Documents of Latin American and Latino Art

Invitation card for the show Arte Destructivo [Destructive Art]. It is relevant to understand the formal mechanisms of the artistic milieu activated by artists in order to promote the exhibition. Thus exaggerating the show’s radical impact facing [...]

Cayetano Cordóva Iturburu gives a positive critique of the Destructive art exhibition due to its intelligent organization of the artworks, as well as for the expanded interpretation of art as either life blasted experience or a new poetics [...]

Robert Cox writes that, in the exhibition Arte Destructivo at Galería Lirolay, the artists have created a smart form of displaying destruction, as the antithesis of creation. He refers to both the sale of the works and the participation of the [...]

In this text—the foreword to the exhibition catalog El Tao del Arte exhibition (Buenos Aires: Centro Cultural Recoleta, May 13–June 8, 1997)—, Jorge Gumier-Maier narrates how the conditions of the Centro Cultural Ricardo Rojas, “a place [...]

Luis Felipe Noé wrote on the difficulty of an artist understanding the work of another painter, which, in his opinion, required a relinquishing act. Noé’s interpretation of the works of Jorge López Anaya, seen within an Informalist trend context [...]

Kenneth Kemble writes that the Palanza Award was a disappointment because those who were invited to participate, the great majority of them, showed works of a lesser quality; also, he believes that a shift in the public’s aesthetic taste has taken [...]