MAMBO’s Desconfinamientos revisits works from its collection through the idea of affective geography rather than placing them neatly inside a conventional history of Colombian art. I find that approach interesting because places are never only coordinates. A city can be mapped through memories, disappearances, encounters and emotional attachments that no official map records. Collections can work the same way. Rearranging familiar works can reveal relationships that chronological order quietly hides. Sometimes changing the map is enough to change the story.
