Documents of Latin American and Latino Art

In this essay, Ferreira Gullar challenges the position taken by Rio de Janeiro’s so-called neo-Concrete artists in his account of the two movements’ shared history and disagreements. In his opinion, the genesis of Brazilian Concrete art [...]

Jorge Romero Brest writes to Enio Iommi inviting him to participate in the Torcuato Di Tella Institute Prize (1962 edition), enclosing the rules. In addition, he informs him that he will be able to apply for the National Prize (and eventually for the [...]

This article analyzes the sculpture exhibition held at Galería Krayd, emphasizing the modern concept that understands the sculptural object as a unity of volume and space. In this way, Pellegrini observes that while some artists discard volume and [...]

The document is in reference to the presentation of the Argentinean delegation organized by the Subsecretaría de Difusión del Ministerio de Relaciones Exteriores de la República Argentina [Undersecretary for Dissemination of the Ministry of [...]

This document is the forewod to the Grupo de Artistas Modernos Argentinos [Modern Artists Group of Argentina] exhibition that presented works by the concrete artists Tomás Maldonado, Alfredo Hlito, Enio Iommi, Claudio Girola, Lidy Prati, as well as [...]

Using the Grupo de Artistas Modernos de la Argentina exhibition held at Galería Krayd in 1953 as a starting point, Jorge Romero Brest writes a critical text explaining his motives for supporting Concrete art. He proposes—in a prophetic tone—that [...]