Mexico is a volcanic country. The Valley of Mexico alone has approximately 170 volcanoes, and Mexico City has about 30. The El Ajusco neighborhood is located south of Coyoacán, surrounded by neighborhoods of similar volcanic composition, such as Pedregal de Santo Domingo, Pedregal de Santa Úrsula, and La Candelaria.

Living in a world of contrasts allows us to appreciate the distinct cultures and customs of various social groups. This selection from Pedro Meyer’s photographic archive, born from a long trajectory of cultural influences, showcases this heritage through his compositions, framing, and the colors and contrasts of the photographic image.

Meyer’s work, “Yuma 1984-1989”, goes beyond mere documentary record to become a complex visual study spanning social, political, technological, and anthropological dimensions, portraying everyday life in Yuma through social interactions, religious practices, and leisure activities.

The book begins in the city—a place of light and life, of the abundance of the here, of the road that transforms things: things with their shadow and their memory; what things are. Time as discontinuity, unfolding with dancing and music, with smiles, with boys and girls; with fantasy. Shapes, cars, the Malecón.

Photographing to Remember is the record of a farewell. Pedro Meyer recaptures moments of his parents in the late eighties, creating a work that reveals their love story and that of a son watching their imminent departure. It is the work of someone who longs to see memories captured in photographs in order to understand what he lived through.

Theatrical and dance events, as well as the symbols used within the local culture’s worldview, are explored by Pedro Meyer, accompanied by his fellow photographers Ricardo Espinosa Orozco (REO), Pablo Ortiz Monasterio (Monas), Enrique Villaseñor (Villa), and Ricardo Maldonado (Tapir).

Spanning nearly three decades, this visual journey reflects the encounter between an Ecuador in transformation and the author’s personal evolution.

During the 1980s, commemorating the 50th anniversary of the oil expropriation, Pedro Meyer traveled throughout the Mexican Republic to document the Pemex social project, capturing more than 16,000 photographs.

In 1979, as the construction of the steel complex in Lázaro Cárdenas, Michoacán progressed, Pedro Meyer was invited to create a graphic testimony of this territory embracing modernity and progress.

In Virgilio, Pedro Meyer invites us to explore an intimate and fantastic universe where image, word, and memory intertwine.

In Algorithms, his most recent photographic work, Pedro Meyer explores creative processes through new technologies, such as AI.

Through Pedro Meyer’s eyes, over fifty years ago, Colonia Ajusco was revealed as a community in the making, with faces, gestures, and moments that shaped a shared life emerging in southern Mexico City.

This exhibition presents Pedro Meyer’s photo essay on Miguel de la Madrid’s presidential campaign in the 1980s, portraying Mexican politics as a grand stage production in which citizens played their roles in a simulated democracy, with power firmly controlled by the PRI.

In this exhibition, Pedro Meyer immerses us in the Mixteca region of Oaxaca, capturing not only its landscape and people, but also the complex layers of its history: the pre-Hispanic, the colonial, and the contemporary.

This exhibition stems from a personal experience: the construction of a house and the paths that led to the discovery of other territories. Pedro Meyer returns to the images from the 1960s that marked the beginning of his photographic search, where he discovered that memory and image share the same foundation: lived experience.

An Ecuador brings together several returns: the commission for Smithsonian magazine, the 2002 family trip, the fall at Hacienda La Rinconada, the visit to the Galápagos Islands, and Pedro Meyer’s public return with his work Heresies. Edited with texts by Colombian-Ecuadorian photographer Yinna Higuera, the book intersects archive, body, and memory, moving from otherness to vulnerable power and from published photography to the image that the archive preserves as truth.

In 1978, Pedro Meyer entered Anastasio Somoza’s bunker and heard a chilling pronouncement from the dictator’s own lips: “These deluded Nicaraguans believe that they are going to remove Somoza and everything will be fixed, and it is not so.” While the National Guard sowed terror outside, his camera recorded the faces of a country that still did not know the price of its future. This exhibition does not reconstruct a war: it makes it breathe again. It confronts power with its victims, hope with its consequences, and history with its bitterest irony. To visit it is to enter that moment when everything seemed possible and to discover, almost half a century later, that some words continue to burn.