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 article, members of the Border Art Workshop/Taller de Arte Fronterizo (BAW/TAF) respond to several misrepresentations of the group and factual errors about its genesis carried out by former member Guillermo Gómez-Peña. Citing quotes from interviews with Gómez-Peña, the authors refute his claims about the foundation of the BAW/TAF, the constitution of its membership, and the supposed dissolution of the organization. By listing a number of significant performances and exhibitions occurring between 1989 and 1991, the authors also dispute the notion that the group has been irrelevant since the departure of several original members, or that it has remained inactive in the absence of Gómez-Peña. The article also corrects several photo and performance credits misattributed by the artist. Lastly, stating that although Gómez-Peña declared the border as a “hollow metaphor,” the BAW/TAF insists upon its significance as an undeniable reality for those who live in the region.
This collective “Errata Historica” was compiled, printed, and inserted in the catalog for the Border Art Workshop/Taller de Arte Fronterizo (BAW/TAF) exhibition at Los Angeles Contemporary Exhibitions (LACE) in 1991–1992. This document is important because it constitutes a valuable and thorough account of the formation of BAW/TAW, a seminal bi-national artist collective established at the Centro Cultural de la Raza in San Diego in 1985. The group not only coined the artistic concept of Border Art but they also formulated its integral political practice. The text is also a strong refutation of published statements made by one of its past members, Guillermo Gomez-Peña. It makes direct references to inaccurate statements found primarily in Gomez-Peña’s essay in the Fall 1991 issue of The Drama Review (TDR) and his infamous High Performance essay published in Spring 1991 in which Gomez-Peña declared that Border Art was dead.