Alongside the closing of GUT_BRAIN: Destructive Desires and Other Destinies of Excess (Part 2) in the gallery, Miguel Ventura's Mexican War Fair was screened online from March 8–15, 2024. Included with an introductory conversation between Ventura and co-curator Irmgard Emmelhainz.

Miguel Ventura’s Mexican War Fair is set in an imaginary future in 2060 in which New Interterritorial Language Committee (NILC) has taken over all of the American continent creating a homogenous territory grounded on racial and linguistic mestizaje (and military repression) as the grounds for social integration. The video documents the archaeological finding of footage dating from the beginning of the 21st Century depicting the early integration efforts of the great NILC consortium, showing a performance in Frontera de Corozal, a village at the Guatemalan-Mexican border. Two bureaucrats visit the town to put in action the regime’s integration strategies: inviting the inhabitants to visit an “Indian house,” to hand out NILC chocolate bars and to ask them to watch a ritual in which a chair (designed by Donald Judd) is dunked in liquid chocolate. We know from the video that the chair and the chocolate captivated the villagers enabling racial and linguistic differences to disappear, giving way to a new race of men and a world free of racism and socio-economic inequality In Mexican War Fair, Ventura draws a kind of primal scene of colonization using an icon of art history and chocolate (Hershey’s Tropical bars in Korea and Vietnam) as lure to modernize before the aftermath, which is land expropriation and the commodification of life.