Documents of Latin American and Latino Art

The text, “¿Arte joven?” [Young Art?] by art critic Eduardo Serrano Rueda introduces the exhibition Nombres nuevos en el arte de Colombia [New Names in Colombian Art] held at the Museo de Arte Moderno [Museum of Modern Art] in Bogotá in March [...]

In the catalogue for the first edition of the Salón Atenas exhibitions, Eduardo Serrano Rueda explains the project’s goal of supporting local emerging artists and promoting their work. After stating the rules that were developed to ensure the open [...]

The “Acta de constitución del Museo de Arte Moderno de Bogotá” [Articles of Association of the Museum of Modern Art in Bogota] begins with the following two lines: “On November 20, 1962, at the Teatro Colón, at 7 p.m., the Museo de Arte [...]

In her column in the newpaper El Tiempo, Carolina Ponce de León presents her view of the XXXI Salón Nacional de Artistas. She addresses specifically the event’s organization and the intention, which she supports, to hold regional versions, which [...]

Written by Marta Traba and published in the magazine Arte en Colombia, “El VII Salón Atenas” is perhaps the harshest criticism of the Colombian salons held in November. Traba argues that despite belief to the contrary, the Salon Atenas has not [...]

“I Bienal de Arte de Bogotá” [1st Bogotá Art Biennial], by the Colombian critic and curator Miguel González, is a newspaper article about the event that took place at the Museo de Arte Moderno [Museum of Modern Art] in Bogotá in 1988. Gonzá [...]

This text by Eduardo Serrano is the introduction to the book Historia de la fotografía en Colombia (1840-1950). In it, Serrano explains the importance of the publication of this book for the fields of art and history insofar as it recovers the [...]

In the article “Los años setentas y el arte en Colombia,” written for the Medellín-based magazine, Re-Vista del Arte y la Arquitectura en América Latina, art critic and curator Eduardo Serrano Rueda takes stock of the Colombian art scene in [...]

In 1983, the Taller La Huella [Imprint Workshop] produced the first detailed history of Colombian photography between 1841 and 1948. It was based on a review of the relationship between local visual history and the general patterns of the practice of [...]

The critic, José Hernán Aguilar, reveals a confrontation in the Colombian art world, whose interests square off around the definition of “contemporary art,” using it as a warhorse. The writer asserts that “conservative” critics, artists and [...]