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Like many artists of Mexico’s Oaxacan School, Santiago Avendaño has explored the metaphorical and aesthetic possibilities of the animal form. In Untitled, a plethora of dogs, birds, rabbits, goats, and other, more visually ambiguous species are…

The hybrid possibilities of man-as-animal and man-becoming-animal emerged out of historical Expressionism and Surrealism, with roots drawn partly from the horrors of the First World War. The echoes and permutations of these “monsters” appear in works…

The nightmarish qualities of Grassmann's Untitled draw upon rich, visual sources from nineteenth-century Symbolism to Surrealism. Prints by artists such as Arnold Böcklin (1827-1901) and Alfred Kubin (1877-1959), for example, fused Romantic concerns…