托洛斯基博物館原址是他逃難到墨西哥之後的住所，離芙烈達的藍屋（Casa Azul）就只有幾條巷子的距離，但人潮差異極大，去藍屋的那天，入口處排隊排到彎過一街角，實際去看之後沒什麼特別感覺，倒是托洛斯基博物館讓我印象很深，沒幾個觀眾的空間、忙著打毛線的售票口阿姨、潮濕變色的展品輸出，搭配著托洛斯基的書房、秘書工作的空間、暗殺留下的牆面彈孔，都反而讓故居更故居。
The Leon Trotsky House Museum was the original site where Trotsky lived after fleeing from Russia to Mexico, which was just a few blocks afar from the Frida Kahlo’s Casa Azul, however there is a huge contrast in numbers of visitors between the two. The day I visited the Casa Azul, the queue was as long as extending to the street corner, but I was barely impressed while visiting it; on the contrary, I was really impressed by The Trotsky Museum, in which there were a few visitors, an old reception lady who was busy knitting, and wet, damp, and color-fading print in display, along with Trotsky’s study room, his secretary’s working space, and the bullet holes caused by the assassination which is still left on the wall, all the above made this Trotsky former residence more as it should be.
史達林大整肅之後，托洛斯基被迫流亡，墨西哥壁畫運動關鍵人物及墨西哥共產黨員里維拉，說服當時的墨西哥總統提供政治庇護，最終落腳在墨西哥，原本里維拉和芙烈達招待他住在藍屋，但因為其妻發現了革命家與藝術家之間的戀情，後來才搬家。這種又跨領域又跨國的戀情當然構成藝術史上大八卦，但關於托洛斯基在墨西哥的種種，有比戀情還有意思的事，那就是他的「被消失」及「被出現」：前者的主角是肉身的托洛斯基，1940年，史達林派來的特工終於成功以冰鑿殺了這位眼中釘，芙烈達也因為被懷疑是暗殺者而被抓；後者的主角，則是影像的托洛斯基。
1932年，里維拉受洛克斐勒的邀請，為30 Rockefeller Plaza畫壁畫，這位左翼畫家接了案子，《十字路口的人》描繪著卡在社會主義及資本主義之間的人，但整個案子因為畫面上出現列寧而破局，壁畫也就被清除。里維拉決定將這幅畫帶回墨西哥，以向大眾展示藝術的贊助者想毀掉的是什麼作品，他說服墨西哥政府讓這幅作品被畫在藝術宮（Palacio de Bellas Artes）的牆面上，這次不僅是列寧，托洛斯基、馬克思、恩格斯也都出現了（對，沒有史達林），並改名為《人類，宇宙的主宰者》。共產主義的路線問題、藝術與政治的關係、創作與贊助的關係⋯⋯這些永遠當代的問題都使托洛斯基與墨西哥的關係成為公案。
張紋瑄的藝術實踐透過重讀、重寫及虛構出另類方案，來質問機構化歷史的敘事結構，並同時暴露出潛藏在歷史敘事中，不同權力之間的角力關係，於2018年開啟「書寫公廠」長期計畫。
The artistic practice of Chang Wen-Hsuan questions the narrative structure of institutionalised history with re-readings, re-writing, and suggestions of fictional alternatives. To expose the power tensions embedded in historical narratives is a way of managing the relationships and dynamics between individual stories and the writing of history. concerning writing /publishing as an artistic and political practice. She started Writing FACTory, a long-term writing project beginning in 2018.
