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 essay provides a biographical overview of the career of mural artist Nitza Tufiño, the daughter of Puerto Rican printmaker Rafael Tufiño. In it, curator Susana Torruella Leval describes Nitza Tufiño’s process of creating a ceramic tile mural for a New York City subway station in East Harlem. The author discusses Nitza’s incorporation of Taíno, Aztec, and Mayan iconography in her murals; moreover, her commitment to public art; the training of young people in the arts through the establishment of apprenticeship programs in public schools; and her longstanding involvement with El Museo del Barrio and Taller Boricua. Torruella Leval notes that Nitza Tufiño stands as one of the few Puerto Rican female artists to obtain recognition in a male-dominated field.
In 1971, Nitza Tufiño joined the artist collective, Taller Boricua; since then she has been its longest standing active female member. Although she has had several public art commissions, has been written scarcely about her work. This exhibition brochure was published to commemorate a ceramic tile mural she created for the 103rd Street subway stop in East Harlem.