“Ofrendas: Art as a Living Memory” at City Park is a vibrant, heartfelt celebration of Hispanic culture that left me inspired by its bold colors, powerful imagery and deep reverence for remembrance. This exhibition runs from Sept. 14 to Oct. 27, showcasing paintings by predominantly Hispanic artists and explores Día de los Muertos through the broader significance of Hispanic heritage.
Nestled in City Park’s historic village — a cluster of pioneer buildings from the mid-to-late 19th century — the exhibition feels like a bridge between past and present. The setting amplifies the art’s focus on honoring loved ones, making each piece feel alive with memory.
The curator of the exhibition, Ariel Esquivel, a local artist and frequent curator, organized the gallery after being approached by park staff.
“They contacted me through my website and said that they had this idea for Hispanic heritage and that they wanted me to curate it [because] they saw my work, and they loved it,” Esquivel said.
Next to the entrance are three ofrendas that are a part of the exhibition. One was created by Esquivel herself, a second by the artist Junanne Peck in dedication to her father, and the third, partially made by community members, where they can participate in the spirited tradition. Ofrendas, vibrant home altars central to Día de los Muertos, feature photos of deceased loved ones paired with their favorite foods and personal items, welcoming their spirits during the celebrations on Nov. 1 and Nov. 2.
The emotional weight of the three ofrendas sets a poignant tone, drawing me into the exhibition’s themes of loss and celebration.
Among the standout works is Hermila Cuevas’ “Fruta de mi Cultura,” a vibrant piece that honors the combination of food, heritage and ancestral memory. As a Mexican American and SMU graduate student, Cuevas weaves her ancestry and Tejana upbringing into this visual tribute, describing the use of fruit as a symbol of “nourishment and tradition” to reflect her journey of reconnecting with her cultural roots.
The gallery also embraces diversity, welcoming non-Hispanic artists inspired by the cultural movement.
“I wanted them, of course, to be involved because they were so struck by the stuff that’s happening currently to the Hispanic community and how much it meant to them to be able to help represent the people that might not be able to be represented,” Esquivel said.
The centerpiece of the exhibition, Charles James’ “American Gothic Dos,” reimagines Grant Wood’s iconic “American Gothic” with vibrant colors and Hispanic farmers.
“I had to have this one be the main piece,” Esquivel said. “I wanted it to be as soon as you walk in, you see that, ’cause it is such a famous piece.”
Unlike Wood’s realistic style, James’ vivid approach bursts with energy, reflecting modern Hispanic identity. The painting’s farmers don half masks, one a Day of the Dead skull, the other a luchador mask, capturing a proud, resilient spirit while making a statement that these people are more than their jobs.
This reinterpretation offers an eye-opening reflection of modern times. This crucial change contrasts yet parallels Wood’s original interpretation of his “American Gothic,” which, according to the Art Institute of Chicago, was supposed to represent a “positive image of rural American values.”
James painted “American Gothic Dos” in response to the current social and political events that affect Hispanic communities. While the public and critics primarily interpreted Wood’s work, James boldly states the meaning of his painting next to his portrait.
“My version was created in response to all the deportations and hatred against ‘illegal’ immigrants,” James said, “…to show who is actually the ‘backbone’ of America.”
Though modest in scale, the exhibition feels grand in its execution. The interplay of art, memory and culture makes it a must-see for anyone seeking to connect with Hispanic heritage or the universal act of remembrance.
