Documents of Latin American and Latino Art

In 1943, an exhibition consisting of twenty-two Argentinean artists organized by the Argentinean art critic Jorge Romero Brest and sponsored by the Comisión Nacional de Bellas Artes de la Argentina [National Commission of Fine Arts of Argentina] [...]

In the framework of celebrations marking the first century of Uruguayan Independence (1930− 1931), the Comisión Nacional del Centenario favored an exhibition consisting of modern Argentinean artists from Buenos Aires [...]

This article published in the Boletín de Artes Visuales summarized the exhibition Exposición de arte suramericano de hoy that was presented in the United States by José Gómez Sicre at the Museum of Fine Arts, Dallas (Texas [...]

This interview focuses on the dispute between advocates for figurative art and those for abstract art; Raquel Forner represents the figurative contingent and Lidy Prati, a member of the new generation associated with Concrete Art, represents the [...]

The Argentine critic Silvia de Ambrosini claims that there have always been “opponents” in the art field. In her opinion, these “opponents” are what revitalizes the creative atmosphere. She says that in Latin American art & [...]

Leonardo Estarico critiques the seven artists (Antonio Berni, Lino Enea Spilimbergo, Horacio Butler, Ramón Goméz Cornet, Héctor Basaldúa, Aquiles Badi, and Emilio Pettoruti) who exhibited at Amigos del Arte [Friends of Art [...]

Antonio Berni writes about moral issues, and discusses what people can actually do in response to the injustice and criminal activities in the world. He reviews the work of Raquel Forner, attempting to explain it through a series of formal, technical [...]

Julio Rinaldini criticizes the exhibition of modern artists in Amigos del Arte [Friends of Art] and maintains that it conceals a disturbing situation under a pleasant tone: modern painting is not liberty without control, he states. The critic defends [...]

Cayetano Córdova Iturburu introduces the exhibition of prints by Nelia Licenziato at Galería Lirolay (Buenos Aires, June, 1963) and expresses great enthusiasm for those who conquer interplanetary spaces. The critic also mentions the vitality of the [...]

In this article dealing with the Salón de Primavera [Spring Salon], Alfredo Chiabra-Acosta explores different aspects of the art field: both the state and the traits of contemporary art criticism, the difference between the modern and the new art [...]