Documents of Latin American and Latino Art

The signatories of this manifesto—a statement of solidarity with the struggle of the Brazilian people defending freedom of expression in all areas—are opposed to the dictatorship’s practice of using art as a symbol of prestige for the military [...]

While in the United States on a travel scholarship, the artist Rubens Gerchman wrote to Walter Zanini—who at the time was the director of the MAC-USP (Museu de Arte Contemporânea da Universidade de São Paulo)—to tell him that he was in New York [...]

In this text, art critic Radha Abramo takes stock of realism and metaphor in relation to wretchedness in the work of Brazilian visual artist Gontran Guanaes Netto. She underscores the link between Guanaes Netto’s production and a national type, a [...]

While traveling in New York, philosopher Vilém Flusser, who had lived in Brazil for two decades, visited the studio of Brazilian artist Antonio Henrique Amaral to see his Campos de Batalha series, which consisted of the works on canvas on the banana [...]

The main topic of this interview is the graphic work of Brazilian artist Anna Maria Maiolino exhibited in 2002 at the Drawing Center and Art in General in New York. During the conversation, Maiolino clarifies that in the seventies her art became [...]

Artist Antonio Henrique Amaral comments on remarks that Czech philosopher and writer Vilém Flusser made about works from Amaral’s Campos de Batalha [Battlefields] series. Amaral objects to the commentary made by Dan Stancy that Flusser quotes in [...]

Lygia Pape interviews Hélio Oiticica after he had returned from having lived for a period in New York. When asked about the term “Latin American art,” Oiticica says that he does not believe his work fits into that category, which he considers [...]

In the early 1970s, when Amílcar de Castro was in New York for the group shows where he was exhibiting, he was surprised by the number of galleries in the city. His enthusiasm is reflected in his assessment of the commercial success of art that [...]

While living in New York, Rubens Gerchman announced that he would no longer paint, and began producing objects instead. Nonetheless drawing continued to be his starting point. Throughout his text, he offers observations on the arts scene of the city [...]