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.
In this essay, art critic Lucy Lippard acknowledges that the Taller Boricua artists collective contributed to diversifying the New York art milieu in the 1970s and 1980s by engaging in political actions and creating works that explored issues of ethnicity, race, and identity. She maintains that bicultural, bilingual artists like those who belong to the Taller Boricua collective are producing the most interesting approaches in the United States because they expose the lingering existence of prejudice, exoticism, and exploitation of ethnic minorities in North America while also positing liberation from these social confinements by redefining themselves and their cultures of origin.
Lucy R. Lippard is an internationally known writer, activist, and curator from the United States. She was among the first writers to recognize the dematerialization at work in Conceptual art, and was an early champion of feminist art, and art by ethnic minorities. She is the author of eighteen books on contemporary art including Mixed Blessings: New Art in a Multicultural America (1990). Lippard’s association with the Puerto Rican/Latino arts community in New York dates back to the late 1960s when she was a member of the Art Workers’ Coalition. She has written essays and reviews on many Latina/o artists in the United States. This paper was written to commemorate the twentieth anniversary of Taller Boricua, a New York-based collective of Puerto Rican artists.