Jorge Soto, Taller Boricua, 1974. Collection of Marcos Dimas, New York City. Source: Courtesy of Marcos Dimas.
19.1
Juan Acha, Papel y más papel (Paper and More Paper) exhibition, June 1969, Lima. Source: Courtesy of Mario Acha.
21.1
Grupo Proceso Pentágono, Hay que hacer un cuadro (Let’s Make a Painting), 1980. Collection of the Instituto Nacional de Bellas Artes, Mexico. Source: Courtesy of the Instituto Nacional de Bellas Artes.
Antonio Dias. Project for “The Body,” 1970. Acrylic on canvas, 200 × 600 cm. Source: Collection Daros Latinamerica, Zurich. Photograph, Udo Grabow. Reproduced with permission.
24.1
Jennifer Allora and Guillermo Calzadilla, Land Mark (Foot Prints), 2001–2002. 24 color photographs, 50.8 × 60.9 cm. (20 × 24 in.) each. Collection: Princeton University Art Museum. Source: Courtesy of the artists.
25.1
Las Yeguas del Apocalipsis, The Two Fridas (detail), 1990, performance‐installation (3 hours) and staged photograph (160 × 150 cm), Galería Bucci, Santiago. Museo Nacional de Bellas Artes Collection, Santiago, Chile. Source: Photograph, Pedro Marinelo.
26.1
Tania Bruguera, Autobiografía (Versión dentro de Cuba) (Autobiography [Version Inside Cuba]), 2003. Sound installation, Havana, Museo Nacional de Bellas Artes. Source: Photograph courtesy of Tania Bruguera.
Freddy Rodríguez, A Rod Six of Thirteen, 2007. Acrylic on canvas, 40 × 40 in. Source: National Portrait Gallery, Smithsonian Institution, Washington, DC.
29.1
Central Cemetery on 26th Avenue, Bogotá, Colombia, with the façade of the Central Cemetery Columbarium, with a small portion of the work Auras anónimas (Anonymous Spirits) by Beatriz González, and a fading scripture by Antanas Mockus. Source: Courtesy of Ana María Reyes.
30.1
Parque de la Memoria (Park of Remembrance). Monumento a las Víctimas del Terrorismo de Estado (Monument to the Victims of State Terrorism). Buenos Aires, 2007. Source: Photograph, Andrea Giunta.
31.1
Interior of the National Museum of Fine Arts located at the Bon Marché store(ca. 1906). Archivo General de la Nación, Argentina. Image in the public domain.
32.1
Raphael Montañez Ortiz, Duncan Terrace Mattress Destruction for the Destruction in Art Symposium, London, England, 1966. Source: Photograph, John Prosser. Courtesy of Raphael Montañez Ortiz.
34.1
Brazalete Tomaraho, Ishir, 2002. Color photograph, 45.8 × 64.7 cm. Source: Photograph courtesy of Nicolás Richard.
Alejandro Anreus, PhD, is Professor of Art History and Latin American/Latina/o Studies at William Paterson University, New Jersey, USA. He is the author of Orozco in Gringoland (2001), Ben Shahn and the Passion of Sacco and Vanzetti (2001), the A Ver series monograph Luis Cruz Azaceta (2015), and the forthcoming Havana in the 1940s. Artists, Critics and Exhibitions (2022), and The Dark is Light Enough: Raul Milián (2023), as well as co‐editor/contributor of The Social and The Real (2006) and Mexican Muralism: A Critical History (2012). His articles and essays have appeared in Art Journal, Third Text, Art Nexus, Encuentro de la Cultura Cubana, Diario de Cuba and Commonweal. He is President Emeritus of the Joan Mitchell Foundation.
Robin Adèle Greeley, PhD, is Associate Professor of Art History at the University of Connecticut, USA, and Affiliate Faculty at Massachusetts Institute of Technology, Massachusetts, USA. Her scholarship focuses on politics in relation to modern and contemporary art from Latin America. A founding member of the Symbolic Reparations Research Project, she also analyzes policies and practices of memorialization in symbolic reparations for victims of human rights violations in the Americas. Her books include Surrealism and the Spanish Civil War (2006); Mexican Muralism: A Critical History (co‐edited, 2012); The Logic of Disorder: The Art and Writings of Abraham Cruzvillegas (2015), and Interculturalidad y sus imaginarios: Conversaciones con Néstor García Canclini (co‐authored, 2018).
Megan A. Sullivan, PhD, is Assistant Professor of Art History and the College at the University of Chicago, USA, where she teaches courses on modern and contemporary art from Latin America. Her research focuses on the relationship of modernism and modernity outside of the North Atlantic. She is the author of Radical Form: Modernist Abstraction in South America (2021), and her scholarship has also appeared in October and Oxford Art Journal.
Notes on Contributors
Francisco Alambert is Professor of Social History of Art at the University of São Paulo, Brazil. As an art critic, his articles and essays appear in several newspapers and magazines in Brazil, Latin America, and Europe. He has published Biennials of São Paulo: From the Era of Museums to the Era of Curators (Boitempo, 2004); “For a (social) History of Brazilian art” (In Barcinski, Fabiana, On Brazilian Art: From Prehistory to the 1960s, 2015); “The Oiticica Fire” and “1001 Words for Mario Pedrosa” (both in Art Journal); “The Key Role of Criticism in Experimental and Avant‐Garde Trends: Mário Pedrosa” (In Olea, Héctor; Ramírez, Mari Carmen. Building on a Construct: The Adolpho Leirner Collection of Brazilian Constructive Art at the Museum of Fine Arts, Houston, 2009); “El Goya Vengador en el Tercer Mundo: Picasso y Guernica en Brazil” (In Giunta, Andrea, El Guernica de Picasso: el poder de la representación, 2009).
Rocío Aranda‐Alvarado is a program officer for the Ford Foundation, working in the Creativity and Free Expression group. She is the former curator of El Museo del Barrio
