During CDMX art week this February, the couple behind Kurimanzutto gallery saw their artists exhibiting or performing at five renowned institutions in Mexico City, including Museo Jumex and Museo Tamayo, while Gabriel Orozco, whom Kuri first met when the gallerist was aged eleven, staged an exhibition at Kurimanzutto’s cavernous San Miguel Chapultepec address. It is not just the high profile at home that marks out the gallery, but the global network that its geographically-diverse artist roster has firmly infiltrated. Wilfredo Prieto represented Cuba at the Venice Biennale, while WangShui, Bárbara Sánchez-Kane and Ana Segovia were in the main show; Haegue Yang showed in London and Chicago; Minerva Cuevas exhibited at CC Foundation, Shanghai; and the gallery worked with peers Shibunkaku for a presentation at Art Collaborations Kyoto. Kurimanzutto’s satellite space in New York gives them clout there, too: this year, the Met installed specially commissioned architectural interventions by Nairy Baghramian and Petrit Halilaj, and in February the gallery announced the representation of the estate of the late New York icon John Giorno.