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The text explains the objectives of the exhibition New Art of Argentina (Minneapolis: Walker Art Center, September 9–October 11, 1964); the characteristics of Argentinean art united to the successive immigration waves that happened to that country from the 19th century on; repercussions of Argentinean art in the United States, in relation to prior exhibitions as well as the novelty that they introduce, aside from questioning the impossibility of Argentina ever presenting a “national style” at some point. Lastly, it points out that this is the second exhibition carried out by the Walker Art Center dedicated to Latin American contemporary art, singling out the institutions and personalities that were fundamental in making New Art of Argentina possible.
The New Art of Argentina exhibition was organized by the Walker Art Institute (Minneapolis, MN) in a joint effort with the Visual Arts Center of the Instituto Torcuato Di Tella, directed by Jorge Romero-Brest. Aside from being presented in these two institutions, it was also exhibited in the Akron Art Institute (October 25–November 29, 1964), in the Atlanta Art Association (December 13, 1964–January 17, 1965), and in the Archer M. Huntington Art Museum, at the University of Texas, Austin (February 7–March 14, of the same year). The participating artists were: Hugo R. Demarco, Julio Le Parc, Luis Tomasello, Carlos Silva, Eduardo A. Mac-Entyre, Víctor Magariños D., Miguel Ángel Vidal, Sarah Grilo, José Antonio Fernández-Muro, Miguel Ocampo, Kazuya Sakai, Clorindo Testa, Mario Pucciarelli, Osvaldo Borda, Víctor Chab, Martha Peluffo, Rogelio Polesello, Ernesto Deira, Rómulo Macció, Jorge de la Vega, Luis Felipe Noé, Antonio Seguí, Delia Sara Cancela, Carlos Squirru, Delia Puzzovio, Marta Minujín, Antonio Berni, Rubén Santantonín, Libero Badíi, Noemí Gerstein, Ennio Iommi, Gyula Kosice, Alicia Penalba, and Marino Di Teana. The proposed itinerary for this exhibition fulfills one of the main objectives of the Instituto Torcuato Di Tella: the internationalization of Argentinean art and the incorporation of the national aesthetic into the evolution of the international avant-garde.