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.
This document is a letter by Felipe Buendía to the Lima magazine Caretas in response to the commentary on a previous letter of his. The writer and journalist states that he was branded as “resentful of society” based on his previous letter. He rejects this label, stating that is appropriate only for those who cling to “the time bomb of their proletarian, bourgeois, anarcho-syndicalist aggression.” The reply from Caretas is brief and categorical: “you are guilty of being over dramatic.”
Founded in 1947, the Galería de Lima led to the establishment of the IAC (Instituto de Arte Contemporáneo) eight years later. From that time onward, the IAC played a key role in revitalizing the art scene, and putting it in contact with cosmopolitan developments, exhibiting national and foreign work, as well as organizing conferences and debates.
In September 1966, the IAC inaugurated its new location with El cubo blanco, an exhibition of Chilean painter Roberto Matta (1911–2002). At the opening ceremony, a group of young artists was denied entry, according to two letters written to Caretas magazine by Felipe Buendía. This situation foreshadowed the exclusion of a new generation from the Festival Americano de Pintura, organized by the IAC; this event triggered the formation of the Arte Nuevo group and the radicalization of the experimental avant-garde in Peru.