Documents of Latin American and Latino Art

In the article “Pintando con números” published in Bogotá-based newspaper El Tiempo on October 13, 1991, art critic José Hernán Aguilar reviews a solo exhibition of work by Carlos Salas Silva. The exhibition was held at Gaula, a venue that [...]

This article is from the brochure for one of the first video installations ever to be exhibited in Colombia: Gilles Charalambos “Tortas de trigo”; it was shown at the Museo de Arte Moderno in Bogotá in 1981. In the article, José Hernán Aguilar [...]

“Un exquisito ‘déjà vu’”is an article written by the critic and historian José Hernán Aguilar. It is a review of an exhibition of paintings by Carlos Salas. The article begins by describing what the author sees as a paradoxical problem [...]

The critic, José Hernán Aguilar, presents Alicia Barney as one of the Colombian artists who developed visual work that brought various kinds of ideas into play in the 1980s. The themes she portrayed included personal, regional, political, national [...]

The critic, José Hernán Aguilar, reviewed Fernando Uhía’s second individual exhibition for El Tiempo, the daily newspaper with the largest national circulation in Colombia. Entitled Pinturas [Paintings], this exhibition was held in 1991 in the [...]

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 [...]

In this article, the critic José Hernán Aguilar discusses an important date in Colombian history: April 9, 1948, the day when the political leader Jorge Eliécer Gaitán died, an event commonly referred to as El Bogotazo. Aguilar mentions the [...]

The art critic José Hernán Aguilar reviews the exhibition Adulterado [Adulterated] by Danilo Dueñas at the Gaula, mentioning the different steps the Colombian artist takes to create his works. He points out that Dueñas constantly includes [...]

“Balas privadas, corazones públicos” [Private Bullets, Public Hearts] (1994) by the Colombian critic José Hernán Aguilar (b. 1952) is a chapter from the book Nueva imagen [New Image], which presented an overview of sociopolitical and artistic [...]

In this retrospective article on Colombian art in the 1980s, critic José Hernán Aguilar condemns the unexpected turn that took place on the local art scene when Conceptualism gave way to “the artistic and ideological pluralism” prevalent in art [...]

In this text, Colombian art critic José Hernán Aguilar provides a critique of photography in Colombia in the 1980s, discussing specifically the proposals of avant-garde photographers such as Becky Mayer, Beatriz Jaramillo, Jorge Ortiz, and Adolfo [...]

Published in Re-vista, this article by José Hernán Aguilar reviews the editions of the Salón Nacional de Artes Visuales (XXVIII) and the Salón Atenas (VI) that took place at the end of 1980. In a text that is more analytical than comparative, [...]