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.
This timeline tracks the life of Puerto Rican artist Rafael Tufiño, who lived in New York and in Mexico City. Puerto Rican intellectuals Manuel Cárdenas Ruiz and Eugenio Fernández Méndez review the graphic work produced by Tufiño between the 1930s and the 1970s. They stress Tufiño’s work as a graphic artist and discuss the prints he produced at the Centro de Arte Puertorriqueño [CAP, Puerto Rican Art Center], the División de Educación de la Comunidad [DIVEDCO, Department of Community Education], and the Instituto de Cultura Puertorriqueña [ICP, Puerto Rican Cultural Institute]. In response to his excellent work, a Puerto Rican artist was honored with the tribute-exhibition at the Tercera Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial of Latin American Prints], held in 1974.
The tribute-exhibition in honor of Rafael Tufiño, held in 1974 as part of the III Bienal de San Juan de Grabado Latinoamericano, [3rd San Juan Biennial of Latin American Prints], included linoleum prints, woodcuts, silkscreen works, book illustrations, and posters.
The Biennial de San Juan del Grabado Latinoamericano was one of the most important events held in the Caribbean region, given that it fostered an exchange of ideas and contact among different artists. The first of these biennials was organized by the Instituto de Cultura Puertorriqueña [Institute of Puerto Rican Culture] (ICP) in 1970. Printmaking was selected because it was a form of expression that was widely practiced by Puerto Rican artists, who were producing very high quality work. In 1986, “y del Caribe” [and Caribbean] was added to the name of the biennial so it could include that geographic area in the event. Parallel to this change, the biennial included two exhibitions to recognize artists’ work: one to honor a Puerto Rican artist and the other to honor a foreign artist.