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 letter, artist Marcos Dimas writes to art critic Lucy R. Lippard and invites her to review his exhibition at El Museo del Barrio. Dimas discusses his participation in an activist artist collective, known as the Art Workers’ Coalition, and his role in cofounding Taller Boricua, a Puerto Rican artist collective in East Harlem, New York City. He mentions Marcel Duchamp, Robert Rauschenberg, pre-Columbian, and Native-American art as his artistic influences. Thus, he states that his work intends to contribute to the socio-cultural revolution that began in the 1960s, bringing to attention artists and cultures that have suffered colonization and/or marginalization.
Marcos Dimas is one of the cofounders of Taller Boricua, the oldest Puerto Rican artist collective in East Harlem (El Barrio), New York City. The letter was written to draw critical attention to his retrospective exhibition at El Museo del Barrio, entitled The Voyager, held from November 6, 1981 to February 5, 1982. In addition to the letter, Dimas wrote an artist statement for the retrospective catalogue. Although Lippard declined to write about Dimas’s work, New York Times art critic, Grace Glueck, gave the exhibition a favorable review. This was Dimas’s only major retrospective to date.