17 years in the art world and counting; I’ve sat down for a chat with the gorgeous Gabriela Magaña, whom I met during my time in New York. Gaby has been the director of House of Gaga for the past 9 years. House of Gaga is a vibrant contemporary art gallery founded by Fernando Mesta, with locations in Mexico City, Los Angeles and Guadalajara. I asked her to tell me all about her incredible experience working in galleries and art museums around the world.
Gaby with Fernando Mesta, the founder of House of Gaga (works featured in this image include those of Marco Aviña and Fernando Palma Rodríguez)
So Gaby, tell me a little about your journey with art. When and where did it all begin for you?
My journey in the art world began quite early, while I was still in college in 2007. At the time, I was fortunate to work simultaneously at a cultural centre in Tijuana, Mexico, and a gallery in San Diego, USA. In 2010, I relocated to Mexico City, where I worked at the Frida Kahlo Museum and a photography gallery.
Wow, the dream. That’s incredible!
Haha yes, and by 2012 I joined House of Gaga, a contemporary art gallery.
That’s where you’re working now right?
Yes, that’s right. Between 2013 and 2016, I moved to New York City, a period that proved to be highly formative. During those years, I worked at two prominent galleries—one in the West Village and another in Chelsea. Beyond honing my understanding of the art business, I also had the privilege of meeting incredible people who greatly influenced my path.
By 2016, I felt that my time in New York had run its course, leading me to return to Mexico City. My connection to House of Gaga remained strong—I admired the gallery’s program and had developed a great working relationship with the owner. So I decided to give them a call to express my intentions to return and it resulted in an offer for the director’s position.
Very cool. Ok so tell me a bit about House of Gaga, what makes them such an incredible gallery?
House of Gaga is a contemporary art gallery that collaborates with a diverse array of artists from both local and international backgrounds. A particularly intriguing aspect of the gallery's program is the multidisciplinary approach embraced by many of its artists, who are also actively engaged in various fields, collectives, brands, and other galleries. At its heart, Gaga seeks to foster an open and ever-evolving structure, combining the freedom of artistic experimentation with an unwavering dedication to supporting its artists and their practices.
Why does this resonate with you so well exactly?
I deeply appreciate the program because it is thought-provoking and occasionally challenging— we represent art that may not always be easy to sell but consistently carries a rich, substantial core. I value that we collaborate with emerging artists who are deeply engaged with theory and art history, while also working with established artists whose work isn’t always so serious. It’s art that makes you smile, embraces humour, and dares to challenge the conventions of the art world.
And what is it about the rest of the art world that keeps you engaged?
My lifelong interest in art, music, and anything that fosters a connection with the world around me continues to guide my professional and personal life. I view art as a unique and profound language—one that enables us to attune to the inner worlds of others.
Gaby at an exhibition with a collector (works featured in this image include those of Vivian Suter and Peter Fischli)
Is there a big difference between a gallery director and a gallery manager?
It's hard to really pin down because in smaller galleries the roles can overlap somewhat. In my case, we do have gallery managers so I tend to oversee what they do and give instructions, I have more direct contact with the artists, collectors, and have I guess higher authority over decision-making.
What’s life like as a gallery director?
Operating a gallery is often perceived as an exciting, glamorous endeavour— and while it can indeed be exhilarating, it’s also a highly demanding and high-stress job. At its core, running a gallery involves balancing the needs of two distinct client groups: the represented artists and the collectors. Each requires a tailored approach, as the role of the gallery is not only to showcase and sell art but also to act as a mediator and advocate within the broader art ecosystem.
A critical part of this role is deeply understanding and promoting the artists' work. This entails more than simply appreciating the art; it involves grasping the intent and context behind it, then creating meaningful dialogues between the art, the audience, and the market. The gallery’s mission is to offer artists visibility within the art world—whether through partnerships with museums, participation in biennials, or fostering relationships with curators and collectors. Acting as the conduit between artists and major institutions is a significant responsibility, often requiring extensive networking and strategic planning.
So most of your time is, I imagine, spent learning about the artists and and their practice?
Yes a lot of it. But while nurturing artists and facilitating their participation in high-profile exhibitions is fulfilling, it doesn’t eliminate one of the gallery’s most pressing concerns: financial sustainability. Sales remain a vital component of success, as galleries must cover substantial expenses, including rent, staff salaries, participation in art fairs (which are notoriously costly), art transportation, storage, and production costs. Maintaining a steady revenue stream is both challenging and stressful, necessitating sound financial planning and constant effort to keep the business viable.
Yes I suppose we often overlook this. A gallery is a business at the end of the day.
And what’s the best part about the job in your opinion?
Despite the pressures, one of the most rewarding aspects of running a gallery is building an “art family”—a supportive community of artists, collectors, vendors, and collaborators. This network often becomes a source of personal and professional fulfilment, as these relationships are marked by trust, shared goals, and mutual support. Even in the face of countless logistical hurdles, the experience of witnessing a meticulously curated exhibition come to life makes the effort worthwhile. In the end, the gallery world may be chaotic and unpredictable, but it is also rich with creativity, connection, and moments of true magic.
Fernando Palma Rodríguez, Huitztlampa, 2023, Ladder, stepper motors, electronic control, software, wheels, boots, synthetic hair, batteries, distance sensors, wooden arrows, and speaker, Variable Dimensions
Can you tell me a bit about the artists you’ve worked with?
Our roster includes 28 artists, and I have had the privilege of collaborating with nearly all of them. An exception is the Mexican artist Juan José Gurrola, who passed away in 2007; in his case, we have worked closely with his Estate since the very beginning. One of the most rewarding aspects of preparing for a gallery show lies in the extensive lead-up to the event, which often spans months or even years. This process involves countless emails, phone calls, studio visits when possible, and occasional changes in plans.
While it is difficult to pinpoint specific challenges, they often stem from production schedules or unforeseen circumstances, requiring compromises on both the gallery's and the artist's part. These moments can certainly be anxiety-inducing. Collaborating with artists from diverse backgrounds also highlights the variety of creative processes. Some artists spend considerable time reflecting and then complete the physical work within a week, while others meticulously plan and work on their projects over several months.
Ultimately, the process is highly organic and unique to each artist. It can range from having everything set up days before the opening to situations where an artist is still making final adjustments mere moments before the doors open. This fluidity and individuality are central to the experience of working on gallery exhibitions.
Can you tell me about any artists who have really stuck with you?
An artist I deeply admire is Fernando Palma Rodríguez. Over the past few years, his robotic sculptures have garnered significant attention from institutions, museums, and biennials worldwide. His works are intricate—beyond my own understanding—and often require the expertise of a mechanical engineer just to handle their installation, especially when they're traveling internationally.
We live in an age of immediacy, where there's an unspoken expectation to respond to an email almost as soon as it arrives. I too, feel that pressure. Yet, Fernando’s process has taught me something profound: patience. His work reflects a poetic interplay between art, nature, and technology, the latter being human-made and, therefore, inherently imperfect. This imperfection, I think, is a metaphor for the fragility of life itself—a theme that runs through his practice.
Mathieu Malouf, Penguins on the Beach, 2023, Acrylic, construction adhesive, bondo and plates on canvas, 243.8 x 233.7 cm
There have been countless moments when working with Fernando has tested my own limits. He’s missed deadlines or left emails and messages unanswered, leaving me feeling like a persistent debt collector as I track him down for updates. Despite the occasional frustrations, I’ve learned that even when things go wrong—be it programming glitches, mechanical failures, or unexpected delays—there’s always a solution. It’s almost poetic that his machines, designed with precision and care, sometimes stop working mid-exhibition, despite everything being "perfect" on paper. It’s a reminder that even the most meticulously planned systems are vulnerable, much like nature itself.
When technical issues arise, museums understandably panic. They’ll email or call Fernando, but unlike me, he doesn’t check his inbox every few minutes. If they don’t get an immediate response, they often reach out to me in hopes I can help. That’s when the real adventure begins—I’ll call him, WhatsApp him, message him on Facebook, and, if all else fails, contact his sister or studio assistant. Eventually, he gets back to me, and the delicate choreography of troubleshooting begins. Fortunately, museum staff are usually well-equipped to assist: sometimes it’s just a loose cable from the movement of the work, or maybe a motor needs recharging.
I always warn anyone considering working with Fernando that he operates differently from what we might consider “normal.” His approach requires patience and flexibility. But I also promise them that, in the end, his work will deliver something beautiful, profound, and deeply worth the wait.
How beautiful.
And how about the collectors, is this part of the job challenging?
Much like many relationships in life, connections in the art world often evolve into something akin to family. Over the years, I’ve had the privilege of meeting extraordinary collectors who I now genuinely consider friends. However, challenges with collectors are inevitable—whether it’s a work being damaged in transit or encountering unexpectedly high shipping costs.
As a dealer, it’s essential to navigate these obstacles with a steady hand, ensuring that our clients feel supported and reassured. The key lies in conveying that every problem has a solution and that their trust in you is well-placed. At its core, this work is driven by a deep commitment and a genuine love for what we do.
Can you tell me a little about the art scene in Mexico City?
Mexico City's art scene is truly fascinating, with a vibrant mix of tradition, cultural diversity, and history. The city’s artistic foundation reflects a unique blend of pre-Hispanic, colonial, and modern influences, making it an exceptional cultural center. It is home to numerous art schools, residencies, and organisations that nurture new talent. In addition to its strong institutional presence, with renowned institutions like the Museo Nacional de Antropología and Museo Jumex, artist collectives and alternative spaces continually reshape the scene, fostering a sense of immediacy and experimentation. Mexico City serves as a meeting point for both local and international artists, offering a dynamic exchange of ideas where different perspectives come together to spark creativity and meaningful conversation.
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