Art Exhibition: Pedro Vélez’s “#Protest Signs“


We’re so glad that Teo Freytes is back with his MSA Xperimental. This month he features Pedro Vélez’s “#Protest Signs“ (2014)—an exhibition that is currently on view at the the Obra Gallery (Obra Galería Alegría), located at 301 De La Cruz Street in Old San Juan. Here are excerpts of the review, with a link to the full article and video of the show below:

With this exhibit at the Obra Gallery, the art critic and visual/conceptual artist Pedro Vélez shows us a glimpse of what is to come as a selected participant for the Whitney Biennale of New York, opening during this year. We are gratefully pleased that the prestigious white Whitney Museum of Art has chosen Pedro Vélez as a token Puerto Rican (Hispanic, Latin-American?), along the extra tokens, to present what is cooking behind the cocina of this marvelous artist. [. . .]

For my archaic art taste and frigid mind – I am a man over 80 something – Pedro’s art seemed to me a little bit anarchic and/or detached, but after a second look (or third contemplation in the 5th dimension), and listening to his cryptic ramblings… I finally came to a sort of epiphanic mind bugling understanding. Pedro’s art is never finished because he’s is a type of work that is in constant turmoil and metamorphosis. As he said to me on my visit: “… as you can see from the works displayed in here, they will change somehow when showed at the Whitney, because the environment places a big part in the disposition of my work.”

At first glance you may have a sense of disconnection between subject matter and execution, as different themes are treated in different mediums and aesthetics, but what unifies all the cumulus is their optical criticism of a social (moral?) value nature.  Yes, you may find traces of Graffiti, Art Povera, Junk Art, High-Low Eye Brow Art, Ephemeral Art, Situationalist, Neo-Dada, Experimentalist and even Brut Art, but at the end of the day its Pedro’s Art! His is the result of a temperamental provocateur mind with an ultra-sensitive eye for what is wrong or twisted in our times, and so his work tries to portrait these universal, conventional truths in an unconventional way, over and over in each piece. [. . .]

For full review and video of the exhibit, see

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