Documents of Latin American and Latino Art

In this article, a New York art critic whose signature is the initials H. R. discusses the first version of Uruguayan artist Luis Camnitzer’s work Leftovers on exhibition in a new gallery in Manhattan. The work consists of a neat arrangement of [...]

In this essay, Venezuelan writer Vicente Lecuna discusses Turkey, an exhibition of work by Meyer Vaisman held at the Leo Castelli Gallery in New York. Lecuna describes the works as stuffed turkeys hanging in different positions over wooden boxes; [...]

In this editorial article, the Czech–Peruvian poet and critic Mirko Lauer reviews Peruvian culture on the seventh anniversary of the military coup led by General Juan Velasco Alvarado, who installed the self-styled Gobierno Revolucionario de las [...]

In this article, visual artist Humberto Junca provides a powerful critical analysis of Rosemberg Sandoval’s solo exhibition, entitled Acciones Políticas, held at Casas Riegner gallery in Bogotáin 2008. The author divides the text into three [...]

This is the catalogue for the exhibition commemorating the fifteenth anniversary of the Casa Triângulo. Organized by Maria Izabel Branco Ribeiro, the exhibition presented the history of the gallery during that time, introducing those young artists [...]

This interview with art dealer Thomas Cohn took place on the occasion of the fifth anniversary celebration of the opening of his gallery in Rio de Janeiro. The background of those first five years is the pictorial axiology of the Geração 80, [...]

In this article, the journalist Celso Fioravante explains that the Brazilian gallery Camargo Vilaça was asked to participate in the contemporary art fair in Madrid (ARCO, 1996). Fioravante reports that this involvement in the Spanish event was part [...]

This text by Celso Fioravante was featured in the catalogue to the exhibition Arco das Rosas: o marchand como curador, curated by José Roberto Aguilar, and held at the Casa das Rosas in São Paulo in 2001. In it, Celso Fioravante analyzes the role [...]

The journalist and curator Lisette Lagnado interviews the gallery owner Fernando Millan, who was also the director of the MASP (Museu de Arte Moderna de São Paulo) in the 1940s. According to Millan, the secret of the museum’s success as an art [...]

As this interview by Rodrigo Naves with Raquel Arnaud explains, Arnaud first got involved with the Brazilian art scene at the Museu de Arte de São Paulo (MASP) between 1968 and 1971, under the guidance of the museum’s founder and director, Pietro [...]

This is a report on the closing of Rex Gallery & Sons in 1967, a sad event due to the importance of that venue for Brazilian art from the sixties; the gallery played an important role in the struggle against a form of abstraction that no longer [...]

In the early 1970s, when Amílcar de Castro was in New York for the group shows where he was exhibiting, he was surprised by the number of galleries in the city. His enthusiasm is reflected in his assessment of the commercial success of art that [...]

Artist Antonio Henrique Amaral comments on remarks that Czech philosopher and writer Vilém Flusser made about works from Amaral’s Campos de Batalha [Battlefields] series. Amaral objects to the commentary made by Dan Stancy that Flusser quotes in [...]

Agnaldo Farias wrote the text presenting the exhibition Galeria Luisa Strina: 20 anos de arte brasileira, held at the Museu de Arte de São Paulo (MASP) in 1994. According to Farias, the show of artists still active who had previously exhibited work [...]

The manifesto that launched Rex Gallery & Sons in the city of São Paulo addresses in passing issues facing the visual arts in Brazil such as the paucity of galleries that support the production of artists, the lack of specialized art criticism, [...]

This was an interview by the critic María Margarita García of the artist Danilo Dueñas, speaking in connection with his exhibition Adulterado en el espacio GAULA. The interview covers several issues related to Dueñas’s work, such as theoretical [...]

The photographer Samuel Santiago includes several brief reviews of the eleven exhibitions he has organized at the Galería Pintadera. He thanks those who generously provided assistance, especially the media for their coverage, and the artists from [...]

The Puerto Rican artist, Félix Rodríguez Báez, wrote a letter to all the members of the Galería Campeche [Campeche Gallery] in which he asked them to read and comment on the rules. He also sent them two invitations in which he established the [...]

The critic Margarita Nelken analyzes the success of the show organized at Galería Excélsior under the title Arte y Libertad [Art and Freedom] by the Asociación Mexicana por la Libertad de la Cultura. “The key feature of this exhibition is the [...]

The author, Nelly Richard, suggests an analogy between Galería Metropolitana’s location in an outlying area of the city (Comuna Pedro Aguirre Cerda in Santiago) and its editorial approach. She uses symbolic opposites, such as center and [...]