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Marcos Dimas discusses his participation in a 1969 group show of Puerto Rican artists at the Brooklyn Museum where he displayed two paintings, and his first assemblage. Dimas notes that he met the future cofounders of the Puerto Rican artist collective, Taller Boricua, namely Adrian Garcia, Armando Soto, and Martin Rubio, at the mentioned Brooklyn Museum exhibition. Dimas additionally recalls meeting the founding father of El Museo del Barrio, artist Rafael M. Ortiz, in 1970, and becoming involved in the activist artist collective, The Art Workers’ Coalition. Dimas states that during this time he cofounded Taller Boricua; thus, he began to abandon his formal art school training in favor of working without any preconceptions. Moreover, Dimas notes that he began integrating Taíno iconography into his art during the early 1970s, and continues to draw on pre-Columbian sources in his present work. He describes himself as a spiritual voyager into the past, and mentions the following works as landmarks in his career: Pariah; Time Past; Half Moon; Opiyel Guaurioban; The Voyager; Tribute to Tito; and Spirit Trap.
Marcos Dimas is one of the founding fathers of Taller Boricua, the oldest Puerto Rican artist collective in East Harlem (El Barrio), New York City. This artist statement was written for the retrospective exhibition catalogue, The Voyager. The catalogue also contains an essay on Dimas’s work written by artist, Rafael M. Ortiz (doc. No. 802904), and one by Grace Glueck (doc. No. 802919). Organized by El Museo del Barrio in 1982, The Voyager is Dimas’s only major retrospective to date.