Renowned Latin American art historian, Marta Traba, establishes a theoretical link between cultural-economic dependency and the art of developing countries in these two milestone texts, “La resistencia” and “La cultura de la Resistencia.” Throughout these works, Traba critiques the lack of a continental interpretation of Latin American art in scholarly spheres, and attempts to clarify issues of regionalism and identity.In “La resistencia,” Traba plots the regional developments of Modernism throughout Latin America, making note of leading artists and their work in each country. The author then argues that the continent can be divided into two major artistic regions. First, she claims there is an “área cerrada” [closed area], which includes Peru, Colombia, Ecuador, Bolivia, and Paraguay, with Haiti and Cuba at its margins. The author posits that these closed zones are characterized by “dogmatic conditions” that limit its artistic production. In contrast, she argues there is also an “área abierta” [open area], such as Buenos Aires, Caracas, Montevideo, and Chile. These zones position themselves as more progressive because of their capacity to receive foreign influences due to mass migration. Traba claims São Paulo is also quickly establishing itself as its own separate region, developing a name for itself as a mecca of continental art. In her conclusion, Traba delivers special praise for artists who demonstrate resistance to the pressures of cultural-economic dependency, particularly in more closed regions.The author builds upon her aforementioned theories in “La cultura de la Resistencia,” citing dependency as the primary barrier for the production of “modern forms of freedom and liberty” in the continent. She traces the development of cultural dependency in Latin America, noting its roots in the bourgeoise and politics. She then examines subversive movements, their effectiveness, regionalism, and the desire to construct a unique global and national identity. In closing, Traba powerfully states that the “enemies of cultural autonomy” are both outside and within Latin America’s own society, and argues that only by scrutinizing the continent’s arts of resistance can the struggle against cultural dependency be understood.

Marta Traba Taín (1930–1983) was a leading Argentinean-Colombian art critic and novelist. Born in Buenos Aires, Argentina, Traba first studied philosophy at the Universidad de Buenos Aires, before pursuing a post-graduate education in art history at La Sorbonne in Paris, France. She continued her graduate studies at the National University of Columbia. During this time in Colombia, she also founded the Modern Art Museum of Bogotá. In 1968, Traba was sent into exile after the military took control of the national university during the regime of Carlos Lleras Restrepo. During her exile, Traba continued to interrogate Latin American Modernism, penning key texts such as Dos décadas vulnerables en las artes plásticas latinoamericanas (1950–1970) and Arte de América Latina 1900–1980. Traba was one of the first scholars to propose a holistic view of Latin American art, advancing aesthetic theories that boldly addressed issues ranging from regionalism to globalization and cultural imperialism.