Documents of Latin American and Latino Art

U.S. critic Shifra M. Goldman comments on the importance of the Bienal de San Juan del Grabado Latinoamericano y del Caribe [San Juan Biennial of Latin American and Caribbean Graphic Art] for Puerto Rico, Latin America, and the Caribbean. At the VII [...]

The question asked by French art critic Pierre Restany in this article is this: how is the political and general cultural context of the 1990s, characterized by the double presidential mandate of Carlos Saúl Menem, related to artistic [...]

After discussing the origins of the São Paulo Biennial and the earliest incidents of censorship imposed by Brazilian authorities on artists who submitted their work to the Paris Biennale, Matta points out that an injustice had occurred in February [...]

Edgardo Antonio Vigo’s response to the summons to side against the 1971 São Paulo Biennial. This artist explains that—upon being invited to the event—he had already agreed to participate. The subsequent resignation of the Argentinean selection [...]

The text contains records of the artists connected to the Centro de Arte y Comunicación (CAyC) [Center of Art and Communication] who participated in the exhibition, Arte de Sistemas II [Systems Art] (Buenos Aires, September 1972). Each record [...]

This document is a catalog of the exhibition El Grupo de los Trece en Arte de Sistemas [The Group of Thirteen in Systems Art] (Buenos Aires: Centro de Arte y Comunicación, December 1972 – March 1973 [...]

This new pamphlet, titled “La Nueva Moda” [“The New Style”], demonstrates the inherent contradiction between participating in an exhibition and, at the same time, formulating an extreme critique to be produced within that art institution.  [...]

This document from the Centro de Arte y Comunicación [Center for Art and Communication] presents the declarations made by different people and international cultural organizations to the president of the Republic, Lieutenant General Alejandro Agust [...]

The text reproduces the speech given by the director of the Museo de Arte Moderno, Guillermo Whitelow, during the opening of the Arte de Sistemas [Systems Art] exhibition ( Buenos Aires: Museo de Arte Moderno, July 1971). His words underscore the [...]

The catalogue for Juan Carlos Romero’s Violencia [Violence] exhibition (Buenos Aires: Centro de Arte y Comunicación [Art and Communication Center], April 1973). In his essay in the catalogue, Jorge Glusberg states that Romero has always challenged [...]

This is the text of the program for the seminars that were proposed by the Centro de Arte y Comunicación [Art and Communication Center] in 1970. The underlying theme of the sessions was the relationship between art and other disciplines or phenomena [...]

This text reports on the 3rd Medellín Biennial. Among other details, it lists the number of rooms used in the event, the number of participating artists, and the members of the panel of judges. It also mentions the exhibitions presented by the [...]

This document announces both the opening of the Escultura, follaje y ruidos [Sculpture, foliage, and noise] exhibition in Buenos Aires (Plaza Rubén Darío, November 7–30, 1970), but also its key proposal: to generate urgency for [...]

This document, produced by the Centro de Arte y Comunicación [Art and Communication Center], is a collection of statements issued by a variety of representatives of international cultural organizations. They were addressed to the president of the [...]

The text finds the problem of the lack of connection between the “men of reflection (scientists, philosophers, theorists) and “men of action (artists, technicians, planners, operators)” producing, as a result, “thinkers removed from reality [...]

The text announces the Arte conceptual [Conceptual Art] exhibition (Buenos Aires: Centro de Arte y Comunicación [Art and Communication Center], December 1970) organized by Lucy Lippard and Jorge Glusberg. There is a description of Conceptual Art, [...]

This text states that the exhibition, Arte de Sistemas [Systems Art] (Buenos Aires, Museo de Arte Moderno, July 1971), contains elements that would “para entretener —o escandalizar— al público […] sirve para medir […] no solo una posición [...]

The text describes both the nature and the objectives of the Escuela de Altos Estudios [School of Higher Education]: “It is an interdisciplinary group created to promote the development of relevant intelligence that, using the most advanced [...]