Wrestling, Mexico’ s most beloved wrestling spectacle , is much more than sports entertainment: it is a symbol of culture, family and tradition. With roots dating back to the 1860s, it is a symbol of culture, family and tradition. 1860the sport has become an integral part of Mexican heritage, and its masked warriors embody much more than physical prowess. For many families along the U.S. -Mexicoborder , it is a connection to identity, migration and resilience. In a new exhibition titled “Borderland Masks”Andres Caballero, a Fulbright scholar and graduate student at the University of Arizona, delves into these connections by turning the lens toward the fans rather than the fighters.
This exhibition, which opened at the Lionel Rombach Gallery, depicts the lives of two families in Phoenix, Arizona, and two in Nogales, Sonora. Caballero’s work highlights the everyday realities of families who have found community through wrestling. These are not just spectators: they are people who have woven the sport into their cultural fabric, using it to reconnect with their Mexican heritage. As Caballero himself recalls from his childhood, lucha libre represents more than just wrestling. “It’s religion, Catholicism, indigenous heritage, all of that is represented in some way during these matches.” he said.
Image by Andrés Caballero (Photo by Alexis Hagestad, courtesy of Andrés Caballero).
The exhibition invites visitors into the homes of these families through immersive 360-degree photographs that showcase their lives outside the arena. From playing soccer to hanging out in local bars, these intimate glimpses provide a window into their world. It’s not just about the matches but about what wrestling means to these families, especially those in Phoenix, many of whom are unable to return to Mexico due to immigration restrictions. For them, wrestling becomes a symbol of roots they can’t physically visit but remain deeply connected to through the sport. As Caballero says, “It’s more than just a show, it’s a family tradition.”
Wrestling fans have long built vibrant communities around the sport. For families crossing the border, the tradition extends beyond watching matches: it’s a cultural statement. The masks worn by wrestlers are more than just costume pieces. They conceal the wearer’s true identity while revealing a larger-than-life personality. Caballero’s exhibition delves into the meaning behind these masks, not only for the wrestlers but also for their fans. The families in his photographs have adopted their own personalities, choosing masks and names that represent their wrestling heroes, a testament to how deeply rooted the sport is in their identities.
“I see it as a way to connect with their Mexican roots,” Caballero explained. “They’ve been here in the U.S. for 22, 23 years and can’t go back to Mexico because they don’t have papers. Wrestling becomes their way of maintaining that connection.” This personal and emotional connection is evident in Caballero’s photographs, which capture the fans as vividly as the wrestlers themselves. The families he features may never step into the ring, but they carry the spirit of wrestling in their daily lives.
Photo by Andrés Caballero 2024
In parallel to the exhibition, Caballero is working on a podcast to expand on these stories. In collaboration with the Racial Justice Studio at the University of Arizona, his podcast will focus on issues of migration, identity and the U.S.-Mexico border, examining how these factors intersect with the world of wrestling. The Racial Justice Studio, founded in response to the Black Lives Matter movement, highlights artistic expressions that challenge systemic racism. Caballero’s work fits perfectly within this mission, as it amplifies voices from border communities that are often overlooked.
One of the key figures behind the Racial Justice Studio, Sama Alshaibi, emphasized how projects like Caballero’s broaden the university’s reach across disciplines, saying, “We are finding ways to use the arts to tell stories of communities that often don’t get the recognition they deserve.” This focus on frontier narratives, and particularly on positive community stories, moves the media’s usual focus away from crisis and toward celebrating culture.
Rey Aéreo with his sister in Nogales, Sonora. (Photo by Andrés Caballero 2024)
Caballero’s Borderland Masks exhibition is not just a collection of photographs. It is a call to see border communities from a new perspective: to recognize the rich cultural traditions that thrive despite political and social challenges. As Javier Durán, director of Confluencenter for Creative Inquiry, explains, “Border communities have many positive stories that are not told often enough. Our project aims to amplify those voices.” Caballero’s work offers a powerful counter-narrative to the often negative portrayal of life along the border, showing how wrestling provides not only entertainment, but also a sense of belonging.
While the exhibit will be open through the end of October, Caballero expects its impact to last much longer. “If a few people come in and see these photos and feel connected to the stories, that’s more than enough for me,”, he said. “It’s about showing people that these communities exist, that they have rich traditions and that they are important.”
Andrés Caballero working in his studio.
Visitors to Borderland Masks will find themselves immersed in the lives of families who embody the spirit of wrestling. Beyond the high-flying moves and colorful masks lies a deep sense of identity, which transcends the ring and spans generations. The exhibition will be on display at the Lionel Rombach Gallery in Tucson, Arizona, from October 22-31. With additional works by Vanessa Saavedra and Ulises Ramos, the show promises a multifaceted exploration of border life through the lens of art and sport.
For those unable to attend the gallery, Caballero’s upcoming podcast will offer a deeper dive into the lives and stories behind these images, ensuring that the powerful voices of wrestling fans continue to resonate far beyond the walls of the exhibit.
