Exposure to PM2.5 and Obesity Prevalence in the Greater Mexico City Area

Exposure to PM2.5 has been associated with the prevalence of obesity. In the Greater Mexico City Area (GMCA), both are ranked among the highest in the world. Our aim was to analyze this association in children, adolescents, and adults in the GMCA. We used data from the 2006 and 2012 Mexican National Surveys of Health and Nutrition (ENSANUT). Participants’ past-year exposure to ambient PM2.5 was assessed using land use terms and satellite-derived aerosol optical depth estimates; weight and height were measured. We used survey-adjusted logistic regression models to estimate the odds ratios (ORs) of obesity (vs. normal-overweight) for every 10 µg/m3 increase in annual PM2.5 exposure for children, adolescents, and adults. Using a meta-analysis approach, we estimated the overall odds of obesity. We analyzed data representing 19.3 million and 20.9 million GMCA individuals from ENSANUT 2006 and 2012, respectively. The overall pooled estimate between PM2.5 exposure and obesity was OR = 1.96 (95% CI: 1.21, 3.18). For adolescents, a 10 µg/m3 increase in PM2.5 was associated with an OR of 3.53 (95% CI: 1.45, 8.58) and 3.79 (95% CI: 1.40, 10.24) in 2006 and 2012, respectively. More studies such as this are recommended in Latin American cities with similar air pollution and obesity conditions.

Modelling local patterns of child mortality risk: a Bayesian Spatio-temporal analysis

Background Globally, child mortality rate has remained high over the years, but the figure can be reduced through proper implementation of spatially-targeted public health policies. Due to its alarming rate in comparison to North American standards, child mortality is particularly a health concern in Mexico. Despite this fact, there remains a dearth of studies that address its spatio-temporal identification in the country. The aims of this study are i) to model the evolution of child mortality risk at the municipality level in Greater Mexico City, (ii) to identify municipalities with high, medium, and low risk over time, and (iii) using municipality trends, to ascertain potential high-risk municipalities. Methods In order to control for the space-time patterns of data, the study performs a Bayesian spatio-temporal analysis. This methodology permits the modelling of the geographical variation of child mortality risk across municipalities, within the studied time span. Results The analysis shows that most of the high-risk municipalities were in the east, along with a few in the north and west areas of Greater Mexico City. In some of them, it is possible to distinguish an increasing trend in child mortality risk. The outcomes highlight municipalities currently presenting a medium risk but liable to become high risk, given their trend, after the studied period. Finally, the likelihood of child mortality risk illustrates an overall decreasing tendency throughout the 7-year studied period. Conclusions The identification of high-risk municipalities and risk trends may provide a useful input for policymakers seeking to reduce the incidence of child mortality. The results provide evidence that supports the use of geographical targeting in policy interventions.

Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

Getting Community Engagement Right

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

Golden Kingdoms at Getty

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

Mexicos and Americas

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

Emiliano

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

Dialogues

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.