During our last visit to the Museum of Latin American Art (MoLAA), we had the chance to explore a section of Central and South American art. As we approached the gate that divided the street from the museum property, we saw a couple of flags indicating the entrance to the lot. When we entered the parking lot, we noticed that even though the time was definitely not the best for going for a tour in a museum, there were a lot of cars. The building that constituted the museum was very modest.
             When I entered the perimeter of the building, I had four choices: the first was to enter the restaurant, which was external to the museum; the second to get in the gift-shop, the third to go into the little working place for children, and last, to enter the actual museum straight ahead through a short and wide corridor. As one gets to the end of the corridor, the entrance is delimitated by a small table which is barely noticeable from the entrance. Behind the table there is a wide room with all the new acquisitions. This presentation itself anticipates the theme through the show of Diego Rivera's political paintings. In fact, he has the ability to turn familiar images into art.
             On our left, we could get into a room containing the works of George Marìn, a Mexican artist from Urapan. On the right, we could enter the actual exhibition. The first series of paintings was from Mexico. In the middle of the corridor, there is a map of Central and South American countries on one side, while on the other, a large doorway provided an overview of the core of the museum. In the special exhibition, the images were very disturbing and unique with a very sad tone. There was definitely a reference to the Carnival, where the masking gets provoking in a frolicking way. The contrast here stands in the difference between the nude of the bodies and the masks of the carnival. In fact, everything is flawed. When we think of women in Art, we usually portray them as be...