In February 2020, during Mexico City’s art week, Ana Segovia staged an intervention in La Faena, a cantina downtown not far from the Zocalo. remipoker At one end of the bullfighting-themed bar hangs a large painting of a man holding a red cape as he crawls through a barbed wire fence into a pastoral landscape filled with bulls. Segovia painted an almost one-to-one replica of the work in his signature, remipoker decidedly femme palette, somewhere between neons and pastels. In Segovia’s version, the man’s red cape is white, and he holds a rose while dawning a salmon sweater and a baseball cap.The cantina’s regulars had strong reactions to the way Segovia glammed up the local watering hole. Segovia sat in the bar and “got to listen to people who hated it, who loved it,” he told me during a visit to his studio in a Porfiriato-era building in Mexico City, describing this and other works as “site-specific.” remipoker