The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The Puerto Rican curator, Mercedes Trelles Hernández, interviews Luis Hernández Cruz, the printmaker and painter, who speaks about his education, style, approach to painting, and understanding of abstract painting. Hernández Cruz, a seminal figure in the development of abstract art in Puerto Rico, explains how he was introduced to abstract art by the Argentine critic Damián Carlos Bayón, who was a guest professor at the University of Puerto Rico at the time. The Argentine professor was teaching an art history class, in which he referred to certain essays by his mentor in Buenos Aires, the critic and art theoretician, Jorge Romero Brest. Hernández Cruz also discusses the structure he uses in his work, the difference between what he considers atmospheric and geometric abstraction, his organic paintings, and the concept of “anti-figure.”
Luis Hernández Cruz (San Juan, b. 1936) has been a tireless supporter of abstract painting in Puerto Rico. In 1977, he and fellow-artists Lope Max Díaz, Antonio Navia, and Paul Camacho organized a group called Frente [Front] as a means of uniting abstract artists and promoting their work. Hernández Cruz was also a founding member and president of the Congreso de Artistas Abstractos [Abstract Artists Conference], organized in 1984.