An Interview with Mexico City-based Curators Yuna Cabon and Misa Maria Yamaoka

Yuna Cabon (left) and Misa Maria Yamaoka (right),

Pushing the boundaries of an already vibrant Mexico City art scene, THIRD BORN Gallery is a fresh voice challenging traditional perspectives on artistic space and dialogue. Founded by curators Yuna Cabon and Misa Maria Yamaoka, the gallery takes its name from Yamaoka's position as the third-born child in her family—a placement that granted her the independence and boldness that now characterises the gallery's innovative approach. With a unique focus on reimagining negative space as a site of transformation, THIRD BORN seeks to create meaningful connections between established and emerging artists whilst fostering community engagement through exhibitions, residencies, and educational programmes.

Read more to discover their curatorial philosophies, the gallery's mission, and their vision for contributing to Mexico City's dynamic artistic landscape. From their early influences in the art world to their plans for engaging with local communities, they share insights into how THIRD BORN aims to reshape conversations around art and space in the 21st century.

How did you initially start your curatorial practice? What initially drew you to this field?

YC: I grew up immersed in the art world, with a mother who is both an artist and a collector. Organizing and placing artwork in spaces has always been a natural part of my life. I don’t necessarily see myself as a curator but more as an organizer or gatherer—someone who facilitates conversations and opens dialogues between works, artists, and audiences, whether on a wall or in real life. Developing a curatorial practice, to me, is about cultivating permeability to ideas and fostering a deep sense of curiosity.

MY: I think curating starts for everyone at a young age, like when you decorate your room, choose what fills your shelves, and decide on the colors of your walls. Later, I discovered that curating could also be an academic practice through art history—bringing objects together, studying their relationships, and uncovering how they tell stories about environments and worlds we may not be part of. For me, curating opened the door to exploring countless new universes. 

Can you tell us about the inspiration behind the gallery's name and concept? What does "THIRD BORN" signify to you personally and artistically?

MY: The name actually comes from me being the third born in my family. And I think being the third born, you're granted just such a level of independence that maybe the first or middle children don't necessarily get. I got to be a bit more of a wild child. Third Born as a program is bold, challenges norms, and has that youthful energy—that drives the program's constant inquiry.

THIRD BORN is also the coming together of both Yuna and our artistic ideas and values and hopes for the future. We're putting all of our love and time and energy into creating this “being” that we put out into the world and share with others—there's a lot of responsibility in that.

Your gallery is dedicated to showcasing art that reimagines negative space as a site of transformation. How did you arrive at this concept, and why is it important for you to challenge the traditional perception of negative space in art?

YC: The concept of negative space emerged naturally during our conversations as we sought to define the type of art we wanted to feature in our program—art with a resonance that inherently shapes and occupies negative space, creating opportunities for dialogue and reflection. It’s not solely about the work itself but also about the space it generates for the viewer and the presence it holds. Often, it’s the smallest works that command the greatest presence, subtly transforming their surroundings and inviting deeper engagement.

In your view, how does the concept of 'negative space' relate to broader themes in contemporary art, culture, and society? What do you hope viewers take away from engaging with these works?

YC: Negative space reflects much of what exists outside the material, tangible realm—areas often overlooked in traditional frameworks of galleries and museums. It’s about investigating the unseen, the unsaid, and the intangible. In contemporary art, this concept intersects with broader societal themes of absence, marginalization, and the power of quiet transformation. I hope viewers engage with these works by recognizing the value in what lies beyond the visible and tangible, inviting them to question their perceptions and explore deeper connections. 

What kind of artists and works are you particularly excited to showcase at THIRD BORN? What do you look for when selecting artists to exhibit?

MY: We’re drawn to artists who embrace experimentation and challenge traditional narratives, whether through their process, materials, or themes. At THIRD BORN, we look for works that provoke thought and invite conversation—art that resonates not just aesthetically, but also intellectually and emotionally.

How do you balance representing established artists versus emerging voices? How do you see THIRD BORN supporting the next generation of artists?

YC: The two go hand in hand; you can’t stay stagnant in time. There’s an essential need for intergenerational dialogue, and at THIRD BORN, showcasing emerging artists alongside established ones feels like a more accurate representation of the art world. It fosters conversations across generations and helps build bridges of influence and understanding. By presenting younger voices alongside seasoned practitioners, we hope to support the next generation of artists while honoring the contributions of those who came before.

MY: It’s a delicate balance, but an important one. Established artists bring a certain depth of experience and perspective, while emerging voices often bring energy, an interest in new materials, and a completely new socio-cultural perspective. I think that by fostering collaborations and mentorships between the two, THIRD BORN can create a supportive ecosystem where both groups thrive. Supporting emerging artists means giving them time and space to develop their practices without rush—it's a partnership.

Could you speak a bit more about how you plan to create a dialogue between art history and the present through the lens of 'negative space'? Are there particular art movements or philosophies that influence your curatorial direction?

MY: Negative space offers a fascinating lens to connect art history with the present because it invites viewers to consider what’s omitted, left unsaid, or unseen, and how these voids shape meaning. This concept resonates strongly with movements like Minimalism, which used absence to emphasize form and materiality, and Conceptual Art, which often allowed ideas to fill the gaps in physical representation.

THIRD BORN is inspired by philosophies that interrogate the margins—by foregrounding negative space, we aim to challenge traditional hierarchies and invite dialogue about what’s been overlooked in art and history. Ultimately, the goal is to foster a sense of inquiry: how does the space we leave empty hold as much meaning as what we fill? This dialogue, I hope, will make the past feel immediate and the present resonate deeply.

Mexico City’s Art Week is a major event in the international art calendar. What role do you hope THIRD BORN will play during this busy period, and what can visitors expect from your debut exhibition?

MY: Mexico City’s Art Week is an incredibly dynamic moment that brings together artists, collectors, and curators from around the world. With THIRD BORN making its debut during this time, we see it as an opportunity to introduce our unique curatorial voice to a global audience while also engaging deeply with the local art scene.

Outside the opening of THIRD BORN's exhibition, Crossing the Chasm, during Mexico Art Week.

How do you plan to engage with the local community, both artists and audiences? Will there be specific programs, workshops, or events to foster interaction and understanding of your gallery’s mission?

MY: Art accessibility and educational programming have always been central to my work, stemming from my nonprofit background and time with Art Production Fund in NYC. At THIRD BORN, Yuna and I are dedicated to fostering meaningful engagement with art, and one project we’re especially passionate about is an artist workshop with the children of Ipoderac, an orphanage in Puebla that my family has been involved with since before I was born.

The workshop will bring artists and children together to explore creativity and self-expression. Our goal is to empower the children through the act of art making—ensuring its transformative power reaches beyond the walls of traditional art spaces.

As THIRD BORN is just starting, where do you see the gallery in the next five years? What are your long-term goals for its growth and impact on the art world?

YC: In the next five years, we envision THIRD BORN fully integrated into Mexico City’s artistic landscape, having a fully realized program that not only showcases exhibitions but also fosters community connections and cross-cultural dialogue. Our goal is to build stronger ties with local and international artists while strengthening the bridge between Mexico City and international art capitals through exhibitions, programming, and our residency program. Thinking collaboratively is at the heart of what we do, and we aspire to create lasting partnerships with other gallery programs, institutions, and independent projects, making THIRD BORN a space where these collaborations can flourish.

Are there any upcoming exhibitions or projects that you are particularly excited about? What can visitors look forward to in the near future?

YC: Our residency program is something we’re incredibly excited about. Bringing artists into our space and creating opportunities for them to engage with the community and city we’re apart of is a cornerstone of our mission. For our first edition, we’re excited to welcome French artist Anna de Castro Barbosa. 

Finally, how do you envision the role of galleries like THIRD BORN in the evolving landscape of contemporary art? What do you hope to contribute to the conversation around art and space in the 21st century?

YC: THIRD BORN is a platform for learning, artistic engagement, and increasing access to art and the ideas of the artists who create it. By facilitating cross-cultural exchanges and fostering deeper connections, we hope to create a space that encourages dialogue between artists and their audiences.

MY: In the evolving landscape of contemporary art, galleries like THIRD BORN have a crucial role as connectors—bridging local and global perspectives, emerging and established voices, and physical and conceptual spaces. In an age where digital platforms are dominant, we believe there is still a profound need for physical spaces where people can engage with art in a more immersive, tactile way.

Third Born aims to contribute to the conversation by redefining what a gallery space can be. We see it not just as a venue for showcasing art but as a dynamic site for dialogue, experimentation, and collaboration. By focusing on thematic exhibitions that explore ideas like transition, absence, and shared environments, we hope to challenge traditional narratives and invite audiences to rethink their relationship with space—both within and beyond the gallery walls.

In the 21st century, as art increasingly intersects with technology, social issues, and environmental concerns, galleries must adapt to these shifts while maintaining a commitment to thoughtful curation, especially as government funding for the arts wanes. At Third Born, we hope to push the boundaries of how art can be presented and experienced, fostering a sense of community and intellectual engagement.

Ultimately, our goal is to create a space where art isn't just seen but felt, questioned, and remembered—a space that resonates in an increasingly interconnected and complex world.

You can visit the Third Born Gallery in Mexico City, or explore their website and follow them on Instagram @thirdborn.mx.