 21 cm
View more
Adolfo Riestra
Sin título, 1980
Ink on paper
25 x 16.5 cm
View more
Adolfo shares—alongside many others—the recognition of this political and aesthetic operation. His body of work is a cry in the middle of a crater, a crater that becomes a beach, a pleasure that becomes death, a spiral.

Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin

Adolfo Riestra
La muerte, ca. 1980
Ink, pencil, and watercolor on paper
15 1/2 x 12 3/8 in
VIEW MORE
Adolfo Riestra
Niño gritando, 1984
Acrylic on canvas
70 7/8 x 47 1/4 x 1 1/8 in
VIEW MORE
Adolfo Riestra
Bañista, 1989
Acrylic on Canvas
63 x 55 1/8 in
VIEW MORE
Whenever Adolfo mastered a pictorial style, he abandoned it, rejecting its mastery, as the controllable and predictable ceased to offer him a spectrum of possibilities, as if his desire was satisfied.

Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin

Adolfo Riestra
Celuta y el caimán, 1989
Acrylic, charcoal, and oil on canvas
551/8 x 66 7/8 x 1 1/8 in
VIEW MORE
Adolfo Riestra
Mujer en amarillo, 1984
Acrylic and oil on canvas
39 3/8 x 31 1/2 x 1 1/8 in
VIEW MORE
Adolfo Riestra
Los aplicadores, 1988
Oil on canvas
70 7/8 x 55 1/8 x 1 1/8 in
VIEW MORE
Adolfo Riestra
Sin título (Pies con zapatos), s.f.
Fired clay
11 x 5 3/4 x 9 5/8 in
VIEW MORE
Adolfo Riestra
Sin título (Brazos azules), s.f.
Fired clay
19 1/8 x 4 x 2 3/4 in each
VIEW MORE
Adolfo Riestra
Pies blancos separados con calentadores, s.f.
Fired clay
17.5 x 19 x 13 cm
VIEW MORE

Working with clay—a tradition deeply rooted in both western and eastern Mexico—has always sparked my curiosity and driven me to explore the essence of fantastical figures emerging from the moist, moldable earth. Like a hollow gourd, the clay is kneaded and shaped, always leaving breathing spaces, surrounded by a delicate, pastry-thin surface. At the same time, its construction is a form of architecture, requiring walls and vaults, tunnels, and spacious halls, where windows, chimneys, and porticoes connect with the outside world.

Adolfo Riestra. Original quote translated into English.

Adolfo Riestra
Bañista, 1989
Bronze
32 1/2 x 13 3/8 x 18 1/8 in
Adolfo Riestra
Torso esgrafiado con niños, 1989
Bronze
33 5/8 x 21 5/8 x 12 in
Adolfo was an intensely passionate person. Everything in his world held deep meaning, allowing no room for half-measures or lukewarm feelings. He lived, loved, cooked, ate, drew, painted, and sculpted with this fervor—defying all odds, whether we liked it or understood it. His work ethic was the same: intense and relentless.

Adolfo Riestra, Galería OMR, Mexico City, 1994.

Adolfo Riestra
Sin título (Brazo) , s.f.
Fired clay
9 1/4 x 3 3/4 x 14 3/8 in
VIEW MORE
Adolfo Riestra
Sin título (Manos con granada), s.f.
Fired clay
5 7/8 x 11 3/4 x 16 3/8 in
VIEW MORE
Adolfo Riestra
Sin título (Piernas), s.f.
Fired clay
17 3/8 x 4 7/8 x 8 5/8 in each
VIEW MORE

With clay, you can conceal a ruby... The art of working with clay—a long-standing tradition in both western and eastern Mexico—has always piqued my curiosity, driving my desire to uncover the essence of fantastical figures emerging from the moist, moldable earth. Hollow like a gourd, clay is kneaded and shaped, always leaving breathing spaces, surrounded by a surface as thin as pastry. This process resembles architecture, requiring walls and vaults, tunnels and hallways, spacious rooms with windows, chimneys, and porticoes connecting to the outside.

Clay sculpture is an exploration of inner forms, an adventure through infinite expanses, a journey to depths where imagination freely evolves. Unknown individuals' shapes, volumes, and gestures emerge—faces with long, wide noses, hands with slender fingers, and sometimes mysterious, coarse hands forming characters with unique personalities.

—Living inside a figure is more fascinating than seeing it from the outside.

Adolfo Riestra, “Con barro se puede tapar un rubí…”. Original quote translated into English.

Adolfo Riestra
Jarra antropomorfa, 1989
Bronze
22 1/2 x 19 7/8 x 16 1/2 in
Adolfo Riestra
El vampiro, 1980
Ink on paper
37 x 27 cm
VIEW MORE
Adolfo Riestra
(Sangre), 1980
Ink and watercolour on paper
37 x 27 cm
VIEW MORE

"Since I can remember, my brother was always drawing or painting with whatever was available: he experimented humorously on all kinds of surfaces, creating incredible things like collages or even mixing paint with beans. His works resulted in images that I thought were masterpieces at the time."

Jaime Riestra, Publication "OMR", 2019. Ed. Turner Libros.

Adolfo Riestra
Muscle woman, 1981
Collage, gouache y tinta sobre papel
24 x 16.5 cm
view more
Adolfo Riestra
Contorsionista, 1981
Collage on paper
28.5 x 19 cm
view more
Adolfo Riestra
Cantante de opera, 1988
Acrylic on canvas
66 7/8 x 15 3/4 x 1 in
VIEW MORE
Adolfo Riestra
La niña del traje rojo, 1989
Ink, lacquer, and watercolor on paper
13 3/4 x 9 7/8 in
VIEW MORE
Adolfo Riestra
Jugador de basketball, 1985
Acrylic, charcoal, and ink on paper
27 1/2 x 19 7/8 in
VIEW MORE
Adolfo Riestra
Muchacho en Zihuatanejo, 1989
Watercolor on paper
14 5/8 x 10 5/8 in
VIEW MORE
Adolfo Riestra
Lechita pa' los gatos, ca. 1984
Acrylic on canvas
57 1/8 x 45 1/8 x 1 3/8 in
VIEW MORE
Adolfo Riestra
Sin título, 1988
Oil on canvas
70.5 x 60 x 3.2 cm
VIEW MORE
Adolfo had to invent in each drawing what he wished existed in reality; through a symbolic-demiurgic operation, he made each painting lavish consistency on the world and the fact is that to make art is to bring forth the space one wishes to inhabit.

Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin

Know more on Adolfo Riestra Cuerpo de Obra

INQUIRE
Gabriel Rico - Monos del espacio
BOOTH   
 - 
 - 

Monos del Espacio [Space Monkeys] is a synthesis of 20 years of work and research on the  relationship between nature and culture. It’s a story built from hundreds of other stories about the  search for meaning in a complex world. Tales of interconnection between humans and their  environment, narrated through endless clues that reveal every detail of the characters inhabiting it.

At the intersection of art and science, Monos del Espacio presents a scientific and artistic process  where observation, experimentation, and reflection converge to unveil new perspectives on our  reality. On this cosmic journey, Rico reminds us that truth is relative and reality is subjective. We  are part of the universe, yet also observers of ourselves, containing an equally infinite universe  within.

Ultimately, Monos del Espacio is a reflection on the human condition, inviting us to immerse  ourselves in life’s complexity, ceaselessly seeking meaning in our surroundings.  

Welcome to question, explore, and reflect on this assembly of meanings.

Monos del Espacio [Space Monkeys] is a synthesis of 20 years of work and research on the  relationship between nature and culture. It’s a story built from hundreds of other stories about the  search for meaning in a complex world. Tales of interconnection between humans and their  environment, narrated through endless clues that reveal every detail of the characters inhabiting it.

At the intersection of art and science, Monos del Espacio presents a scientific and artistic process  where observation, experimentation, and reflection converge to unveil new perspectives on our  reality. On this cosmic journey, Rico reminds us that truth is relative and reality is subjective. We  are part of the universe, yet also observers of ourselves, containing an equally infinite universe  within.

Ultimately, Monos del Espacio is a reflection on the human condition, inviting us to immerse  ourselves in life’s complexity, ceaselessly seeking meaning in our surroundings.  

Welcome to question, explore, and reflect on this assembly of meanings.

Agency vs Structure, 2024
Neon
45 1/4 x 47 1/4 x 1 5/8 in
Neón
115 x 120 x 4 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Bring the justice into an oblique line (Damascus), 2024
Cotton yarn on wooden board coated with beeswax
11 3/4 x 78 3/4 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
30 x 200 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Fish begin to stink by the head (Dog face), 2024
Pvc plastic, metal, neon, hand-painted ceramic
112 1/4 x 71 5/8 x 71 5/8 in
Plastico Pvc, metal, neón, cerámica pintada a mano
285 x 182 x 182 cm
INQUIRE

Gabriel Rico’s series Fish begin to stink bythe head continues his exploration of howour surroundings shape not only health,
but also human psychology, as well as oureternal quest for happiness. By assemblingvarious objects chosen for their symbolicpower into anthropomorphic agglomerates,Rico creates sculptures that evoke a strangeempathy towards the non-living.

For Rico, materials function as analogies for oneof the main themes in his work: the fragmentationof the contemporary human being. The syntax ofthis sculpture reflects on just how humanoid aprecise combination of materials and objects canbe, and on the empathy, awakened in the viewerwhen these materials and objects are arranged ina certain way.

No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Choice vs Order (FOOT), 2024
Neon
29 1/8 x 45 1/4 x 2 3/8 in
Neón
74 x 115 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
I take comfort in your ignorance (the greatest obstacle of all) Salchicha ballet, 2023
Cotton thread on wooden board covered with beeswax
59 x 66 7/8 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
150 x 170 x 6 cm
INQUIRE

Gabriel Rico’s work featuring a skeleton on
a sausage reduces the complexity of thehuman condition to mere flesh. Enjoying theride with raised arms and dangling legs, theskeleton conveys a carefree attitude towardsthe pressing discourses and crises thatdefine our contemporary reality.

For some time, Gabriel Rico was looking for atechnique that would allow him to translate theaesthetic of his sculptures into a two dimensionalformat. Seeking a way to harness the visualpower and the essence of his pieces, he chose atechnique known as nierika: The yarn paintingswere produced by Wixárika artisans in the village of San Andrés Cohamitata, located in thehighlands of northern Jalisco in Mexico.

No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
The second cause is meant to be an explanation of the first (NAMED), 2023
Cotton yarn on wooden board coated with beeswax
39 3/8 x 222 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
100 x 564 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Arquitectura from the series- Hipótesis del equilibrio local-, 2014
Rod, brick, sponge, hemp thread and tape
35 3/8 x 6 1/4 x 35 3/8 in
Caña, ladrillo, esponja, hilo de cáñamo y cinta.
90 x 16 x 90 cm
INQUIRE

The piece titled "Architecture", is composed from 2 elements joined in a visual analogy about the relationship between men and architecture and the assumption that without one, the meaning of existence of the other is questionable. - To evidence the importance of Matter to define space- A chop tied with hemp wire to a brick to represent the emotional part of inhabiting a space and the figurative sense of the bond that is created in doing so. A branch suspended from the wall gives the guideline for its location and of the brick, to locate them in space and create a symbiosis such as it happens when projecting a measure on the space to generate a scale, a guideline for the dimension.

No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Choice vs Order (HAND), 2024
Neon
31 1/2 x 25 5/8 x 2 3/8 in
Neón
80 x 65 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Bring the justice into an oblique line (Chrysolophus amherstiae), 2024
Cotton yarn on wooden board coated with beeswax
17 3/8 x 78 3/4 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
44 x 200 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Choice vs Order (ELBOW), 2024
Neon
36 5/8 x 36 5/8 x 2 3/8 in
Neón
93 x 93 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
El horóscopo de Jesús (Melt marble cardón I), 2021
Cactus: Extremoz pink marble; polyhedrons: Arabescato marble Portugal origin & sand.
82 1/4 x 31 1/8 x 16 1/8 in Weight: 1, 250 kg. approx.
Cactus: mármol rosa Extremoz; poliedros de mármol Arabescato de origen Portugal & arena
209 x 79 x 40.9 cm Peso: 1, 250 kg. approx.
INQUIRE

The holographic principle is a principle of superstring theories about quantum gravity theories proposed in 1993 by Gerard ‘t Hooft, and improved and promoted by Leonard Susskind in 1995. It postulates that all the information contained in a certain volume of a particular space can be known from the encodable information on the boundary of that region. An important consequence is that the maximum amount of information that can be contained in a given region of space surrounded by a differentiable surface is limited by the total area of that surface. It is this principle that I use as a starting point in the development of the pieces that make up this series, in which I am interested in the assumption that there can be contamination filtered into reality, from the time it takes for a hologram to materialize into a real object, i.e. in principle a coyote or deer can be composed materially by the elements traditionally found in them, such as hair, teeth, horns, tail, etc.. But as they materialize they absorb some elements that coexist with them, which triggers a mutation on the condition of information in the current world, in this specific case what is absorbed are symbols with certain values used in some exact sciences, such as mathematics, physics or trigonometry.

No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Sección aurea (Square), 2024
Pheasant taxidermy, branches, gold leaf
80 3/4 x 33 1/2 x 98 3/8 in
Taxidermia de faisán, ramas, hoja de oro
205 x 85 x 250 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Choice vs Order (KNEE), 2024
Neon
30 1/4 x 39 3/8 x 2 3/8 in
Neón
77 x 100 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Choice vs Order (HEAD), 2024
Neon
31 1/2 x 33 1/2 x 2 3/8 in
Neón
80 x 85 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Fish begin to stink by the head (Pink coral),
Pvc plastic, metal, leafs, popotillo, stones, bones, corals, starfish & alumina
70 7/8 x 35 3/8 x 35 3/8 in
Plastico Pvc, metal, hojas, popotillo, piedras, huesos, corales, estrella de mar y alumina
180 x 90 x 90 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Bring the justice into an oblique line (Polyplectron malacense), 2024
Cotton yarn on wooden board coated with beeswax
17 3/8 x 78 3/4 x 2 3/8 in
Hilo de algodón sobre tabla de madera recubierta de cera de abeja
44 x 200 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Choice vs Order (ARM), 2024
Neon
31 1/2 x 49 1/4 x 2 3/8 in
Neón
80 x 125 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
El horóscopo de Jesús (Melt marble coyote II), 2022
Extremoz pink marble Portugal origin & sand
35 1/8 x 37 3/8 x 18 1/8 in Weight: 350 kg aprox.
Mármol rosa Extremoz, origen Protugal & arena
89 x 95 x 46 cm Peso: 350 kg aprox.
INQUIRE

"The holographic principle is a principle of superstring theories about quantum gravity theories proposed in 1993 by Gerard ‘t Hooft, and improved and promoted by Leonard Susskind in 1995. It postulates that all the information contained in a certain volume of a particular space can be known from the encodable information on the boundary of that region. An important consequence is that the maximum amount of information that can be contained in a given region of space surrounded by a differentiable surface is limited by the total area of that surface. It is this principle that I use as a starting point in the development of the pieces that make up this series, in which I am interested in the assumption that there can be contamination filtered into reality, from the time it takes for a hologram to materialize into a real object, i.e. in principle a coyote or deer can be composed materially by the elements traditionally found in them, such as hair, teeth, horns, tail, etc.. But as they materialize they absorb some elements that coexist with them, which triggers a mutation on the condition of information in the current world, in this specific case what is absorbed are symbols with certain values used in some exact sciences, such as mathematics, physics or trigonometry." Gabriel Rico

No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Define a goal (II), 2024
Knife, acrylic, metal
1 5/8 x 1 1/8 x 9 7/8 in
Cuchillo, acrílico, metal
4 x 3 x 25 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
f the Sun had been reduced in size because of the space between I and Us, much more would it have lost its color (neon sun), 2024
Neon
31 1/2 x 31 1/2 x 2 3/8 in
Neón
80 x 80 x 6 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Fish begin to stink by the head (Dog face), 2024
Hand-painted ceramic, blanches, gold leaf & alumina
Cerámica pintada a mano, ramas, hoja de oro y alumina
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
Vis Viva (first variation), 2024
Clay, gravel, gold leaf & branches
Variable dimensions
Barro, grava, hoja oro y ramas
Dimensiones variables
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
I have anticipated you, MULTIRACE, (The object, constructor of the social, expelled from the social world, attributes to a transcendent world what is, however, not divine), 2024
Cedar wood carving with steel core, polychrome oil painting & sand
height 88 5/8 in
Talla en madera de cedro con alma de acero, policromado en óleo y arena
altura 225 cm
INQUIRE

Gabriel Rico’s visual lexicon is comprised ofimagery of everyday objects taken from ourcollective memory. Recurrent in his work areimages of natural and man-made objects likecacti, taxidermy, knives, sporting balls, goldcoins, feathers and other natural elements,among others.

Through the extroversion of elements related toeveryday life, Rico proposes a mental game inwhich the viewer projects their desires, interestsand ideals on the cactus, therefore forming a newentity that is neither plant nor animal, subject tothe meanings that the objects embedded in thecactus have today.

No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.
Gabriel Rico
XVI from the series -Excessive butter-, 2024
White-tailed deer taxidermy & different balls
41 3/8 x 19 3/4 x 25 5/8 in
Taxidermia de venado cola blanca y diferentes pelotas
105 x 50 x 65 cm
INQUIRE
No items found.
Inquire
Thank you!

Your inquire has been received and we'll be in touch with you shortly

👻 Something went wrong while submitting the form.
Please try again or, if the problem persists, contact us.