Young art collecting in Mexico is growing rapidly, and Flux/Lab has established itself as a key gallery for guiding new buyers in contemporary art.
This text explores market trends, the profile of the new collector, and how Flux/Lab is driving this transformation.
“Am I making a good purchase with this piece?” That’s the question new collectors most often ask Manuel Aarón Jiménez Barragán, one of the founders of the Flux/Lab Gallery in Mexico City, located at 5 Amargura Street in the San Ángel neighborhood of the capital.
How do I start a collection?
This space regularly hosts exhibitions tailored to this audience—particularly what the owners describe as “young executives who are interested in and passionate about building their own collections”—as well as art exhibitions and artist residencies. “We tell them to come to the shows, go to the fairs, visit museums, and don’t miss out on good exhibitions,” says Manuel Aaron Jimenez Barragán.
“The segment of young buyers who are just starting out in art collecting has grown in recent years. Flux/Lab is one of the galleries that has targeted this group of new buyers looking to start a collection”— Manuel Aarón Jiménez Barragán
A generational shift in the creative industry
So far this decade, there has been an upward trend in this segment, which is eager for artworks to adorn the walls of their apartments—and, at times, their egos—as well as for the assurance that they are making a good decision.
“While most of the collectors who come to us are between the ages of 30 and 45, we’ve noticed an increase in clients interested in learning to appreciate and acquire artworks,” says Jiménez Barragán.
Adding to this trend is the rise of platforms such as Young Collectors México —launched in December 2021—which have helped bring audiences who may previously have felt alienated from the art market closer to galleries. “There is a notable desire among young people to build their own collections, sometimes as a continuation of a family tradition, but also out of a genuine passion.”
In addition, a recent study by Arts Economics —an Ireland-based research firm—revealed that, in recent years, the global market, particularly that of contemporary art, has seen an increase in the share of “private sales” and new buyers.
However, some figures, such as Enrique Guerrero of the gallery that bears his name, have a slightly different take on the matter: “These days, rather than collectors, I think there’s a wave of occasional buyers. As for collectors—there are very few of them in Mexico. A collector is someone who buys constantly and fills gaps in a collection—not someone who buys just for the sake of status.”
Aesthetic education and the collector’s sensibility
In this context, Jiménez Barragán emphasizes the personal value of the purchase. “It’s essential for a collector that, if they’re going to acquire a piece, they do so because they genuinely like it. They shouldn’t view it solely as an investment, because nothing is set in stone.”
As he explains, the key is for them, as they grow as collectors, to develop an appreciation for the artist’s vision, their curatorial texts, their essence, and their artistic evolution. “So we also need to guide them so that they can begin to understand how to be small-scale patrons.”
Flux/Lab and its artists at Zona Maco
Manuel co-founded Flux/Lab in 2014 alongside curator Delmari Romero Keith, driven by “a desire to reflect on and see themselves reflected in the work of their artists.” In 2025, they presented *Traces of Memory*, an exhibition focused on memory, time, and territory.
That same year, the gallery launched a residency program—which will be renewed in 2026—: Flux/Lab Itzimná, located in the historic neighborhood of Itzimná in Mérida, Yucatán, and directed by Mexican artist Daniela Zorrilla in collaboration with Mayan artisans.
At the most recent edition of Zona Maco, Flux/Lab presented an exhibition centered on Earth, Myth, and the Cosmos, featuring works by Sergio Hernández, Edgar Ladrón de Guevara, and Paloma Torres. Jiménez Barragán explains why these artists align with the gallery’s conceptual direction : “Sergio is one of those Oaxacan visual artists who carries on the legacy begun by Tamayo and the surrealist painter Rodolfo Morales.”
As a painter, he preserves that aesthetic, albeit through an entirely original dialogue. Edgar is an artist who, as Felguérez said, is an “inventor of processes” who never stops evolving; Paloma Torres works with industrial scrap materials, but with an interesting, earthy style.
With that, he asserts, the gallery’s mission remains true to its spirit: “To bridge artistic disciplines by working with artists who are innovating with techniques and materials and who are socially engaged.” This raises the question: Have they succeeded? How relevant is that mission in today’s art world?
Art as a tool for social transformationaccording to Flux/Lab
In an interview in October 2025, photographer Graciela Iturbide spoke about creative engagement with the planet’s problems: “We are society; it is we who must change the world, not the photos or the artwork.”
And although a significant number of contemporary artists in Mexico are socially engaged—the art scene in this country has a long history of political and social art, from muralism to contemporary practices linked to the territory, violence, or memory—the debate continues as to whether this should be an obligation.
Should Contemporary Art Have a Social Commitment? Flux/Lab’s Response
Jiménez Barragán says that at Flux/Lab, they firmly believe in this: “We believe that art plays a fundamental role in social change and the evolution of humanity. It’s not just about how it makes you feel or what it makes you think. Art is ideas. Art is revolutionary.”
“And it’s very important to preserve that essence.” Jiménez Barragán also acknowledges that some artists do not seek to take an explicit social stance—which is perfectly valid—but he believes that many end up becoming involved in processes of change “whether they like it or not.”
However, he notes that not all spaces live up to this vision. “Many say, ‘I have a gallery.’ But that’s not really the case. Just because a place sells works by different artists doesn’t make it a gallery, because they aren’t supporting new projects, promoting new ideas, or creating spaces for debate.”
While the founder of Flux/Lab acknowledges that purely commercial spaces have their place, he insists that “we gallery owners have a role and a commitment,” a responsibility they also want to pass on to new buyers, who often ask—sometimes with concern— “Who can help me start building my first collection?!”
