Nearly eighty Mexican cultural figures have signed an open letter condemning the installation of Pedro Reyes's sculpture 'Tlali' (2026) in the plaza of LACMA's new David Geffen Galleries. The work, described as a selfie-friendly monolithic face inspired by Olmec art, closely resembles a 2021 proposal for a Mexico City sculpture titled 'Tlalli' that was abandoned after protests from hundreds of cultural workers. Critics argue that Reyes, a male artist who does not identify as Indigenous, should not represent Indigenous womanhood, and that the new work perpetuates colonial stereotypes and nationalistic aesthetics. LACMA has defended the piece, claiming it is entirely different in purpose and meaning, while Reyes has not commented.
This controversy matters because it highlights ongoing tensions in the art world over cultural representation, Indigenous appropriation, and institutional accountability. The fact that a major US museum installed a work already rejected in its home country raises questions about LACMA's curatorial sensitivity and the ethics of transnational art commissions. The dispute also reflects broader debates about who has the right to depict Indigenous imagery and how museums should engage with contested histories, especially as institutions face increasing scrutiny over diversity and inclusion.