MALBA

The curatorial structure, organized into multiple sections, situates her work within broader socio-political transformations since the 1990s. Yet it avoids didacticism. Instead, it allows contradictions to remain visible: intimacy and militancy, vulnerability and humor, craft and conceptualism. Laguna’s long-standing engagement with collaborative spaces, most notably Belleza y Felicidad, resonates throughout, positioning her oeuvre within a network of shared practices rather than as an isolated artistic trajectory.

There is also a notable emphasis on communication. As López suggests, many works originate in the impulse to “write or send a message,” transforming private expression into public gesture. This dynamic destabilizes the viewer’s role: one does not simply observe but is implicated, addressed, even unsettled by the directness of Laguna’s voice.

MALBA

Ultimately, Mi corazón es un imán succeeds in articulating Laguna’s singular position within Latin American contemporary art. It neither monumentalizes nor domesticates her practice. Instead, it preserves its volatility, its capacity to oscillate between fragility and insistence, while reaffirming her work as a space where affect, politics, and everyday life remain inseparable.