Pedro Alonzo

Pedro Alonzo is a Boston-based independent curator. He is currently an Adjunct Curator at Dallas Contemporary. Alonzo was formerly an adjunct curator at the ICA Boston (2011-2013) and at the Institute of Visual Arts (inova), University of Wisconsin, Milwaukee (1996-2002).

Since 2006 Pedro has specialized in producing exhibitions that transcend the boundaries of the museum walls and spill out onto the urban landscape, addressing audiences beyond the traditional museum public. At the ICA Boston he curated Shepard Fairey’s 20-year survey titled, Supply and Demand, as well as a solo exhibition with Dr. Lakra, and a site-specific installation by SWOON and Os Gemeos, which resulted in the first mural on the Rose Kennedy Greenway. For the MCA San Diego he organized the group exhibition Viva la Revolucion: A Dialogue with the Urban Landscape, which featured site specific works inside the museum and throughout downtown San Diego.

Alonzo developed a public art program for the John Hancock Tower in Back Bay, featuring a mural by MOMO, a steel hammock sculpture by Ernesto Neto, and a 96 x 150 foot pasting on the building by JR. He curated a citywide exhibition titled Open Source: Engaging Audiences in Public Space for the Philadelphia Mural Arts Program that included ambitious public works by artists Sam Durant, Jonathan Monk, Odili Odita, Michelle Angela-Ortiz, Shinique Smith and Swoon. In 2017 Alonzo curated John Houck’s first solo museum exhibition at Dallas Contemporary, followed by working with JR to place a gigantic image of a Mexican child named Kikito, overlooking the US/México border wall in Tecate.

Alonzo has written extensively, including interviews with artists such as SWOON, Mark Ryden, William Cordova, Jeff Soto and Os Gemoes published in the book, The Upset: Young Contemporary Art, and an essay on Keith Haring for the catalog of the recent exhibition, Keith Haring 1978-1982. In addition he edited and wrote for the book, Art and Agenda: Political Art and Activism.