Working with Dominique Fontaine, López’s cocurated Toronto Biennial this year took the title Precarious Joys, and touched on, in the curators’ words, questions of ‘environmental justice’, ‘collective memory’, ‘feminist genealogies’, ‘weaving as spiritual listening’, ‘resistance and resilience’. If these are in keeping with current curatorial fashions, they have been López’s interests for a while, from his early days running Teorética in San José, Costa Rica, and as evergreen chief champion of Cecilia Vicuña. The Chilean artist was included in Toronto, marking the latest chapter in a relationship dating back to a 2019 retrospective López curated at the Witte de With (now Kunstinstituut Melly), Rotterdam, and which travelled to Mexico City, Madrid and Bogotá. Dreaming Water, a second survey of the artist’s work curated by López, opened this year at the Pinacoteca de São Paulo, following stops at the Museo Nacional de Bellas Artes, Santiago, and MALBA, Buenos Aires. In April, López delivered the keynote lecture at the 2024 Curatorial Forum conference (organised by Independent Curators International), which focused on art and civic responsibility.