Made in Mexico drew together a disparate group of artists under the umbrella of a national framework at a moment when larger, socio-political, and economic powers are breaking down borders between countries and cultures. While the exhibition drew attention to the “making” of art, it was not only concerned with issues pertaining to local materials but also referred to aesthetic labor—mental and physical—wrought under the conditions found within a particular economy. Made in Mexico drew attention to artistic production, but in clear relation to how those ideas informed both local and international artists. In thinking of Mexico in relation to globalism, or of a first world artist choosing to work in a third world context, it became clear that the distinctions between cultural territories are becoming more and more difficult to grasp. In other words, to say that a European artist working in Mexico is merely a cultural tourist is as problematic as saying that a Mexican artist adopting a conceptual vocabulary is simply being derivative of a prevailing European or North American trend.