An art exhibit in Mexico City featuring paintings of queer and sexualized Christian priests and nuns has sparked significant backlash from religious organizations and right-wing individuals. The exhibition by artist Fabián Cháirez, titled La venida del Señor (The Coming of the Lord), was unveiled on February 5 at the Academia de San Carlos Centro Historico, affiliated with the National Autonomous University of Mexico (UNAM). The collection, dating from 2018 to 2023, portrays consecrated figures in provocative poses, reflecting the artist’s ongoing exploration of sexual diversity and traditional gender roles in Mexican historical and Christian contexts.
Cháirez explained to Hyperallergic that his work draws parallels between religious and sexual ecstasy, noting unexpected similarities between the two. Some paintings depict nuns in states of ecstasy with symbolic references to digital penetration, while priests are shown engaging in various erotic acts. The Mexican chapter of the Association of Christian Lawyers (AAC) has responded with a legal complaint to the National Council to Prevent Discrimination (CONAPRED), arguing that the exhibit infringes on the right to practice religion freely, as protected by Article 24 of the Mexican Constitution. The complaint was signed by 9,000 individuals, although the AAC has refrained from public comment, citing confidentiality.
Prominent conservative figures, including Mexican Senator Lilly Téllez, Luis Felipe Calderón Zavala, and Eduardo Verástegui, have expressed their disapproval online. Cháirez countered that the public should instead focus on issues like the abuse of power within the church. Despite facing multiple protests, including a symbolic closure by UNAM’s Catholic community, the exhibit remains open. On February 14, protesters gathered outside the venue with messages condemning the exhibit as blasphemous.
Cháirez has remarked on the discomfort of witnessing the rise of right-wing ideologies but emphasized the importance of community engagement and dialogue across differing viewpoints. This is not Cháirez’s first encounter with controversy; his earlier work on Emiliano Zapata, displayed at the Museo del Palacio de Bellas Artes in 2019, also faced criticism. Despite the protests, UNAM has implemented security measures, and Cháirez expressed optimism about the continued display of his work.
Valentina Di Liscia assisted in reporting and translation for this article, highlighting the complex interplay between artistic expression and societal values in Cháirez’s provocative body of work.
