The Puerto Rican artist Antonio Martorell reports that the Caribbean art community currently receives a great deal of information that used to be hard to find. This prevents the Caribbean artist from being totally isolated. Martorell advocates contact with Latin America “to strengthen our resistance to the assimilation” of the great cities, such as New York or Paris. He suggests that the regional artist is aware of avant-garde options, and must choose the one best suited to producing an excellent work of art.

Antonio Martorell (Santurce, b. 1939) was trained at the Taller de Gráfica del Instituto de Cultura Puertorriqueña [Puerto Rican Cultural Institute Print Workshop] under Lorenzo Homar. During his career, Martorell worked as a theater set and wardrobe designer, poster artist, printmaker, painter, book illustrator, professor, and writer. But, most importantly, he has been a graphic designer. In 1968, he founded the Taller Alacrán [Scorpion Workshop]—a workshop-art school devoted to criticizing Puerto Rican social conditions and politics—and managed it until 1971. In 1974 he was among the prize-winning artists at the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial of Latin American Prints]. Two years later, on the eve of the 4th Biennial he resigned from the jury because he was opposed to using funds from the United States bicentenary to finance the event. Multiple protests led to the cancellation of the 4th Biennial in 1976, and the event did not take place until 1979. Martorell was honored with a retrospective exhibition at the 7th Biennial in 1986. A year earlier the FBI raided his home as part of an attempt to arrest presumed members of Los Macheteros [the Machete Wielders], an underground revolutionary group that worked tirelessly to promote Puerto Rican independence. Plástica magazine, where this review was published, was an art publication that appeared fairly regularly in Puerto Rico. It began modestly enough in 1968, as the newsletter of the Liga de arte de San Juan [San Juan Art League], but changed its name in 1978 to Plástica revista de la Liga de estudiantes de San Juan [San Juan Student League Visual Arts Magazine]. Its very specific title notwithstanding, the twenty-one issues of the magazine explored a wide range of subjects within the broad parameters of Puerto Rican and Latin American art, filling its pages with retrospective coverage of subjects, such as the V Bienal de San Juan del grabado latinoamericano y del Caribe [5th San Juan Biennial of Latin American and Caribbean Prints] (1981), Puerto Rican architecture, and Latin American visual arts. The first editorial board of the magazine included Hélène Saldaña, Delta Picó, Cordelia Buitrago, and J.M. García Segovia. In addition to the many essays written by top Puerto Rican thinkers, the magazine published contributions from some of the leading Latin American artists and critics, such as Luis Camnitzer, Damián Bayón, Jacqueline Barnitz, Samuel Cherson, Joseph Alsop, Omar Rayo, and Ricardo Pau Llosa, among many others.