Luis Cancel wrote this introduction for an exhibition he conceived (with a team of curators) at the Bronx Museum of the Arts in 1988 entitled The Latin American Spirit: Art and Artists in the United States, 1920-1970. Organized by a Puerto Rican curator at a grass-roots institution, this show should be understood as a response to the dissatisfaction Latinos and Latin Americans felt with how mainstream institutions in the U.S. were exhibiting Latin American and Latino art during the late 1980s. Cancel is arguing for a paradigm shift: Instead of thinking about Latin American art as exotic and Other, we should think of it as something constitutive of our (U.S.) culture. As Cancel states in this introduction, among the many aims of this exhibition are countering U.S. stereotypes about Latin American art and culture, they bring to the fore a more complex history than has been presented by exhibitions of the usual suspects. (These include the Mexican muralists, Joaquín Torres-García, Roberto Matta, Wifredo Lam, Rufino Tamayo, Fernando Botero, and Frida Kahlo.) Instead of emphasizing Latin American culture as different and exotic, by means of this exhibition, Cancel argues that Latin American artists should be considered vital participants in the development of mainstream art movements in the United States. As an example, he cites how the Brazilian sculptor Amilcar de Castro was unfairly criticized as “derivative” of minimalism when he showed his sculptures in New York during the 1960s. Cancel is also interested in expanding the history of mainstream U.S. art by claiming a special place for artists who have resisted assimilation, such as the group of Puerto Rican printmakers who, during the 1950s, defied mainstream art of New York by embracing Puerto Rican nationalism.