THIRD BORN cultivates long-term engagement with artists and fosters research-driven practices.
September 08 - September 26, 2026THIRD BORN is pleased to present Sara Sadik’s, Seul sous la capuche, an exhibition bringing together three video works—Ultimate Vatos: Force & Honor (2022), Khtobtogone (2021), and Crystal Zastruga (2023)—alongside a video still installation from Zehefology (2023).
August 13, 14, 18, 2026Screenings curated by Aida Tariq Rebull and Oona Zyman, Smiling in Slow Motion, is a three-day video screening program that approaches what Roy Scranton calls “the end of the world as we know it” as an ongoing condition rather than a single event.
October 01 - November 11, 2026Facilitating a dialogue between artists living, departed, working, and rooted in orbits surrounding Mexico City and New York City, the exhibition explores the “archiving machine” across its many iterations— from the mechanical to the corporal.
Hoja de Contacto 1, 1982
Chromogenic print
31.5 × 39.5 cm I 12.4 × 15.5 in.
Edition of 3 + 2 AP
Sarah Minter (b. 1953 Puebla, d. 2016 México City) was a pioneer of video art in Mexico. Her multidisciplinary practice encompassed 8mm and 16mm film, video, video installations, and documentaries, exploring the intersections of politics, the body, and the city through formal experimentation and an interest in the possibilities of the video medium. Minter began her career in theater in the early 1970s with the experimental group Ergónico, and in 1980 made her first Super 8 film, Adagio. Her work often focused on youth, marginality, social inequality, and political representation, notably in Nadie es inocente (1985–87), which documented the lives of punk youth in the outskirts of Mexico City, and Alma punk (1992).
SARAH MINTER
