Where Do We Go from Here? We promised reviews, we promised juicy descriptions, we promised all kinds of things. Instead, we’ll do something else, something hip and modern-day. We’ll show you some links to the websites where people have actually been doing their jobs. As we mentioned before, Javier Martínez has become a stalwart and vigilant commentator whose culture blog Autogiro is a must-read for the au courant. Martínez gives us the lowdown on Garvin Sierra’s exhibition Que Dios te lo pague at el Arsenal de la Marina en la Puntilla, in addition to a little outburst from the public that never quite ignited a scandal. Read about the exhibition here and the non-controversy here. For a detailed review of the show, try to pick up the Sunday, June 17 El Nuevo Día and peruse Mercedes Trelles’s latest contribution to the paper’s magazine. Martínez also mentions the just-opened exhibition by Karlo Ibarra at La Casa del Arte in Puerto Nuevo here. But for good shots of the opening-night crowd and the works in the show, we recommend you go toot sweet to Repuesto, the artblog project of worthies W&N. Ibarra’s exhibition is on view here, and there are also links to a short-lived but very good-looking show at Galería Raices—with Carlos Ruíz Valarino, Alejandro Quinteros, and Carola Cintrón Moscoso—here. The more you root around at Repuesto, the curiouser it gets. Ibarra’s exhibition continues until July 29 at the La Casa del Arte, Avenida Andalucía #500. Call Guillermo Rodríguez at 787-792-7373 for further details. W&N will themselves be in the BLOG show at Casa Candela, opening Thursday night, June 21 at 7 pm. The revolú is upstairs at 110 Calle San Sebastián in Viejo San Juan. Be there or be you-know-what.

Our too-too friends will probably kill us for saying so, or at least hoot us out of the building the next time we meet, but we very much enjoyed the long-running, way, way overstuffed exhibition El Caballo en la Cultura Puertorriqueña, late at La Ballaja. El caballo show, as it was popularly called, was basically a vanity project, initiated by someone with a passion for the subject and the means to put it all together. Jannette Figueroa was the person, and she hired a curator, Adlín Ríos Rigau, to see the project through. We published a literary magazine for more years than Rip Van Winkle slept, and in all that time “vanity project” was a less-than-polite term for other people’s doings. In this case, the origins of the show did not reflect badly on the result at all. At its best the exhibition was an anthology of good and great hits from the history of Puerto Rican art. Sometimes it looked as though a hint of an equine presence in the work was a mere pretext for its inclusion, and whole sections of the exhibition seemed to be about something else: the jíbaro in Puerto Rican art, for example, or the romantic landscape. The image above shows a mural-size print by José R. Alisea, Los Perros (Homenaje a Don Luis Díaz Alfaro), 2001. It’s described as a print on cast paper, owned by el Instituto de la Cultura Puertorriqueña, and apparently it was never hung before this exhibition. Below, we present a highly random sampling of other things we liked; including, first, a small print by José Rosa, La bestia herida, 1984, which reminded us of José Clemente Orozco’s ferocious easel paintings of conquest-era battle scenes, on view at Museo Carrillo Gil in Mexico City. Below that, Arnaldo Roche Rabel’s Huracán del sur, 1991, and, finally, a work titled Pica de Personajes, whose author we’re guessing is Julio (Yuyo) Ruíz. Not included is an image of our fave: Ramon Frade’s tiny landscape with washerwomen, Lavandería en el río, c. 1940-45. If you know where to find it, hunt out the March-April 2007 edition of the magazine DIÁLOGO-Zona Cultural, in which Manuel Álvarez Lezama writes about the exhibition.