Documents of Latin American and Latino Art

This article describes and analyzes the role of the “recipient” of the various messages expressed by the visual arts. At the end of the dictatorship period (1973–85), Uruguayan artists once again sought to come to grips with the question of [...]

The graphic designer Jesús Ruiz Durand replies to the five questions asked in the survey conducted by the Casa de la Cultura del Perú. The questions were about the attendance of the public in galleries, how to communicate with other [...]

The brochure Trastorno: diálogo entre Jaime Iregui y Carlos Salas records a conversation held between the two Colombian artists in May 1999, days before their joint exhibition at the Museo de Arte Moderno in Pereira. The Pereira exhibition would [...]

This commentary by Mário Pedrosa centers on the large audiences that admired and interacted with the works exhibited at the IX São Paulo Biennial (1969). He states that: “art has ceased to be that distant and humorless thing, that terribly [...]

Influential theorist Ferreira Gullar comments on the emergence of an art of the masses and what that implies “for the reexamination of the aesthetic concepts we use to appreciate art.” Gullar considers what the specific place of the viewer would [...]

The question that constitutes the title of this article is posed as a challenge not only to intellectuals, but to society as a whole. In its attempt to answer that question, Revista Flash decided to interview individuals in the art world, despite the [...]

Mário Pedrosa analyzes Lygia Clark’s artistic career beginning with the elimination of frames for her canvases (during the 1950s) through to the incorporation of the viewer’s action into her work (see her Bichos series) and the full integration [...]

In this 1968 article, Marta Traba discusses the conservative, violent reaction to the exhibition Espacios Ambientales [Environmental Spaces] at the Museo de Arte Moderno in Bogotá. Traba defends the exhibition and supports the experimental approach [...]

Damián Bayón presented the La Inestabilidad [Instability] exhibition at the Museo Nacional de Bellas Artes in Buenos Aires in1964, basing his premise on the static nature of the Renaissance space that evolved from the proscenium of “Italian style [...]

León Ferrari explains the method he used to develop the text based on reports from the news media. He discusses his ideas for staging the work [...]

In this article, Abraham Haber examines the viewer’s relationship with Perceptivist art, indicating how it differs from representative painting. The author explains that this is an excerpt from the essay that will be published in the book titled El [...]