Using instruments made from the materials indigenous to Guatemala, Joaquín Orellana "articulates a radically expansive and humane approach to avant-garde composition," writes Johanna Fateman. 

A week of music by U.S.-based artists from Latin America, curated by Alex Rodas-Neira. 

A meditation on time for guitar trio, baroque and baroque-inspired pieces by Canadian musicians, and Francisco Mignone's Afro-Brazilian piano piece "Congada."

The Spine of Music showcases Joaquín Orellana's “sculptural, Surrealist, and darkly sensuous” instruments, per a New York Times review.

"'The Spine of Music' offers a different, vaguely utopian model of peaceful no-rules anarchy, participation and silence," writes Martha Schwendener in The New York Times.

Los instrumentos musicales de Joaquín Orellana parecen de otro planeta, pero salieron de la extraordinaria imaginación del artista guatemalteco, escribe Helen Cook en EFE.

The exhibition Joaquín Orellana: The Spine of Music is on view at our gallery until April 24.