The printed book includes the ebook.

As in the legendary New Yorker cartoon, artist Pablo Helguera retrieves the caricature technique to produce an exaggerated and sometimes distorted portrait of the art world. This book compiles a selection of 187 drawings, translated for the first time into Spanish, which the author published between 2009 and 2016. This edition includes a foreword by the art critic and curator Octavio Zaya.


Pablo Helguera (Mexico City, 1971) is an artist, a cultural educator and writer who resides in New York. His work focuses on subjects that encompass history, pedagogy, socio-linguistics, ethnography, memory and the absurd, all of which he approaches using a variety of formats including reading, museum exhibition strategies, musical performances and written fiction.

Helguera has displayed his work at the biennials of La Habana, Site Santa Fe, Liverpool, Manifesta11 (Zurich), among many others; and in different institutions that include the Palacio de Bellas Artes (Mexico), Museo de Arte Reina Sofía (Madrid), Royal College of Art (London), Shedhalle (Zurich), MoMA PS1 and Brooklyn Museum (New York), Tokyo Metropolitan Art Museum. He is the author of numerous books, amongst which are Endingness (2005), The Pablo Helguera Manual of Contemporary Art Style (2005), The Witches of Tepoztlán (and other Unpublished Operas) (2007), The Boy Inside the Letter (2008), Theatrum Anatomicum (and other performance lectures) (2008), Artoons 1, 2, and 3 (2009-10) The School of Panamerican Unrest (an anthology of Documents) [with Sarah DeMeuse] (2011), Education for Socially Engaged Art (2011), Art Scenes: The Social Scripts of the Art World (2012), Onda Corta (2012) , Artunes (2012) and "An Atlas of Commonplaces" (2015).