San Juan Art Diary : Summer, 2016

by Jan Galligan and Lillian Mulero 
Santa Olaya, PR

“I still say the art here reminds me of New York's Lower East Side in the 1980s,” says Lillian.

“What? Do you think that the art here looks like Neo-Geo, Neo-Pop, Street Art, and Neo-Expressionism?” I ask.

“No.” What I mean is that the New York art world at that time had a youthful energy and a sense of community and cooperation between artists and gallery owners. Artists worked with colleagues to develop a new culture. At the same time they participated in the international art world and were recognized with important opportunities and represented in influential exhibitions. That's what it feels like here now,” she explains.

Roberto Paradise gallery and Walter Otero Contemporary Art featured in ArtInfo listing for 2015 & 2016.

A good example of that type of energy and commitment is El cuadrado gris / The Gray Square a project of the art couple Anna Astor-Blanco, curator and Ozzie Forbes, photographer. After working and living in an art filled apartment, they decided to find a place of their own that could serve as both a home and an art gallery. They discovered a small uninhabited house in Barrio Obrero which they could remodel to their specifications. Having turned the basement of their building into what they call “a platform for contemporary multimedia artists and their work,” in early 2015 they began presenting exhibitions and multimedia art installations. First time visitors may be surprised to find that from the outside, the building looks like many of the other houses nearby. Except for decorative lights on the front porch and rather loud club music coming from inside, (Forbes has the reputation as a serious dj for contemporary music from Argentina) 455 Tito Rodriguez is hard to distinguish from surrounding houses. Passing through the front rooms and kitchen, you discover a small narrow stairway leading down to El cuadrado gris, two interconnected basement rooms – walls, ceiling and floor painted a medium gray, creating a perfectly neutral environment for the presentation of contemporary art.

Most recently, Astor-Blanco and Forbes turned their subterranean space over to the fertile imagination of artist Nayda Collazo-Llorens who took literal advantage of the opportunity, creating the project she calls Debajo de la Casa / Under the House. Collazo-Llorens says she immediately felt an affinity between their repurposed domestic space and her own house where she grew up, the homes of her aunt and grandparents, and the house she used as her studio, all in nearby Santurce. She says she was captured by a curiosity about this hidden space, “not knowing what might be found, a mix of the familiar and the unknown, the near and the far, it is a space that requires navigation.” Her answer was to bring elements of her earlier experiences into this underground architectural space, presenting them in a new and updated context. These include a collection of her grandfather's books that she stacked in a corner, from the floor to the ceiling, placed with their spines against the wall hiding the titles from the viewer and creating a sense of mystery about the stories and history they contain.

The largest and immediately impressive element of her installation is also the most mysterious. Entering El cuadrado gris one discovers a series of light gray, abstract, concentric designs painted directly on the walls and pillars. As you walk around they seem connected, but only when you find a specific location do these designs coalesce into one coherent pattern that suddenly floats within the space, appearing to hang in the air just out of reach. The effect is startling, impressive, and is its own reward for having exercised your curiosity.

Debajo de la casa, site specific art installation by Nayda Collazo-Llorens

El Cuadrado Gris / The Grey Square, 455 Calle Tito Rodriguez, Barrio Obrero. Visits can be scheduled by appointment via email sent to:

After a nine month residency, part of Beta-Local's La Practica program, artist Ramon Miranda Beltran was given use of Casa del Sargento to present sujecto/objecto, a series of related sculptures and projected photographs created during his residency. Beta-Local was founded as a non-profit in 2009 in the spirit of 1980s New York organizations such as Exit Art, and Art in General. Beta-Local is dedicated to promoting local artists and connecting them to the international art community. Through programs like La Practica, they support and encourage artistic practice and aesthetic thought working to make art an essential social and political part of the life of the community.

Beltran, a recent graduate of UPR and the School of the Art Institute in Chicago, has made his sculptures from cement and wood native to Puerto Rico. Each object, meticulously crafted, has been carefully placed within the main room of Casa del Sargento, situated for easy viewing, but also arranged in a precarious balance. Made from heavy and substantial materials, the sculpted objects lean on and support each other in such a manner that an incautious or accidental touch would cause them to tumble to the ground. Beltran's photographs follow a similar narrative. One group of pictures were made looking out the windows of model apartments in the controversial Paseo Caribe complex and the others were taken through the windows of office spaces used by residents of the adjoining Caribe Plaza – residents who have come to the island specifically to take advantage of new tax exemption laws. For Beltran these businessmen have a relationship to the island as tenuous and uncertain as the parts of his sculptural constructions have to each other.

Ramon Miranda Beltran, sujecto/objecto, installation view at Casa del Sargento

Ramon Miranda Beltran,
Casa del Sargento, Calle Sol esquina Barbosa, Viejo San Jan

Last winter, Christopher Rivera and Manuela Paz converted a small clothing store in Hato Rey into a clean white space for showing art, leaving one of the walls, covered with floor to ceiling mirrors, intact. This was an excellent decision, as it makes the long and narrow space feel much larger, while providing an interesting challenge for artists when displaying their work. In the most recent four person exhibition, LEAN, artist Esther Klas who was born in Germany and works in Barcelona, used the mirrors as the surface onto which she drew a series of small faces. They are subtle and could easily be overlooked. On the floor sits a pair of bright orange running shoes, sculpted from beeswax, by Melissa Hopson of Indianapolis. Together Hopson and Klas created a pair of inkjet photographic prints which are mounted on the front window and can be seen from either side, depending whether you are inside or outside the gallery. Claudia Peña Salinas, born in Mexico and lives and works in Brooklyn, has used the former fitting room to present a group of one-of-a-kind inkjet prints which are mounted on wax panels which adds a luster to their day-glo colors. Among Brooklynite Linda Matalon's sculptures is a pair of wooden frames, coated with wax, which literally lean against the wall. The six struts for each frame are assembled, unattached. Three pieces lie on the floor, while two others lean against the wall, with the final strut balanced on top.

Lean is a good title for this exhibition, as many of the works are presented leaning or balancing instead of being traditionally attached to the walls. The exhibition itself is lean. These works, curated by Elena Tavecchia, are judiciously few in number, spare in their materials, minimalist in presentation, while they seem to have a special resonance in these lean economic times.

Installation view, LEAN, group exhibition. Note mirrored wall on right.

Embajada, Calle Cesar Gonzalez 82, Hato Rey,

Now in its third year in a refurbished commercial building in the Puerta de Tierra district, Walter Otero's gallery is distinguished by the full length glass paneled overhead door which is its front entrance. On particularly balmy evenings the door is raised and the gallery becomes an open-air emporium. The door also serves a practical purpose, allowing large scale art works to be easily brought into or out of the building.

Temporarily closed for July vacation, the gallery recently presented a group show by a dozen gallery artists. Prominent among them was a group of working drawings by Jennifer Allora and Guillermo Calzadilla. Titled Body in Flight (Delta), they depict one of six works presented at the 2011 Venice Biennale under the title Gloria. Each drawing in this set shows a female gymnast in a brightly colored leotard using a business-class airline seat as a platform for her Olympic style balance beam routine. During the Biennale, Allora and Calzadilla presented Body in Flight (Delta) as a continuous series of gymnastic dance performances. Local gymnasts, were instructed to perform a routine, choreographed in conjunction with a modern dancer to include both gymnastic and dance elements. Unlike normal gymnastic routines lasting two minutes, these were designed as 17-minute tests of endurance contradicting, as they say “the intention of the luxurious airline business class seat designed for maximum comfort of the passenger and functioning as an object of admiration in our capitalist culture.”

Another contradiction of creature comfort is found in the work of Rademes “Juni” Figueroa, a 2013 graduate of the Beta-Local La Practica program who also exhibited at the Whitney Museum Biennial that same year. Figueroa here presents a pair of automobile radiators whose grills have been incised with a blunt object, probably a screwdriver, creating brash, yet delicate drawings on the surface of the cooling fins. The drawings have the characteristic of slapdash graffiti wall drawings seen all over the city, and the imagery, palm trees, pirates, sunbursts, and occasional words like VAQUERO, COCO, or even phone numbers completes that connection. Of course, once the surface of the fins are damaged, the device will no longer function to provide cool air.

Radamés "Juni" Figueroa, .40 Living the Dream, 2015, Air conditioner

Walter Otero Contemporary Art, 402 Ave. Constitucion,


Personal Attention (an art installation and performance)


by Jan Galligan and Lillian Mulero 
Santa Olaya, PR

We first encountered Chaveli Sifre and her art at Roberto Paradise when the gallery was located in a beautiful old wooden house on calle Hipodromo. We wrote about her exhibition, Fixed on the Scent of Light, in a June 12, 2013 article titled Chaveli Sifre: Scents and Sensibility. Since then, Sifre has moved to Berlin where she continues her art practice and sings with her pop band House of Life, while Roberto Paradise has relocated on calle Roberto H. Todd. We remained in contact with Sifre by way of Facebook, and were delighted when she posted an announcement for a one night project to be presented at La Estacion Espacial in the Miramar arts district which includes galeria Agustina Ferreyra and the recently announced El Museo de Arte y Diseno de Miramar, scheduled to open in 2018.

La Estacion Espacial, directed by Guillermoe Rodríguez and housed in a former bodega is a temporary platform for contemporary art created with the support of Beta-Local's La Practica project. La Estacion Espacial presents a continuing series of micro-exhibitions and seeks to open a local / international dialogue in the art community.

Sifre's description of her project Personal Attention said she would convert the exhibition space into a healing center employing different faiths, various rituals, and therapeutic methods – in particular the Japanese alternative medicine technique Reiki, which was developed in the 1920s by a Buddhist and has since become a world-wide phenomenon. The name is derived from the Japanese words rei – miraculous spirit, and ki – breath of life. Reiki masters claim that they are able to perceive a subject's ki-energy and determine if the life force is functioning at a high or low level. If the energy s low, a Reiki master can, by passing hands over the affected areas, transfer energy and improve the subject's health and happiness. This appealed to me because for many years I have suffered from tinnitus, a condition of the inner ear which fills my head with various ringing, roaring, buzzing, clicking and hissing sounds. Apparently listening to rock and roll music at very high volume when I was in my twenties caused this. Now that I am nearly a septuagenarian, I am haunted by the echoes of my youth. There are no cures for tinnitus, no medications and no operations which can silence the background noise. I've tried various homeopathic treatments, but they had no effect.  

Preparing the background for Sifre's installation

When I told Lillian about Sifre's project and insisted that we attend the performance, she treated me to a series of Ricky jokes about Ricky Rosello, Ricky Riccardo, Rikki Tiki Tavi - Rudyard Kipling's mongoose, and that joke about Ricky Martin changing a light bulb. Arriving at La Estacion Espacial, we found many people outside the storefront. Inside it was calm and serene. The wall opposite the entrance was covered in a large diaphanous fabric that rippled gently with two fans providing a cooling breeze. I learned from Sifre that the fabric was professionally dyed using two colors certified by Pantone corporation, the international arbiter of color popularity. Each year Pantone names a color of the year. For 2016 they picked two colors: number 13-1520, Rose Quartz and number 15-3919 Serenity. Pantone attempts to lead the marketplace with their color choices. They say, “As consumers seek mindfulness and well-being as antidotes to modern day stress, we join together Rose Quartz and Serenity (a warm embracing rose tone and a cooler tranquil blue) to effect a soothing sense of order and peace.” Sifre has literally joined those two colors in a subtle blend from rose to blue creating a gentle mauve where they mix together.

In the center of the exhibition space Sifre installed a sinusodial sculpture made from metal mesh painted an aqua color. The center peak serves as a bench where a person sits when having a Reiki session. Two Reiki masters dressed in matching white tunics imprinted with various religious symbols simultaneously apply their no-touch massage therapy, while the subject, facing away from the audience, can contemplate the slowly wafting fabric or dream their own thoughts as the treatment progresses. I watched two patients being treated while I waited for my own session to begin.

Meanwhile, Sifre explained a video she had installed on a small monitor in one corner of the room which can be watched while sitting on a soft white cushion imprinted with the same symbols as the Reiki robes. This video is designed to induce ASMR in the viewer. ASMR was named in 2010 by a New York cybersecurity professional. When watching and listening to security monitors for long periods, she would feel a subtle sensation of tingling and euphoria, starting on the scalp and moving down the neck resulting in a kind of spine-tingling brain orgasm. She named this sensation Autonomous Sensory Meridian Response and started a Facebook Group to share her experience. Sight or sound can cause the sensation. Repetitive sounds can trigger a response. This might explain the feeling that I often have of fingers caressing the top of my head and the back of my neck. It could be that the repeated ringing and clicking noise of the tinnitus in my ears is causing an ASMR response on my skin. I was asking Sifre about this when her assistant told me it was time for my Reiki session.  

Watching others receive Reiki made me realize that not only are they the subjects of the treatment, but they are the material of Siefre's art. The Reiki masters, acting on Sifre's behalf, sculpt and mold the energy field of the person under their treatment, adding or subtracting ki and altering the subjects overall mood and well-being. As I sat down on the sculpture bench to begin my session, I realized that I know what it is like to be the subject of an art work – a portrait or a self-portrait, and the object of an art work – the viewer or the recipient, but never before have I been the actual material from which the art is being made. Not only that, but this art work, of which I am the material, if successful, will remain with me after I leave the exhibition and if it has any long-term effects might continue to exist in the days ahead.

Chaveli Sifre's Personal Attention, with Wave sculpture, tunics and Reiki masters

I decided to keep my eyes open and stare straight ahead at the soothing color of the curtain in front of me. Because I have an age-related eye condition, I am not able to see well on the periphery, so I did not see the two Reiki practitioners as they begin working their way around my body. I did feel my hair begin to stand up – on my head and the back of my neck, and I swear I could see waves of energy flowing in the space between me and the curtain. The curtain moves in the breeze, but I saw separate, distinct waves rising from the area near my waist then floating away, above my head. A sense of peace began to overtake me when the Reiki master touched me on the shoulder to say that my session had ended. I stood up slowly and thanked them both for the personal attention.

Back outside, I found Lillian in conversation with a small group of artists. “They were just telling me about TMS,” she said. “Transcranial Magnetic Stimulation. It's a new scientific technique that uses electrical pulses to stimulate the brain. A writer for the New Yorker described how TMS made him feel like a savant when he tried it. He was smarter and excelled at mental tests and mathematics. And another writer, with no skills in drawing, made remarkable pictures while under TMS stimulation.Let's try it,” she exclaimed.

I wonder what effect it would have on my hearing or my vision.

Note: Chaveli Sifre, House of Life, Roberto Paradise, En Rojo, La Estacion Espacial, Galeria Agustina Ferreyra, Guillermoe Rodríguez, Beta-Local, Reiki Puerto Rico, Ricky Rosello, Ricky Riccardo, Rikki Tiki Tavi, Ricky Martin, Pantone, ASMR Preliminary Research, Transcranial Magnetic Stimulation and the New Yorker are all available on Facebook.


@ el CERRO, Naranjito, PR -- con la EXITOSA y mas

Jan Galligan sharing a drink with Tonino near the top of el CERRO.

Lillian Mulero, stopping in a shady spot, half way up the hill of el CERRO.

El CERRO is an ongoing project by artist Chemi Rosado-Seijo of San Juan, PR -- located in the el Cerro community of Naranjito, PR 30 miles south of San Juan in the foothills of the central mountainous corridor. 

Chemi says, "for the first time in 14 years we present to the general public The El Cerro Project in the beautiful community known as el Cerro in Naranjito, Puerto Rico. Since 2002, we worked with the residents to paint their houses with different shades of green to so honor the design and spontaneous architecture of this community. In addition, we are offering creative workshops, training and other activities of social impact for the community.

During this past year, thanks to the financial support of an "Artist as Activist" grant from the Robert Rauschenberg Foundation, we were able to paint more than 60 residences and impact the economy of  this community helping many residents become proficient at the skill of painting -- some have even turned professional."


more photos here ...


Pleasantly surprised to have a surprise drop-in by a young friend of many years, and his family for our FINAL FRIDAY ART SALE & SHOW yesterday -- during our end of an era, one-time-only clearance event. Big ups and shout-outs all around.

note: he won the 3-CONE MONTY game giving him the opportunity to take home any artwork of his choosing. Flattered that he picked something from Lillian & Jan, and passed on the Cory Arcangel, the Felix Gonzales Torres/Christopher Wool, & the Jasper Johns.

AVALANCHE -- a briefer

Jan Galligan in AVALANCHE magazine, RUMBLES, Issue 13, summer 1976.

Historical Note (via the Museum of Modern Art, archives)

Avalanche was co-founded by Liza Béar and Willoughby Sharp in New York City in 1968. The impetus for the magazine's creation was to intentionally challenge the more critic-based, formalist-driven, art journals such as Art Forum. The mission of Avalanche was to give artists a voice, a space to discuss their works, their creative processes, and even their political opinions. Béar and Sharp focused their attention on those artists who circulated in avant-garde circles of the 1960s and 1970s, both in New York and internationally. They paid particular attention to those artists who considered themselves practitioners of Conceptual, Post-Minimalist, Earth, performance and video art ...

Each issue included artist interviews, extensive photographic spreads, and textual documents of various artists' works. Additionally, each issue (except for issues no. 6 and no. 9) included a "Rumbles" section, which promoted and described current art world events as well as recent publications and artist messages. 

The thirteenth and final issue of Avalanche was published in the summer of 1976. Production ceased largely due to finacial strains. Béar and Sharp were transparent about the magazine's economic troubles by choosing to reproduce a page of their ledger book on its final cover.


WOCA Triennial 2015 ‪‪‪#‎francescovezzoli‬ ‪‪#‎puertorico‬ ‪#‎andywarhol‬ ‪#‎jakeanddinoschapman‬ ‪#‎vikmuniz‬ ‪#‎trienalpoligrafica‬ ‪#‎alloraandcalzadilla‬ ‪#‎carlosbetancourt‬ ‪#‎imperfectutopia‬ ‪#‎walteroterocontemporaryart‬ ‪‬ ‪#‎myrnabaez‬ ‪#‎angelotero

Trienal Poli/Gráfica de San Juan event : checked in @ Walter Otero Contemporary Art with Peter Rawley, Betty Kaplan & 183 others. Photo via WOCA, animation by Jan Galligan



"Santurce rules," say Jan & Lillian, of Santa Olaya, PR. 
SnapChat photo by Lydia Mulero, 04 Sept 15

When we first moved to the island, we made weekly trips to Border's bookstore in Plaza Las Americas. We'd rarely go seeking a specific book; normally we were guided by serendipity. Lillian would browse the bookshelves, I would surf the magazines then we would meet in the cafe for coffee and pastry to share our discoveries. It was a disappointment when they went bankrupt. We wandered, a bit aimlessly, for months.

Bookstores come and bookstores go. Cronopios, a used bookstore and cafe in Santurce closed. Things improved when Libros AC opened on Ponce de Leon, with a bookstore, bar and cafe. A good book is improved by coffee, but is even better accompanied with a glass of wine or a shot of rum.


Lillian & Jan, by Adal : Adal by Jan, 2015

Lillian Mulero and Jan Galligan, ADÁL, 2015
Artists and critics living in Santa Olaya, PR 

From, "Retratus Puertoricensis: Artistis Establecistus Contemporatus" portraits of established and emerging contemporary artists, art administrators, art critics, curators, and collectors in Puerto Rico.

photo by Jan Galligan, 2015

ADAL MALDONADO  (more info)


ARTISTA EN PERFIL: “Go F*ck Your Selfie,” says Adal

by Jan Galligan and Lillian Mulero
Santa Olaya, PR

Last August, photographer/artist, Adal Maldonado invited his 2500 followers to become a part of an art exhibition at Roberto Paradise gallery by uploading a selfie photograph to his Facebook page. “There are no restrictions,” said Adal. “It can celebrate or criticize narcissism, or it can be an act of artistic intention.” Over 500 people responded to his invitation, which was also a challenge and a rebuke. Adal's challenge was an attempt to try to move selfie pictures away from static self-images towards a more artistic interpretation of the self. The rebuke is implicit in the title. 

Go Fuck Yourself, entered the published lexicon in 1836 when a Boston woman was convicted of public obscenity after calling a group of women “bloody whores” and telling them to “go fuck themselves.” Adal seems to say that selfies, in their generic format are not worth the effort, “fuck them” while also condemning such images as masturbatory self-indulgences.

The Ultimate Selfie (detail) Adal Maldonado, 2014

As Adal said in one of his ongoing News from Nowhere postings: Selfies are a cybernet reflection of the f-cked up way society teaches young people that their most important quality is their physical attractiveness. I propose that posting a more thoughtful or creative selfie or the selfie as political activism or an intentionally unattractive selfie can be ways to explore issues of body image as a reaction against the narcissism or over-sexualization of the typical selfie.

The first selfie, or photographic self-portrait, is attributed to Robert Cornelius, an American pioneer in photography, who produced a daguerreotype of himself in 1839 which was also one of the first photographs of a person. The modern internet-based selfie first appeared on MySpace and was soon supplanted by thousands of self-portraits published on Facebook, starting around 2005, and characterized as “amateurish, flash-blinded self-portraits, often taken in front of a bathroom mirror.” These self-images quickly evolved to photos, mostly of young females, shot from a high angle which exaggerate the size of the eyes and give a flattering impression of a slender pointed chin. In 2007, Apple introduced the iPhone which featured a camera lens not only on the back of the camera body, the standard mode for taking pictures, but also on the front, designed to provide a picture of the user when the phone is used for FaceTime or Skype conversations. People immediately exploited this feature as a means to make still-image self portraits, in a manner that was easier and faster, and which allow users complete control over how they present themselves.

Ease of use and user control are what appealed most to Adal in issuing his invitation. In response to an inquiry on his Facebook page, he replied, “This project is … evolving in many interesting directions. It began when I agreed to exhibit my auto-portraits at Roberto Paradise in Santurce. Reflecting on how the expo might also have a current urgency and noticing how a cybernet pop culture has sprung up around the selfie - although mostly concerned narcissistic issues - I thought that it might be interesting if I started an anti-selfie page called Go Fuck Your Selfie and encouraged my artist friends and the general public to upload selfies … to me it seems like we are redefining the selfie as artistic expression.”

This past year has seen a world-wide explosion of selfies. The online mobile photo-sharing and social networking service Instagram reports an astounding 53 million photographs labeled with the hashtag #selfie. According to a Time magazine article, the Philippines, New York City, Miami, Malaysia, and Los Angeles are among the most popular places in the world for selfies. This has led to a proliferation of selfie-related terminology including: Selfie Face, Selfie Arm, Selfie Addict, Selfie-Holic, Selfie Session, Selfie Thursday, Selfie Overload. The Urban Dictionary defines Selfie-Obsessed as “a person so self-obsessed that they post copious amounts of selfies on social media with no purpose other than to say "Look at me!" They do this in hopes of getting 'likes' and comments telling them they are good looking since that is their way of validating their looks and sense of self(ie)-worth.”

How people see themselves and how they choose to depict themselves in public was definitively explored by the sociologist Erving Goffman in his seminal 1959 book, The Presentation of Self in Everyday Life, the first study to treat face-to-face interactions as a sociological subject. Goffman's insight was to define and interpret those interactions as private theatrical performances presented in public. By applying terminology of the theater to personal interactions, Goffman demonstrated that in everyday encounters, people could best present themselves by: believing in the role they are playing, generally a different role for each person encountered; using dramatic effect when confronting others, especially to emphasize what they most want to convey; presenting an idealized version of themselves which adds a feeling of significance to the encounter; seeking to maintain control of their expressions, either to maximize what they are presenting, or to conceal what they do not wish to present; creating a sense of mystification about themselves, which helps to maintain social distance in the observer; and finally seeking to maintain a distinction between the real and the contrived, in themselves and their presentations.

Taken together, these precepts can provide a step by step guide for the creation of selfie photographs that can then have an impact on the social media audience. Yet more work is required to move these images from the social medium to the realm of art. Can selfies be art? Art critic Jerry Saltz has written recently in their defense. He says that it is rare for a new genre to appear in art, but he considers selfies to be a type of self-portraiture formally distinct from all others in history, distinguished by their being boring, silly, casual, improvised, fast, and nearly always taken at arm's length unless a mirror is employed. Nonetheless, he considers them significant. Meanwhile a war of words is taking place in the art critical arena. Some writers have joined Saltz in his call to include selfies as legitimate works of art. Others have taken a strong stance against the possibility that selfies might ever be considered art.

Submissions uploaded to Adal's Facebook page: Go Fuck Your Selfie

Adal has clearly aligned himself with the pro-selfie faction. But even for him, not any selfie will do. The selfie has to have some kind of edge, provocation, a new point of view, a reinterpretation of the form, something to set it apart from the mundane, to make it stand out from the crowd. Five-hundred people have accepted his challenge, submitting their attempts to move the selfie into the world of art. All of these efforts were displayed as part of Adal's exhibition Go Fuck Your Selfie & I Was a Schizophrenic Mambo Dancer for the FBI at galeria Roberto Paradise in Santurce. 

The full collection of uploaded selfies can also be seen on Adal's Go Fuck Your Selfie Facebook page which remains an open project, where readers are encouraged to upload their own contributions to this photographic social network.

Adal Maldonado

Roberto Paradise Gallery
1204 Ponce de León Avenue
Santurce, PR