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 author of this essay, Adrianne Dwyer, discusses the autobiographical references found in Magdalena Campos-Pons’s work that relate to her Afro-Cuban background, specifically the spiritual tradition of Santeria. Campos-Pons explains that her employment of Santeria symbols is intended to signify cultural hybridism rather than religious sentiments. The artist declares she has been influenced by minimalism in the way in which she displays her work, but that she rejects doctrines that limit the meaning and appreciation of art to formalist perspectives. Dwyer examines how Campos-Pons addresses the theme of psychological displacement and geographical dislocation by installing artworks in corners. She maintains that corners are crossroads; corner spaces have double significations of putting a subject in an immobile situation but also opening them up to exploring the intersection of different paths.