Fabiola Larios (b. 1986) is a Mexican interdisciplinary artist based in Miami, currently in residence at Bakehouse Art Complex. Her work explores the aesthetics and politics of surveillance, self-representation, and obsolescence in the digital age. Through installations that fuse e-waste, glitter, vintage electronics, and bedazzled surveillance cameras, Larios critiques how identity is shaped by algorithmic systems and economies of visibility.
We met Fabiola Larios in her studio during the Baker’s Brunch event at the Bakehouse Art Complex in Miami during Miami Art Week. In this video Fabiola Larios talks about her work, specifically about the piece Panoptipink (2025), an art installation made of surveillance cameras, pink Disney TVs, and a chair.
Fabiola Larios. Studio Visit. Bakehouse Art Complex Baker’s Brunch: Open Studio + Cafecito. Miami (USA), December 4, 2025.
Larios was awarded the Jóvenes Creadores grant in New Technologies by Mexico’s Ministry of Culture in 2021.
Selected group exhibitions include: Sea Change at Pérez Art Museum Miami (Miami, Florida, 2024); CONTINUUM at the National Museum of Art of Guatemala (Antigua, Guatemala, 2024); PrincessCam Dreamland at The Walgreens Project by The Bass x Bakehouse (Miami Beach, Florida, 2024); Planetary Atoll: Connecting Latin-American Dots at PANKE Gallery (Berlin, Germany, 2022); Face Control at Fundación Foto Colectania (Barcelona, Spain, 2021); Creación en Movimiento at Centro Cultural Los Pinos (Mexico City, Mexico, 2022). In 2025, Larios will present DivineSurveillance_1999 at the Net Art Gala in New York City—an interactive browser-based work styled after a Y2K desktop surveillance interface, exploring faith, digital observation, and spammy online rituals. She also participated at the New Media Block Party and Floating Film PAMM.TV at Pérez Art Museum Miami. Her project Cuteveillance—a machine vision experiment combining MidJourney image generation with a YOLOv7 object detection model trained on real surveillance footage—has been selected for CVPR 2025, curated by Luba Elliott. The project interrogates AI perception, aesthetic camouflage, and the politics of visibility under automated recognition systems.
