Documents of Latin American and Latino Art

In her introduction to the catalog for the exhibition, The Experimental Exercise of Freedom at the MOCA (The Museum of Contemporary Art, Los Angeles, 1999–2000), the curator Alma Ruiz explains that the purpose of the exhibition is to show [...]

In this article, scholar Carla Stellweg discusses the position of New York as the world art center during the 1960s and ‘70s, which attracted many artists from Latin America who came eager to experience its artistic effervescence firsthand. [...]

In this chapter from América Latina en sus artes Jorge Alberto Manrique begins by describing the artistic movements of the 1920s and comparing this period to a giant hinge that moved backward to the nineteenth century and forward to the twentieth [...]

The newspaper Excélsior reproduces an open letter to Nabor Carrillo, rector of the Universidad Nacional Autónoma de Mexico, signed by both Diego Rivera and David Alfaro Siqueiros, putting into question UNAM’s choice of Mathí [...]

Margarita Nelken reports on the Torres de Ciudad Satélite [Satellite City Towers] project that had been designed in tandem by Mathias Goeritz and the architect Luis Barragán. Although the art critic celebrates the innovative sculptural design of [...]

In this essay Teresa del Conde analyzes the characteristics of what she calls the “young painting of Mexico,” meaning those national vanguard trends that had arisen in the 1950s and that developed fully during the 1960s. Members of this group [...]

The journalist Elvira Vargas informs, in a short note, that there had been several mentions of Jaime García Terrés, director de Difusión Cultural de la Universidad Nacional Autónoma de México [director of cultural information at the UNAM], [...]

The author of this article, Julio González Tejada, refers to the exhibition El realismo de Mathias Goeritz and comments that if said exhibition intended to be an “explosion and manifestation of rebellion,” it turned out to be a symptom and [...]

The author, Alfonso de Neuvillate, comments that the exhibitions by Mathias Goeritz are always something people look forward to, because of the power of invention which characterizes his work—something infrequent in the artistic environment of that [...]

The review by Ida Rodríguez [Prampolini] is one of the most complete ever written about the exhibition by Los Hartos [The Fed-Ups]. With fondness and a nimble style she describes the work and each of the 12 personalities who participated in that [...]

These are descriptions and reproductions of some of the comments inscribed by the public on the walls of the “cubo metafísico” [metaphysical cube] during the third exhibition of the Presencia de Los Hartos [We’re Here and We’re Fed Up] [...]

Francisco Reyes Palma visits the inner complex personality of Mathias Goeritz through a detailed history of the ideas that influenced the development of the culture as well as its actors during the twentieth century. An artist of his time, Goeritz [...]

In this book, Margarita Nelken, a Spanish critic based in Mexico, discusses the development of Expressionism in Mexican art. She argues that Mexican Expressionism has a native origin that, with the passage of time, has been enriched by the different [...]