Colombian artist Doris Salcedo had been practicing the art of repair for more than thirty years before the MCA’s Madeleine Grynsztejn and Julie Rodrigues Widholm took the curatorial lead in crafting the haunting retrospective that gathered works from 1990 to the very present. Large-scale installations of coffin-sized tables, cement-filled wardrobes and abandoned shoes sewn into the walls conveyed the disturbing trauma of decades of political violence aggressively silenced. Salcedo’s show was a powerful reminder that political art can manifest in formal beauty.
