María García Sainz and Mau Galguera
Interview with María García Sainz by Koshik Zaman
Having visited Mexico City’s vibrant art capital several times in recent years, Koshik Zaman checks in with María García Sainz, co-founder of Pequod, a gallery that in just a few short years has established itself as a prominent force on the local art scene.
“Looking back, it was a bold move, but the essence of the gallery is also bold—we like to make strong statements and take risks with our projects, whether at the gallery, at art fairs, or beyond,” she says of founding the space in 2020, in the midst of a global pandemic.
Koshik Zaman: María, could you begin by tell us a little bit about your background? What were you doing prior to founding Pequod in 2020?
María García Sainz: My background is very aligned with the cultural world. My grandparents were strong believers in Mexico and lovers of its art, architecture, literature, music, handcrafts, and politics. They were also big promoters of Mexico as an idea, and I grew up seeing and listening to this—with big gestures and more quotidian ones. All this influenced me, but when it really sank in was in my early adulthood. I was about to become a lawyer but, luckily, another path started unfolding for me and the art world became a possibility. I started working with international artists, but then became very interested in my generation of Mexican artists. This was mainly because of the attention artist-run spaces attracted and the amazing networks they generated—something that has shaped the strong Mexican ecosystem we have today.
Mau (Galguera) and I started becoming very curious about all these potent artists and young curators throughout Mexico, and we did several projects since 2015, until we realized we had to open a gallery in response to what was happening and to really commit. This is a family project and a long-term one. This idyllic but totally possible idea to grow and build something important next to artists we respect, admire, and befriend.
Paloma Contreras Lomas “Sombras nada más (Espíritu TV)”, 2023 at the gallery – photo by Sergio López
K.Z: Although the project may have been in development beforehand, launching a gallery in the midst of a global pandemic was, at least on paper, a bold move. What factors informed that decision, and how did you weigh the risks at the time?
M.G.S: It was indeed a special time. At that moment we were so convinced we had to open the gallery and had already produced some shows. Nobody really knew what was going to happen; in the beginning we all thought this was just going to last a few weeks. Looking back, it was a bold move, but the essence of the gallery is also bold—we like to make strong statements and take risks with our projects at the gallery, art fairs, and in general. It was also a moment of opportunity, of rethinking the way we could share the universe of artists we love; that is when our online program Pequod Presents was born. I really believe that moving forward, resisting, or staying proactive in moments of crisis is essential to grow. We are very grateful we did that. Also, in 2020 our twins—our second and third children—were born. It is a very symbolic year for us.
K.Z: I’ve visited the gallery twice—most recently for Yolanda Ceballos’ Here It’s Always Monday, Friday and Sunday and Paloma Contreras Lomas’ Sombras nada más (Espíritu TV), both particularly resonant exhibitions. The space is discreetly situated on a side street just off Paseo de la Reforma, within walking distance of El Ángel de la Independencia. What drew you to this location? And how do you see the gallery operating within a neighbourhood that is not densely populated with other established galleries?
M.G.S: Our current space was the garage of the office of our friend Manuel’s dad. It’s in the heart of the city, but on an intimate street—always special in hectic Mexico City. We love this. It also made sense to take a garage for our first location; it gave us the freedom we needed to transform it with every exhibition—we have had grass, exposed pipelines, more walls, fewer walls… Yolanda’s show you visited had the floor covered in a layer of salt. We have managed to work the exhibitions across these funny rooms you mention, and the space has transformed through the years. We were never so worried about the architecture; our energy was more focused on building the intellectual infrastructure.
It’s funny you ask about the space now, as we are planning to move soon. Big news for us—this is actually the first time we talk about it. This need to move came organically and we found an opportunity. We take amazing memories with us and this first space will always be in our hearts. I will miss seeing every day the large-scale sculptures of the women with their children on the façade of the IMSS building, and the Ángel too.
View of the show by Cristobal Gracia at the gallery in 2021, which really transformed the space: “and a garden, the machinery of disbelief, and” – photo by Sergio López
K.Z: In just a few years, Pequod has grown significantly, with a team of eight or nine and a roster of artists exhibiting at major institutions across Mexico and internationally, including the Hammer Museum in Los Angeles. How would you describe your approach to growth? Has expansion been strategic from the outset, or more organic?
M.G.S: Thank you. These have been exciting years with highlights for our artists in amazing biennials such as the Whitney and São Paulo Biennial, major institutional shows in Mexico including Museo Jumex and abroad at Hammer Musuem in LA as you mentioned and entering important private and museum collections such as the Walker Art Center Collection in Minneapolis.
We do try to be strategic and there is a lot of ambition and work behind it. There is also a lot of care and a lot of faith in what we do. The importance of art, discussion, critical thinking, and community nowadays is vital and is our biggest motivation. Pequod is about people: our artists and collectors are navigating this ship with us (hence the name of the gallery), curators, critics, art fair directors, boards… We believe the biggest strategy is to foster strong connections among us in order to build a cultural ecosystem that cannot be shaken easily, especially in these times.
K.Z: The gallery was invited to Art Basel Miami in 2021, only about a year into its operation, and now participates regularly in leading art fairs. How do you assess the role of fairs today, both commercially and curatorially?
M.G.S: Art fairs are a point of encounter and I find them a necessary part of the chain. What they provoke in the city they take place in, the constant meeting and exchange between gallerists, collectors, and professionals of the art world—and the idea of the art market—is necessary too. They can be very interesting platforms and some have interesting curated sections, public programs, and conversation panels. And they always raise a bit of polemic, which is necessary too.
Our booth in Art Basel Miami 2025 by Renata Petersen, Nova section – photo by Mathew Carasella
K.Z: How has the gallery’s programme evolved since its founding?
M.G.S: We have always been very project-oriented, both in the program at the gallery and in what we show at art fairs. We like this all-in kind of dynamic, both from the artists and from us. We like to make artists’ big ideas and visions possible; we want to be this kind of platform for our generation. The programme has this spirit, but we are always rethinking the how, adapting to different situations.
Until now, the gallery’s program has been very focused on Mexico, and this is our core. But Mexico is a catalyst too, and we are very interested in building relationships with artists whose voices can become stronger by becoming part of this scene. We have been thinking of ourselves as Mexican and as Latin American too, and we are taking the program in this direction in the near future. We are also getting closer to figures who influenced our artists, like José Luis Sánchez-Rull, for example. The program will be constantly evolving, with things that make sense with our values and philosophy.
K.Z: Also, I’m curious to know how you view the current landscape of Mexico City’s art scene? Where does Pequod situate itself within that ecosystem?
M.G.S: Mexico is one of the epicenters for art today. Not just Mexico City—there are a lot of interesting art scenes in many states which, as I mentioned at the beginning, were built by artists, and that is why they are so solid.
Pequod is really focusing on working with artists, programs, institutions, and collectors from all around the country to strengthen this idea and these bridges. We did not create them, but we believe in them. We love our country and people who believe in Mexico are always inspiring to us, like the Biennial of Yucatán, founded by Catherine Petitgas, which will open on November 26 this year and is bringing a lot of attention to the Mexican Southeast.
“La noche”, a group show focused on video and performance curated by Andrew Roberts and Montse Pazos we had at the gallery in 2024. The space had this feel of a living room and every Friday a new project was presented. Performance by Alan Sierra
K.Z: Finally, looking ahead, what is on the horizon—for you personally, and for the gallery?
M.G.S: We have an exciting year ahead with the new space, and the growth of our artist roster. We will have some presence in European art fairs, we are excited about the Yucatán Biennial and other projects and residencies our artists are part of, and personally and professionally I am very interested in looking more deeply at Brazil, Canada, and in Mexico: Chihuahua and Mérida.
The gallery is very parallel to our family life, and I feel we are entering a new stage in both. It is always full of analogies… we are not in our early childhood anymore. And speaking more about my personal goals, I am very eager to empower Mexican women collectors to commit more deeply. And as a mom, I am constantly trying to figure out how to teach my children to always observe the world around us, be curious, resilient, good-hearted, and to stay positive and proactive through life—and trying myself to do so too. On a horizon a bit further away, I would love to build something around art, culture, and education for Mexican youths, hoping to share some of the life-changing experiences I have received through art.
Andrew Roberts at MUAC “Spectral Corpse”, 2025. Photo by Ramiro Chavez
Koshik Zaman is a writer and independent curator based in Stockholm, Sweden.