The Christian Science Monitor Weekly

March 30, 2020

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42 THE CHRISTIAN SCIENCE MONITOR WEEKLY | MARCH 30, 2020 I N PICTURES STORY BY LINDSEY MCGINNIS / STAFF WRITER L ights, music, cheese. For decades, the U.S.-Mexico border has served as a canvas for conceptual art that challenges geopolitical norms. But the medium and message can vary. A web of interactive searchlights allowed residents to communicate over the barrier between El Paso, Texas, and Ciudad Juárez, Mexico. Children have per- formed music in front of the border fence to draw attention to the difficulties faced by refugees. A wall of cotija cheese aimed to highlight "the waste in [President Donald Trump's] $10 billion wall," according to its architect, artist Cosimo Cavallaro. And it isn't just happening in North America. San Diego's 1980s border art movement has spread around the world, marking Northern Ireland's peace lines and the Israeli West Bank barrier, though the U.S.-Mexico border remains fertile ground for ambitious artistic feats. In a recent project that captured national media attention, artist Ana Teresa Fernán- dez had volunteers paint three segments of the border fence blue, so the posts appeared to vanish against the sky. It was called "Bor- rando la Frontera," or "Erasing the Border." She first tested the technique in 2011 on a small piece of fence facing Tijuana, Mexico. One visitor who saw the piece said it gave him "a moment of freedom." r Turning a barrier into art 1 GAPS: Tourists in the United States look through a section of the border wall painted with Lizbeth De La Cruz Santana's murals of deportees in Tijuana, Mexico, on Aug. 10, 2019. JORGE DUENES/REUTERS 1 2 6 6 HEART BEATS: Young musicians perform near the U.S.-Mexico border to promote a concert aimed at raising awareness around the challenges that refugees face, in Ciudad Juárez on June 21, 2019. JOSE LUIS GONZALEZ/REUTERS

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