This essay by Albor Rodríguez on Marisol [Escobar] describes her personality, as well as her home workshop, located in New York City. The author offers a short biography, pointing out the most important milestones in her artistic career, her most significant solo shows, and most representative work. She lists the works she has in public spaces in Venezuela, as well as her most recent individual exhibitions that precede the one at the Museo de Arte Contemporáneo in Caracas. Lastly, Rodriguez refers to her experience within the United States Pop art movement during the 1960s and her relationships with artists of the era, such as Andy Warhol.

Journalist Albor Rodríguez wrote this essay on Marisol [Escobar] (b. 1930), the Venezuelan-United States sculptor born in Paris, for her show at the Museo de Arte Contemporáneo (Caracas, 1996). The text focuses on Marisol’s collaborations and the work she created on a civic scale for public spaces in Venezuela. It briefly touches on her experience within the New York art scene and the Pop art movement. Rodríguez could have done so in order to lend a certain “Venezuelan-ness” to an artist that has always been more closely linked to the United States, and about whom there exists some debate about her “true” nationality. Leaving the debate to one side, Rodríguez describes Marisol as an “international” artist who is not interested in nationality. Marisol had not exhibited [work] in Venezuela since 1973, and this was only her second show; the exhibition at the Museo de Arte Contemporáneo offered another opportunity for the local public to know her work. This text fulfills that function adequately. It is informational and Rodríguez chiefly focuses on conveying her introverted character more than her artwork, that is analyzed superficially. For Rodríguez, Marisol’s most representative works have an iconographic nature, and she laments that [the artist] has ceased to create that type of work using currently well-known personalities.

There are two texts by critic and curator Roberto Guevara on this celebrated artist of the 1960s; “Con Marisol y a veces sin ella: Crónica de una no entrevista” [With Marisol and At Times Without Her: A Chronicle of a Non-Interview] [see ICAA digital archive doc. no. 1163733]; and another, his intent to make contact, “Para encontrar a Marisol” [To Find Marisol] (doc. no. 1163541). For more, see the text by Margarita D’Amico, “Marisol: Un acuario para soñar” [Marisol: An Aquarium To Dream] (doc. no. 1163605); the text by Akiko Hyuga in English, “Marisol: Marisol in the 60s—Social Satire and Search for Identity” (doc. no. 1163366); and an (untitled) essay by Águeda Hernández [...Nunca ha sido expuesta en Venezuela...]” [She Has Never Exhibited in Venezuela] (doc. no. 1163350)].