Unsung Heroes of the Economy
Invisible Hands at 601Artspace
“The Invisible Hand,” a widely-known economics term describing market self-regulation, symbolizes a top-down, godly perspective for me. When I think of this term, I picture the allure of wealth, the aggressive and competitive nature of humanity, and the vast economy that places a price everything. Yet, I never linked it to the faceless heroes — cleaners, gardeners, and migrants — who uphold such economies.
Installation shot, Invisible Hands curated by Emireth Herrera Valdés at 601 Artspace. All images courtesy of 601Artspace / Go Sugimoto
Invisible Hands at 601Artspace, curated by Emireth Herrera Valdés, spotlights immigrant laborers who chased dreams of a better life in affluent nations, trading their relentless physical labor for higher wages yet forever navigating the treacherous divides born out of economic progression.
The exhibited works range from cleaning tools enshrouded in clay, a cactus crafted from border officers’ uniforms, to a tapestry showcasing a Filipino labor protest in NYC against “24-hour workdays” — these works tell real human stories rather than serving as abstract criticism.
Jay Lynn Gomez & Patrick Martinez, Against the Wall, 2019. Acrylic paint, latex house paint, spray paint, cardboard, ladder, work gloves and stucco on panel 90 x 80 x 24 inches. Image courtesy of Marcos Fernandez.
Central to the exhibition is Against the Wall by Patrick Martinez and Jay Lynn Gomez. Both artists, bound by the shared experience of having immigrant parents in domestic labor, present a piece that harmoniously merges a canvas depicting blossoms with a cardboard silhouette of a horticulturist. The horticulturist stands proudly, flanked by vital tools of his trade: a ladder, gloves, and a strikingly realistic hedge trimmer. However, there are visible signs of wear and tear: a notable bandage wrapped around his foot hints at a recent injury.
Dulce Pinzón, Bernabé Méndez from the State of Guerrero works as a professional window cleaner in New York. He sends 500 dollars a month, 2004-2005, Photography, 30 x 40 inches. Image courtesy of 601Artspace / Go Sugimoto.
One of the most uniquely perspective-driven pieces in the exhibition is the photography series titled Real Stories of Superheroes. Created in the aftermath of the 9/11 terrorist attacks, this work focuses on a group of individuals who were largely overlooked by the media.
While the whole world focused on the tragedy upon American society and its citizens, the undocumented immigrants, without any legal status, endured the greatest uncertainty brought about by that event. Questions loomed large for them: Did they have a future in this country they had struggled so much to reach? Would economic issues result in job losses?
These overwhelming dilemmas are eventually captured by Dulce Pinzón in a uniquely theatrical and humorous manner. For instance, a window cleaner named Bernabé Méndez from the State of Guerrero is depicted wearing a Spider-Man costume. It is said Bernabé sent 500 dollars monthly to his hometown between 2004-2005.
Zac Hacmon. Sentry, 2023. Wood, marble, plastic, aluminum, speaker audio (10:15 loop), amplifier, grout, steel, fire extinguisher, 90 x 48 x 16 inches. Hernando Restrepo, In the Realm of Thoughts, 2023. Oil on canvas, 29.5 x 20 inches. Image courtesy of 601Artspace / Go Sugimoto.
Yet, the installation that truly captivated my soul was Sentry by Zac Hacmon. He ingeniously transformed a standard lobby pillar into a seamless L-shaped column, anchored firmly to the gallery wall. An air vent in the column subtly invites visitors to listen, revealing the heartfelt immigrant tale of Hernando Restrepo, a doorman working at MoMA Tower.
Restrepo’s early years, marked by his journey from Columbia to the US and a life of backbreaking labor, contrast starkly with his undying passion for art. His creations largely remained in obscurity until now. Right next to the column is Restrepo’s In the Realm of Thoughts — a tableau of New York’s subway where the windows frame glimpses of his native land.
Originally crafted in 2021, Hacmon’s installation pays tribute to doormen who became unsung frontline heroes during the COVID-19 outbreak. At that time, Hacmon’s temporary stay at the MoMA Tower, facilitated by a friend’s help, led to his fortuitous meeting with Restrepo. As Hacmon recounted, his habit of engaging with doormen stemmed from his own past as a security guard at the US embassy in Israel. The two men quickly formed a bond over their shared fervor for art.
The fire extinguisher affixed to the column highlights Hacmon’s critique of the “redundancy of security.”
“My studio is in an office building where it has those fire extinguishers: it’s a code they have to follow for safety,” he said.
To Hacmon, the role of a doorman also embodies the concept of security. He once felt that the doorman-manned lobbies in Midtown stood in stark contrast to the homeless on the streets. But his art brings forward the human stories behind such symbols.
“Restrepo’s voice came from the air system,” Hacmon said. “For me, it’s a way to make people listen to the other.”
Jamie Martinez, Me-Ya-AJ, My Mother’s Labor, 2023. Ready-made iron covered in non-fired clay with Mayan glyphs, ready-made dustpan and brush covered with Mayan glyphs. Iron: 10 x 6 x 5 inches; dustpan: 4 x 9 x 13 inches; brush: 4.5 11 x 2.5 inches. Image courtesy of 601Artspace / Go Sugimoto.
Invisible Hands
Curated by Emireth Herrera Valdés
July 22 to September 2, 2023
601Artspace
88 Eldridge St. New York, NY 10002
Featuring work by Abang-guard (Jevijoe Vitug+Maureen Catbagan), Margarita Cabrera, Brendan Fernandes, Jay Lynn Gomez, Zac Hacmon, Jamie Martinez, Patrick Martinez, Dulce Pinzón, Hernando Restrepo, Luis Alvaro Sahagun, and Betty Yu.
