Documents of Latin American and Latino Art

In this 1977 article, Roberto Montero Castro discusses the work of the Venezuelan abstract painter Mercedes Pardo regarding her exhibition at Galería Adler/Castillo in Caracas. The author introduces her by reflecting on the proneness in [...]

In this article, the Venezuelan critic Roberto Montero Castro talks about the question of “identity” in art, the role of professional art criticism in Venezuela, and the underlying inspiration for the work of Oswaldo Vigas, with whom he discusses [...]

Roberto Montero Castro wrote this review at the time of Gego’s exhibition at the Museo de Arte Contemporáneo [Contemporary Art Museum] in Caracas in 1977. He referred to the idea expressed by Pythagorean philosophers—that numbers are an [...]

Roberto Montero Castro reviews Gego’s exhibition based on his conversation with the artist in the room where her Reticulárea (1969) was installed for a group show at the Galería de Arte Nacional [National Art Gallery] (GAN, 1977). He describes [...]

Roberto Montero Castro reviews the inaugural exhibition of Gego’s Reticulárea (1969) at the Museo de Bellas Artes [Museum of Fine Arts] in Caracas. Montero describes this particular work as an important achievement in which science has been [...]

In this article, critic Roberto Montero Castro presents some details on the Proyecto Manhattan [Manhattan Project] of Venezuelan-Colombian artist José Campos Biscardi, whose objective was to emphasize the presence of man in the city. [Castro] [...]

Critic Roberto Montero Castro examines the roots of the modernist aesthetic, its evolution, and its characteristics up to the 1970s, which was marked by a rupture with the formalists and rationalists that preceded it. This gave birth to a new ( [...]

Venezuelan critic Roberto Montero Castro here examines some of the opinions arising from the declarations made by Oswaldo Vigas. The author laments the “tono parroquial” [parochial tone] of the replies to the Venezuelan painter, because they do [...]

In this article, Venezuelan art critic Roberto Montero Castro provides context for TAGA (Taller de Artistas Gráficos Asociados, Caracas) [Workshop for Associated Graphic Artists, Caracas] at the moment they began their activities at Los Rosales. He [...]

This is the Venezuelan critic Roberto Montero Castro’s review of the exhibition Once Tipos de 1977 (Sala Mendoza, Caracas). He discusses the evolution of the Venezuelan visual arts, suggesting that it was interrupted in the 1950s. He analyzes [...]

In this text, Roberto Montero Castro explains the significance of this portrait painted by Francisco Rodón and why the painter decided to paint Rómulo Betancourt. The writer also notes when Rodón started and finished the work. The essay concludes [...]

In an attempt at historical reconstruction, and due to the intense political situation in Venezuela (between 1974 and 1978), art critic Roberto Montero Castro attempts to detect the presence of “the Venezuelan identity” in certain artistic [...]