Exposiciones

The Southwest and México, 2001–2025

Grey ridgelines, silver light, mining mountains. The desert is the subject Bejarano has come back to longest — first as landscape, later as a set of flat interlocking planes that barely bother to be a place at all.

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Identity, migration, belonging

Painted across fifty years and two addresses. The Statue of Immigration dates from 1977, the year Centro de Arte Público opened; Fire & Fury was painted in 2025.

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Posters, magazines and mail from the movement

The year Centro de Arte Público opened its doors at 5605½ N. Figueroa Street. This hang is drawn from the archive rather than the studio: screenprints, Día de los Muertos announcements, the Nixon mail-art series and issues of ChismeArte.

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Mothers, temples and the things above the horizon

Tonantzin, Pachamama, Ixchel. Bejarano paints devotion as geometry — a figure, a disc, and a ground that reads as both earth and sky.

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Photographs from Baja California Sur

Made on the road down Highway 1 — Bahía Concepción, Mulegé, Todos Santos, San José del Cabo. Bejarano photographs the way he paints: doorways, horizons, one figure at a distance.

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Fifty years of public work

From Quinto Sol at CSU Northridge in 1970 — long since destroyed — to Spider Woman in downtown Pomona. Some of these murals survive only as the photographs on this page.

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