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.
Alberto Beltrán, a Mexican artist, writes to his friend, Puerto Rican printmaker Lorenzo Homar, to thank him for his earlier letter explaining the problems surrounding the IV Bienal de San Juan del Grabado Latinoamericano [4th San Juan Biennial of Latin American Prints], which had been scheduled for 1976. Beltrán expresses his thoughts on the state of the graphic arts in Latin America, and remarks that many artists seem to be concerned about producing work that “is consistent” with what galleries want and request. He goes on to say that Aníbal Rodríguez Vera—a member of the program for the promotion of traditional art at the Instituto de Cultura Puertorriqueña [ICP, Puerto Rican Cultural Institute]—had been in Mexico to attend the Congreso Mundial de Artesanías [World Handcrafts Conference]. Rodríguez Vera was enthusiastic about the chance to make contact with other Latin Americans. Beltrán asks Homar whether, in light of what had happened with the 4th Biennial, it was advisable to work with the ICP and, in closing, thanks Homar for sending some of his posters.
The IV Bienal de San Juan del Grabado Latinoamericano was cancelled by the Instituto de Cultura Puertorriqueña [ICP, Institute of Puerto Rican Culture] because of the protests initiated by the artists who were against using funds provided for celebration of the Bicentennial of U.S. Independence. However, Lorenzo Homar had no desire for the IV Bienal to be cancelled. According to him, it would be much more effective if the international press informs the world that U.S. independence was being celebrated in a U.S. colony, the island of Puerto Rico. Indeed, many artists criticized Homar for having started the protest.