Chávez MacGregor also mentions that it is important to place Okón’s work in a context of market deregulation, where neoliberal policies and the narrative of globalization allowed artists of his generation to no longer be governed by the national or by an old leftist tradition (co-opted in Mexico by the Institutional Revolutionary Party).

This is relevant because it sets the parameters to understand more clearly the political nature of his production, which deliberately moves away from a militant agenda, to concentrate on fissuring, breaking and unsettling the rules of the status quo.

In more recent works, the intervention lies in puncturing these reflective surfaces in order to connect different processes, draw constellations of political and affective territories, and show how the most intimate aspect of our being is part of a complex domination machine.”[7] “My own involvement and that of the audience are fundamental.

One might say that the artist has organized his engagement with the social and political economies of conflict as kind of operating system for the edgy compound of irony, assumption, voyeurism and critique that underwrites his working method.”[8] According to Andrew Berardini, Okón’s work, “rather than making us feel good about his social collaboration, the artist and his collaborators turns around and delivers our preconceived notions back to us as a very dark kind of comedy, where the jokes and pantomimes made by the community show them playing with their own negative stereotypes”.

Writer Guillermo Fadanelli efficiently summarizes its legacy: “La Panadería, as a physical nucleus that has expanded in all directions, had an uncommon freedom as foundation when it came to proposing exhibitions and carrying them out.”[9] In 2009, Yoshua Okón convened a group of 19 artists to found a unique platform.

Soma is a non-profit association that seeks to provoke reflection and discussion, plural and horizontal, of the different events that define art and culture on a national and international scale.

[10] Motivated by the same interests that in the 90’s drove the creation of independent spaces such as La Panadería and Temístocles 44, Soma’s mission is to create the conditions for creative collaboration among peers, horizontal learning and the critical exchange of ideas and knowledge among different artistic and cultural agents.

To provide tools to ensure that, regardless of social origin, economic context, gender, discipline or age, those who are dedicated to culture and art can articulate and debate their positions, discourses and actions within the artistic field.

[11] Bocanegra, 2007 Yoshua Okón collaborated with a group of the Third Reich Mexican amateurs, an odd amalgam of World War II history buffs, insignia fetishists, and weekend hobbyists.

All aspects of a corporate image are developed in order to achieve a detailed construction of a fake maquiladora that produces canned laughter for Hollywood comedies.

“In his work, he assimilates the idea of the maquiladora into an international production of diversified laughter, but ultimately what he does is suggest that this export, this trade, has to do with canning a kind of welfare element.

The artist points out that attention must be paid to the subject of businessmen who accumulate such incredibly disproportionate fortunes, as lack of quality of life is the source of problems such as violence, organized crime, and mass migration.

According to the newspaper El Economista, Carlos Slim has more money than the rest of all Mexicans combined, and these great riches have as a background an enormous exploitation of both humans and the environment.