The 6th International Symposium on Contemporary Art Theory (SITAC, its acronym in Spanish) is a yearly event that takes place in Mexico City to conciliate contemporary art and art theory. Vowing not to adopt commercially oriented guidelines or strategies is its saving characteristic, for it rejects any involvement with marketing schemes by gallery, fair, and auction networks, as well as private collectors dedicated to setting canons on worth that are subject to snobbism notions, ignorance, and arbitrariness. This attribute of independence reaffirms the inexorable logic: ¿With my fortune, I do what I think is appropriate¿. Just as Osvaldo Sánchez, the director of the Museum of Modern Art in Mexico City, would emphasize during his presentation: ¿We must thank the SITAC promoters for putting their money to the service of a philanthropic endeavor, developed on the sidelines of the prevailing hegemonic fictions that prevail today in the mainstream of the visual arts¿. Originated in 2002, through this ¿tolerable runway¿ have walked emblematic artists such as Marina Abramovic, Hans Haacke, and Allam McColum, among others. SITC has also showcased well-promoted veteran creators such as Thomas Hirschhorn, Shirin Neshat, and Leandro Erlich. To a certain extent, the ethical attitude of many of these visual artists embody a manner of resistance that is definitely emblematic of this institution¿s attempt to defy the very institutional art system. SITAC¿s Sixth International Symposium (January 23¿26, 2008) was dominated by the theme ¿What We Still Have¿, a subject combining suggestion and certainty, enigmatic and everyday places, possibility and impossibility. German curator Uta Meta Bauer attempted to engage a chain of reflections that included urbanism, sociology, design, and even popular Mexican fashion. Nevertheless, theoretical density predominated over the exhibition of works in an event in which achieving a certain equilibrium between words and images is unavoidable. On the other hand, the critical discourse arising from art was not present this time around. The visual offerings began with an early work by Isaac Julien (Great Britain, 1966), in which one can already see the poetic obsessions that remain part of the work by this Caribbean-rooted artist: the movement and displacement of individuals, and the persistent sentiment caused by the uprooting that results in expressions of lyricism and chaos, in a perennial search based on personal experience that Julien is fond of calling ¿flirting with the sublime¿. Territories (1984) centers on the folklore, the black exile in England, the 1976 race riots in Notting Hill Gate, and homoeroticism. It is a minor work that nevertheless leaves the spectator wanting to see more of this artist¿s most recent works. In this image, a couple of black men kissing is barely noticeable inside a circular sequence in which the men are being escorted by two policemen, creating a photomontage ruled by an inexplicable distancing between desire and repression. Contrasting the conciseness of the work by Julien (who was not present at the SITAC), visual artist and independent filmmaker Amar Kamwar (New Delhi, 1964) presented an expansive, dense, and tormenting testimony of the silent or sometimes musicalized protest by the displaced castes from different regions in India. Night of Prophesy (2002) is a biased identity affirmation, an ethical artistic expression without the formal contrivances rejected by the spectator seeking spectacular shocking effects. In another piece, Kamwar invites poor people to smile on witnessing an absurd ceremony: the Dictator of Burma (now Myanmar, whose name it is preferable to forget) tosses flowers at Gandhi¿s resting place as he fulfills an unavoidable diplomatic ritual in India. Through an anti-demagogical therapy, the artist proposes a way to make fun of the incredible simulations that occur in politics. The visual exhibit ended with performance and video art...