The New York Times (New York, USA). --- Feb. 5, 1982
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 her review of a retrospective exhibition of the art of Marcos Dimas at El Museo del Barrio, Grace Glueck discusses the following works: El Bohique, Ritual Assemblages, Tribute to Tito, The Voyager, and Dream Room. She describes Dimas as fusing ancient imagery with a modern urban consciousness. While she found his paintings dreamlike and spiritually evocative, Glueck concluded that Dimas’s assemblages and installations were stronger and more innovative. Drawing parallels between the art of Rafael Ferrer and Bette Saar, Glueck concludes that Dimas’s assemblages were uniquely inspired.
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 review by Grace Glueck drew attention to Dimas’s retrospective exhibition at El Museo del Barrio, entitled The Voyager, which was held from November 6, 1981 to February 5, 1982. The Voyager is Dimas’s only major retrospective to date.