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.
According to the Argentine critic Marta Traba, eroticism “is one of the most effective ways for modern art to reconnect with mankind and with reality.” She compares the major differences between eroticism and pornography and claims, for example, that eroticism is an artistic structure that attracts viewers, whereas pornography is a market product that breeds addicts and is a byproduct of western capitalism, especially in the United States. She goes on to discuss the work of Zilia Sánchez, the Cuban artist living in exile in Puerto Rico, whom she considers exceptional and whose work always creates rhythmic associations with sexual subject matter. Traba remarks on the interesting fact that the two Latin American artists who explore eroticism in their art are both Cuban: Zilia Sánchez and Agustín Fernández.
The magazine Zona de Carga y Descarga [Loading and Unloading Zone] (1972–1975) was published by Rosario Ferré and Olga Nolla. This magazine published the works of many of the young writers in the 1970s, whose postmodern discourse experimented with a variety of critical approaches.
Zilia Sánchez is an exiled Cuban artist who lives in Puerto Rico. She is responsible for the design and photomontage of Zona de Carga y Descarga magazine, which supports independence, socialism, solidarity, and social revolution. Sánchez chose to withdraw from the group because she was a Cuban exile with no interest whatsoever in supporting the revolution.
Marta Traba (1930–1983) published a substantial number of articles in the various countries where she lived. When she arrived in San Juan, Puerto Rico, she had previously lived in Bogota, New York, Paris, and Buenos Aires. From August 1970 through the summer of 1971, the University of Puerto Rico at Río Piedras engaged her to teach a course on Latin American art as well as the obligatory courses on the General Theory of Art History (201) and the History of Modern Art (213), among others, in the department of fine arts. In the summer of 1971, she taught a class on aesthetics. At the end of the summer, the University did not renew her contract. While she was living in Puerto Rico, Traba wrote books, and many newspaper and magazine articles, in which she expressed her views on Puerto Rican art, which prompted considerable response and criticism in art circles.