The Utah Museum of Fine Arts has completely transformed its Latin American art collection, moving it to a more prominent location and reimagining how the artifacts are presented to better connect with Utah's Latino communities. The revamped galleries, which focus on artwork and cultural artifacts from Mexico, Central America, and South America, represent a significant effort to decolonize the museum's collection and honor the living traditions these objects represent.
The transformation project began in 2022 as a collaborative effort between museum representatives, the nonprofit organization Artes de México en Utah, and members of the local Latino community. Annie Burbidge Ream, assistant director of learning and engagement at the museum, emphasized the importance of elevating diverse voices through the collection. "We want to elevate lots of voices," she said, noting that the artwork "tells the stories of them, their families and their cultures."
The philosophical foundation of the project was rooted in the understanding that ancient objects are not separate from the present but are part of it. Gretchen Dietrich, the museum's executive director, explained in a statement that "their guidance was rooted in a powerful philosophy – that the past represented by ancient objects is not separate from the present; it is the present." She added that "the result is a gallery that better reflects the vibrant, living cultures of the objects' origins and the communities that continue these traditions today."
Fanny Guadalupe, who formerly headed Artes de México en Utah and played a key role in the renovation, acknowledged the complex history of these artifacts. She noted that those involved in the exhibit overhaul are mindful that the artifacts "were displaced from their land and original purpose" and recognize they won't be returned to their places of origin. "Instead, we honor them by creating personal connections, bringing them to life through our present relationship with them as representatives of our ancestors," she explained.
The physical transformation of the galleries was substantial. The artwork, which includes artifacts from Indigenous communities throughout Latin America as well as some contemporary pieces, was moved from a hallway location to a more central area of the museum. The collection is now divided between two adjacent galleries – one focused on art from what is now Mexico, and another dedicated to Central and South American pieces. The reorganization included new, more informative labeling that explains each item's significance to the cultures that created them.
One example of the enhanced storytelling approach can be seen in the display of an urn representing Cocijo, a Mesoamerican water god from the Zapotec culture of what is now Oaxaca, Mexico. The new label explains that the urn "is an attempt to explain the world around us when nature's wrath or human-caused tragedies happen." It continues, "The urn is a testament of the people who created it, a direct connection to our present and a window to the future. We are made of mostly water and are nurtured by water."
The decolonization effort represents a broader shift in how museums approach their collections. Historically, Burbidge Ream noted, museums have been filled with items brought back by colonizers and visitors to distant places. The decolonization process involves "centering the perspectives of individuals and communities who have endured colonization," according to the museum's explanation of the initiative.
Guadalupe elaborated on this approach, explaining that while museum collections have traditionally focused on academic research and preservation, the transformation at the Utah Museum of Fine Arts highlights the broader significance of the displayed items. "It acknowledges these objects as representatives of living traditions and connects them to the diaspora through our communities' voices," she said.
Luis Novoa, the current executive director of Artes de México en Utah, was also involved in the project and described it as "life-changing." He praised the initiative as "a powerful example of how museums can honor histories with authenticity and respect and invite communities to reconnect with their roots." The new galleries were formally unveiled on October 18, marking the completion of this significant cultural transformation.
The project represents more than just a physical reorganization of artifacts; it embodies a fundamental shift toward recognizing these objects as connections to living cultures rather than relics of the past. Through this collaborative approach, the Utah Museum of Fine Arts has created a space that serves as "a medium to create dialogue and understanding among those of us who make Utah a welcoming, culturally rich state," as Guadalupe noted.
