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, artist Miguelangel Ruiz, born in Puerto Rico and based in New York City, maintains that the politicization of identity in the United States has burdened artists of non-European descent by pigeonholing them into categories that undermine the multiplicity of cultures that define the American experience. He writes that the 1992 exhibition, Remerica! Amerika, was designed to give artists a venue to express their convictions about the relationship between art, politics, and selfhood. Ruiz briefly discusses works by Papo Colo (Puerto Rico), Willlie Birch (United States), Esperanza Cortes (Colombia), and Catalina Parra (Chile).
The catalogue and exhibition, Remerica! Amerika, was part of a national effort by artists in the United States and Puerto Rico to respond critically to the 500th anniversary of the arrival of Christopher Columbus in the New World. Remerica! Amerika, held from September 8 to October 30, 1992, was curated by the artist/activist Juan Sanchez, painter, printmaker, and professor of fine arts at Hunter College, New York, NY. At the time of the exhibition and publication of its catalog, Miguelangel Ruiz was an MFA student at Hunter College.