Documents of 20th-century Latin American and Latino Art Home


Editorial Board

The Documents Project is governed by a sixteen-member Editorial Board comprised of art historians, curators, and scholars from the United States and Latin America, dedicated to the field of Latin American and Latino Art.

Click on the names of the Editorial Board members for a brief biography.

Beverly Adams, Ph.D., The Diane and Bruce Halle Collection, Scottsdale, Arizona
Beverly Adams received a B.A. in Latin American Studies, as well as M.A. and Ph.D. degrees in Art History, from the University of Texas at Austin. From 1997 to 1999 she taught at Arizona State University in Phoenix, Arizona. Dr. Adams served as assistant curator of Latin American art at the Archer M. Huntington Art Gallery (now the Jack S. Blanton Museum of Art), University of Texas at Austin (1989–94); as the Brown Curator of Latin American Art at the San Antonio Museum of Art (1996–97); and as curator of Latin American art at the Phoenix Art Museum (1997–2001). Among the exhibitions she has organized are Constructing a Poetic Universe: The Diane and Bruce Halle Collection of Latin American Art (The Museum of Fine Arts, Houston, 2007), The Phoenix Triennial 2001 (Phoenix Art Museum), The Secret Lives of Toys: Liliana Porter Photographs (Phoenix Art Museum, 2000), and Mexican Modern: Selections from the Permanent Collection (Phoenix Art Museum, 1999). Her publications include essays for exhibition catalogues focusing on Latin American art, including the catalogue for Constructing a Poetic Universe: The Diane and Bruce Halle Collection of Latin American Art (The Museum of Fine Arts, Houston, 2007) and “School of the North: the New York Graphic Workshop in New York, 1964–1970,” in The New York Graphic Workshop: 1964–1970 (Blanton Museum of Art, 2009). Currently, Dr. Adams is curator of modern and contemporary Latin American art for the Diane and Bruce Halle Collection in Phoenix.
Gilberto Cárdenas, Ph.D., Institute for Latino Studies, University of Notre Dame, South Bend, Indiana
Gilberto Cárdenas was appointed Assistant Provost and Director of the Institute for Latino Studies at the University of Notre Dame in July 1999. He holds the Julián Samora Chair in Latino Studies and is Professor of Sociology. Previously, Dr. Cárdenas was Professor of Sociology at the University of Texas at Austin. He continues to serve as Executive Director of the Inter-University Program for Latino Research, a consortium of eighteen Latino-focused research centers located at major U.S. higher education institutions. A former director of the University of Texas Center for Mexican American Studies, Dr. Cárdenas has authored and edited several books and articles on immigration, including coauthoring Los Mojados (University of Notre Dame Press, 1971) and co-editing Health and Social Services among International Labor Migrants: A Comparative Perspective (University of Texas Press, 1997). He was the editor of a multi-volume series on migration and border studies published by the Center for Mexican American Studies Books and founding Executive Producer of the award-winning NPR radio program “Latino USA,” produced and distributed nationally by the University of Texas at Austin. Dr. Cárdenas is a member of the President’s Commission on White House Fellowships, the Advisory Council of the Bill and Melinda Gates Foundation “Gates Millennium Scholars Program,” the Board of Directors of the Mexican American Legal and Educational Defense Fund, the Smithsonian National Board for Latino Initiatives, the Board of Directors of the Mexican Fine Arts Museum, Chicago, and Self-Help Graphics, Los Angeles. An avid collector of Latino art, he was the owner and President of Galería Sin Fronteras, Inc., a commercial art gallery based in Austin, Texas.
Karen Cordero, CURARE, Espacio crítico para las artes/Universidad Iberoamericana, Mexico City, Mexico
Karen Cordero is a full-time professor in the Art History Department of the Universidad Iberoamericana in Mexico City, as well as a part-time professor in the Graduate Program in Art History at the Universidad Nacional Autónoma de México. She is a founding member of CURARE, Espacio crítico para las artes, an alternative center for the study and discussion of contemporary art in Mexico City. Cordero completed her undergraduate work in Art History and Spanish at Swarthmore College and her graduate studies in Art History at Yale University. The author of numerous publications on twentieth-century Mexican art, she has focused particularly on the interdependent relationship between the discourses regarding “high art” and “popular art” in Mexico. More recently, Cordero has been working on the representation of the body, on gender and sexual identity in Mexican art, and on historiography and art theory. She also works with museums as a curator, an advisor, and a researcher.
Olivier Debroise, Museo Universitario de Ciencias y Artes, UNAM, Mexico City, Mexico (2004–2008)
An art critic and curator, Olivier Debroise completed studies in Spanish literature and linguistics, cinematography, and translation. He served as Academic Adviser for the Museo Nacional de Arte and as a board member of the Sistema Nacional de Fototecas in Mexico City. He was a founding member and past Director (1993–1995) of CURARE, Espacio crítico para las artes. Debroise was the recipient of numerous awards and distinctions, including a John Simon Guggenheim Memorial Foundation Fellowship (1997–1998), the Premio de Novela Colima (1998) for his novel Crónica de las destrucciones (Editora ERA, 1998), and the Hubert Bals Fund of the International Film Festival Rotterdam (1999), awarding his film on Sérgei Eisenstein Un banquete en Tetlapayac. His publications include Diego de Montparnasse (Fondo de Cultura Económica: Secretaría de Educación Pública, 1979); Figuras en el trópico: Plástica mexicana, 1920–1940 (Océano, 1982); Diego Rivera, pintura de caballete (Fondo Editorial de la Plástica Mexicana, 1985); Sobre la superficie bruñida de un espejo (Fotógrafos del siglo XIX) (in tandem with Rosa Casanova) (Fondo de Cultura Económica, 1989); Alfonso Michel, el desconocido (Consejo Nacional para la Cultura y las Artes, 1991); Alberto Castro Leñero (Fomento Cultural Casa de Bolsa México, 1991); and Mexican Suite, Photography in Mexico (trans. Stella de Sá Rego) (University of Texas Press, 1999).
Fabiola López-Durán, Ph.D., Rice University, Houston, Texas
López-Durán earned her Ph.D. in the History, Theory, and Criticism of Architecture and Art from MIT. Her dissertation, Eugenics in the Garden: Architecture, Medicine and Landscape from France to Latin America in the Early Twentieth Century, soon to be published, investigates the international proliferation of a particular strain of eugenics that, at the turn of the twentieth century, moved from the realms of medicine and law to design, architecture, and urban planning—becoming a critical instrument in the crafting of modernity. A native of Venezuela, López-Durán has received several awards and fellowships for her scholarship, including a Mellon Postdoctoral Fellowship in the Humanities, the Charlotte W. Newcombe Doctoral Dissertation Fellowship, the Dedalus Foundation Dissertation Award, the CLIR Mellon Fellowship for Dissertation Research in Original Sources, the Harvard Center for European Studies Graduate Grant, the Samuel H. Kress Foundation Fellowship, the MIT Schlossman Research Award, and the Fulbright Fellowship. In 2011, López-Durán joined the Art History faculty at Rice University in Houston, Texas, where she teaches courses in modern and contemporary Latin American art from a transnational and interdisciplinary perspective. Her work on the theory and history of modern European and Latin American art and architecture has been published in various countries, including Italy, France, Switzerland, China, Venezuela, and the United States. She is the author of Felice Varini, Points of View (Lars Müller, 2004) and several book chapters, essays, and exhibition catalogs.
Diane Lovejoy, Publications Director, MFAH, Houston, Texas
Diane Lovejoy has served as publications director of the Museum of Fine Arts, Houston, since 1993. In this capacity, she oversees both the scholarly publishing program and the collateral program of print and didactic materials. During her tenure, the MFAH has won more than sixty editorial and design awards and has earned academic distinction in scholarly publishing as the recipient of the George Wittenborn Award and the Alfred H. Barr, Jr., Award for Smaller Museums, Libraries, Collections, and Exhibitions. For the ICAA/MFAH publishing imprint, Ms. Lovejoy has served as the project editor of numerous books, including Sabiduras y otros textos de Gego/Sabiduras and Other Texts by Gego (MFAH/Fundación Gego, 2005); Gego: entre la transparencia y lo invisible/Gego: Between Transparency and the Invisible (MFAH, 2005, traveling exhibition); Hélio Oiticica: The Body of Color (MFAH, 2006–7, traveling exhibition); Building on a Construct: The Adolpho Leirner Collection of Brazilian Constructive Art at the Museum of Fine Arts, Houston (MFAH, 2009); and Carlos Cruz-Diez: Color in Space and Time (MFAH, 2011, traveling exhibition). Before joining the MFAH, Ms. Lovejoy worked as a researcher and cataloguer for Sotheby’s, New York. She served as an editor and became the associate director of marketing and graphic services at the Art Institute of Chicago. Ms. Lovejoy earned a B.A. degree with honors in art and architectural history from Wellesley College and also studied art history at the École du Louvre in Paris. She pursued graduate work in art history, theory, and criticism at the School of the Art Institute of Chicago and in marketing communications at Northwestern University in Evanston, Illinois.
Natalia Majluf, Ph.D., Museo de Arte de Lima, Peru
Since 2002, Natalia Majluf has been the director of the Museo de Arte de Lima. She received a Ph.D. in Art History from the University of Texas at Austin and an M.A. from the Institute of Fine Arts, New York University. Dr. Majluf worked at the Museo de Arte de Lima from 1987 to 1988 as assistant to the director, and as Chief Curator in the years prior to her appointment as director. As Chief Curator, Dr. Majluf established a library and a database on Peruvian art from the colonial period to the twentieth century. From 1989 to 1990, she was a research assistant to Joanna Hecht for the exhibition Mexico: Splendors of Thirty Centuries, organized by the Metropolitan Museum of Art, New York. Dr. Majluf’s publications include Escultura y espacio público 1850–1879 (Instituto de Estudios Peruanos Ediciones, 1994); “El indigenismo en México y Perú. Hacia una visión comparativa,” Arte, historia e identidad en América: Visiones comparativas (UNAM, Instituto de Investigaciones Estéticas, 1994); “Peru,” Latin American Art in the 20th Century, Edward J. Sullivan, ed. (Phaidon Press, 1996); Registros del territorio. Las primeras décadas de la fotografìa (1860–1880) (Museo de Arte de Lima, 1997); Pintura, escultura y fotografía en Iberoamérica, siglos XIX y XX. Ramón Gutiérrez and Rodrigo Gutiérrez Viñuales (Cátedra, 1997); La piedra de Huamanga: lo sagrado y lo profano (with Luis Eduardo Wuffarden) (Museo de Arte de Lima and Banco de Credito del Perú: Prom Peru, 1998); and La recuperación de la memoria. El primer siglo de la fotografía. Perú, 1842–1942 (Museo de Arte de Lima and Fundación Telefónica, 2001).
Ivo Mesquita, Pinacoteca do Estado, São Paulo, Brazil (2009–2011)
Chon Noriega, Ph.D., Chicano Studies Research Center, UCLA, Los Angeles, California
A professor in the UCLA Department of Film, Television, and Digital Media, and the Director of the UCLA Chicano Studies Research Center, Chon Noriega is also the author of Shot in America: Television, the State, and the Rise of Chicano Cinema (2000) and the editor of nine books dealing with Latino media, performance, and visual art. Since 1996, he has been the editor of Aztlan: A Journal of Chicano Studies, the flagship journal for the field since its founding in 1970. Since 2007, Noriega has edited a series of books on Latino and Latina artists titled A Ver: Revisioning Art History (UCLA Chicano Studies Research Center Press). Additionally, he has curated numerous media and visual arts projects, including Phantom Sightings: Art after the Chicano Movement (2010) and Just another Poster: Chicano Graphic Arts in California, which traveled to five venues nationwide (2000–2003). Noriega has also helped to recover and preserve independent Latino films, including the first three Chicano-directed feature films in the United States. The restoration of these films is the cornerstone of an ongoing “Chicano Cinema Recovery Project” that he organized with the UCLA Film and Television Archive and the Chicano Studies Research Center, with major support provided by the Ford, Rockefeller, and Ahmanson foundations. Noriega’s awards include the Getty Postdoctoral Fellowship in the History of Art (for art history) and the Rockefeller Foundation Film/Video/Multimedia Fellowship (for documentary production).
James Oles, Ph.D., Wellesley College, Wellesley, Massachusetts
With both a Ph.D. degree in the History of Art and a J.D. title from Yale University and the University of Virginia, respectively, James Oles has been Senior Lecturer in Art at Wellesley College in Wellesley, Massachusetts, since 1986. At Wellesley, he teaches Latin American art, focusing on the history of Mexico from the ancient through modern eras. He also lectures on pre-Columbian art of the Americas, mural painting in Mexico and the United States, and the history of film. In 2002 he was appointed adjunct curator of Latin American art at Wellesley’s Davis Museum and Cultural Center, where he advises on exhibitions and acquisitions of works of ancient and modern Latin American art. Along with faculty awards from Wellesley College, Dr. Oles has been awarded grants from the National Endowment for the Humanities (2003), the Rockefeller Foundation, administered through CURARE, Espacio crítico para las artes (1996), and from the U.S.-Mexico Fund for Culture (1995, 2001). He is the author and curator of South of the Border: Mexico in the American Imagination, 1914–1947 (Smithsonian Institution Press, 1993); Helen Levitt: Mexico City (Center for Documentary Studies in association with W.W. Norton & Co., 1997); and Las hermanas Greenwood en México (Consejo Nacional para la Cultura y las Artes, 2000), as well as essays in museum catalogues and journals on José Clemente Orozco, David Alfaro Siqueiros, Frida Kahlo, Isamu Noguchi, Rufino Tamayo, and the Gelman Collection of Mexican Art, among other topics. He has co-curated exhibitions of the work of David Alfaro Siqueiros and Lola Alvarez Bravo, and in 2001–2 he organized Casa Mañana: The Morrow Collection of Mexican Popular Arts for the Mead Art Museum at Amherst College. His most recent curatorial project is Shouts from the Archive: Political Prints from the Taller de Gráfica Popular (CCUT, 2008–9). From 1998 to 2006, he wrote a regular column of art criticism in Mexico City.
Marcelo Pacheco, MALBA-Colección Costantini, Buenos Aires, Argentina
Marcelo E. Pacheco is a professor, an art historian, and a museum curator from Argentina. Since 1989 he has organized several exhibitions on Argentine and Latin American art at institutions such as Museo Nacional de Bellas Artes, Museo Nacional de Arte Decorativo, Fundación San Telmo, Fundación Banco Patricios, Centro Cultural Borges, and Centro Cultural Recoleta (all in Argentina), as well as for museums in Brazil, Italy, Spain, and the United States. Between 1984 and 1995, Pacheco taught in universities and multidisciplinary institutions, including the Colegio Nacional de Buenos Aires, the Universidad de Buenos Aires, and the Universidad de Cine. He has also served as Assistant Director of the Museo de Bellas Artes in Buenos Aires. In 1993 Pacheco cofounded and directed Fundación Espigas, an institution devoted to the study and recovery of documentary and bibliographical sources of Argentinean modern and contemporary art. His recent publications include Jorge de la Vega: un artista contemporáneo (El Ateneo, 2003); Kenneth Kemble: la gran ruptura, obras 1956–1963 (Centro Cultural Recoleta, 2000); Algunos textos 1993–1999 (Fundación Pettoruti, 2000); Antonio Berni, escritos y papeles públicos (Temas Grupo Editorial, 1999); and Cándido López (Banco Velox, 1998). Currently, Pacheco serves as special consultant to and board member of Fundación Espigas and serves as Chief Curator at the Museo de Arte Latinoamericano de Buenos Aires (MALBA). He received his B.A. in Art History from the Universidad de Buenos Aires.
Justo Pastor Mellado, Independent Scholar, Santiago, Chile (2003–2010)
Ivonne Pini, Editor, Art Nexus, and Universidad Nacional/Universidad de los Andes, Bogotá, Colombia
Ivonne Pini studied history in her native Montevideo, Uruguay. She also pursued an M.A. in the History and Theory of Art and Architecture from the Universidad Nacional de Colombia, where she currently holds the rank of Professor. In Bogotá, she is also on the faculty of the College of Art and Humanities of the Universidad de los Andes. She has published extensively on Latin American art, including books such as En busca de lo propio. Inicios de la modernidad en el arte de Cuba, México, Uruguay y Colombia (1920–30) (Universidad Nacional de Colombia, 2000) and Fragmentos de memoria. Los artistas latinoamericanos piensan el pasado (Universidad Nacional de Colombia, 2001). She is also Editor-in-Chief of Art Nexus, the premier publication of Latin American art.
Mari Carmen Ramírez, Ph.D., Director, ICAA, MFAH, Houston, Texas
Mari Carmen Ramírez is the Wortham Curator of Latin American Art and founding Director of the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (MFAH). Prior to this appointment, she was curator of Latin American art at the Jack S. Blanton Museum of Art and adjunct lecturer in the Department of Art and Art History at the University of Texas at Austin. Ramírez has also served as director of the Museo de Antropología, Historia y Arte de la Universidad de Puerto Rico. She has curated numerous important exhibitions of Latin American art, including Carlos Cruz-Diez: Color in Space and Time (MFAH, 2011, traveling exhibition); Joaquín Torres-García: Constructing Abstraction with Wood (The Menil Collection, 2009); Hélio Oiticica: The Body of Color (MFAH, 2006–7, traveling exhibition); Gego: Between Transparency and the Invisible (MFAH, 2005, traveling exhibition); Inverted Utopias: Avant-Garde Art in Latin America (with Héctor Olea, MFAH, 2004); Questioning the Line: Gego, A Selection, 1955–1990 (with Iris Peruga, MFAH, 2002); Heterotopías: medio siglo sin Lugar, 1918–1968 (also with Héctor Olea, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2000); Global Conceptualism (traveling exhibition, 1999–2001); Cantos Paralelos/Parallel Cantos: Visual Parody in Contemporary Argentinean Art (traveling exhibition, 1998–99); Re-Aligning Vision: Alternative Currents in South American Drawing (with Edith A. Gibson, traveling exhibition, 1997–99); the Latin American section of Universalis at the 23rd São Paulo Biennial (1996); and The School of the South: El Taller Torres-García and its Legacy (with Cecilia Buzio, traveling exhibition, 1990–92). In recent years her many honors and awards have included being named as one of the twenty-five most influential Hispanics in America, TIME Magazine (2005); the Award for Curatorial Excellence, Center for Curatorial Studies at Bard College (2005); “Best Thematic Museum Show Nationally” (shared with Héctor Olea, USA) for Inverted Utopias, International Association of Art Critics (2004); and the Award for Curatorial Excellence, Peter Norton Family Foundation (1997). Ramírez received her Ph.D. in Art History from the University of Chicago in 1989.
Tahía Rivero, Fundación Mercantil, Caracas, Venezuela
Tahía Rivero has been curator of the collection of Banco Mercantil since 1999. This collection encompasses work dating from the eighteenth century to the present. In the five years prior to joining the bank, she presided over the foundation of the Museo Alejandro Otero in Caracas. From 1981 to 1986, she was a researcher and museographer at the Galería de Arte Nacional; during these five years, she also taught design at the Escuela de Artes Visuales Cristóbal Rojas in Caracas. Rivero has also worked as an independent curator on projects related to contemporary art. She studied architecture at the Universidad de los Andes in Mérida, Venezuela, and three-dimensional design at the European Institute of Design in Rome, Italy (1980).
Victor A. Sorell, Independent Scholar, Chicago, Illinois
A graduate of the University of Chicago in the fields of art history, comparative literature, and social thought, Víctor A. Sorell served as Associate Dean of Arts and Sciences and is now Emeritus Distinguished Professor of the Social History of Art at Chicago State University (CSU). He was also Director of the CSU-University of Minnesota MacArthur Foundation Undergraduate Honors Program in International Studies from 1995 to 2005; has been a longtime Research Associate at the Southwest Hispanic Research Institute of the University of New Mexico; and served as Senior Program Officer in the Division of Public Programs of the National Endowment for the Humanities, from 1980 to 1983. A pioneer in the appreciation, documentation, critical interpretation, and promotion of Chicano art history, he was a member of the CARA (Chicano Art: Resistance and Affirmation, 1965–1985) Executive Committee and a founding member of MARCH, el Movimiento Artístico Chicano. Among his recent publications are Nuevomexicano Cultural Legacy: Forms, Agencies, and Discourse (University of New Mexico Press, 2002), co-edited with Francisco A. Lomelí and Genaro M. Padilla; and Carlos Cortéz Koyokuikatl: Soapbox Artist and Poet (Chicago Mexican Fine Arts Center Museum, 2001), an interpretive exhibition catalogue. His recent and ongoing scholarship and professional involvement includes membership on the editorial board of Aztlán: A Journal of Chicano Studies; an appointment as exhibition review correspondent for Art Nexus; work as an investigator of the cultural criminological practices of tattooing and pictorial renderings on handkerchiefs by Latina and Latino prisoners in La Pinta; and a consultancy as a researcher and senior art historian with the Institute for Latino Studies (University of Notre Dame) for the Documents of 20th-century Latin American and Latino Art project.
Edward J. Sullivan, Ph.D., New York University, New York City, New York
Edward J. Sullivan is Professor of Fine Arts and Dean of Humanities at New York University. Since the mid-1980s, Dr. Sullivan’s primary research and curatorial interests have been directed toward Latin American art in the colonial and modern periods, Iberian art, art of the Caribbean, and Brazilian art. He has written extensively on these subjects in both monographic and exhibition-related publications, including Tomás Sánchez (with Gabriel García Márquez) (Skira, 2003); Brazil: Body and Soul (ed.) (Harry N. Abrams, 2001); Latin American Still Life: Reflections of Time and Place (Katonah Museum of Art, 2000); Modern and Contemporary Art of the Dominican Republic (Americas Society and the Spanish Institute, 1997); Latin American Art in the Twentieth Century (ed.) (Phaidon Press, 1996); and Baroque Painting in Madrid: Claudio Coello (University of Missouri Press, 1986). From 1999 to 2002, Dr. Sullivan was Chair of the Art Advisory Committee of the Americas Society in New York, and since 2002 he has served as Vice President of the American Friends of the Fundación Ludwig de Cuba.
Susana Torruella Leval, Independent Scholar, New York City, New York
Susana Torruella Leval served for eight years as Director of El Museo del Barrio, one of the nation's leading Latin American art museums. Previously, she served as Chief Curator there for four years. In May 2002, she was named Director Emerita of El Museo by its Board of Trustees. As Director of this institution, Torruella Leval oversaw the renovation of its exhibition galleries and Heckscher Theater, the presentation of approximately one hundred exhibitions, and the quadrupling of the museum’s budget and staff. During her tenure, El Museo received the New York State Governor’s Arts Award in 1999. Her leadership helped secure key institutional grants, such as the National Arts Stabilization Grant, 1993; the Institute of Museum Services Grant, 1996; the Lila Wallace-Reader’s Digest five-year award for Collections Accessibility, 1997; a Capital Project and Earned Income grant from the Upper Manhattan Empowerment Zone, 1999; and, in 1998, a $1 million endowment grant from the Ford Foundation, the first in El Museo’s history. Born in Argentina and raised in Puerto Rico, Torruella Leval received a B.A. degree in art history from Manhattanville College and an M.A. from New York University’s Institute of Fine Arts. In May 1995, she received the Hunter College President’s Medal for the Arts and was awarded an Honorary Doctorate from Pace University in May 2000. She has been honored as the recipient of several important Latino community awards: “Outstanding Service to the Community” Award from the National Conference of Puerto Rican Women, NYC Chapter (1995); ”Community Excellence Award” from the Puerto Rican Family Foundation (1997); the East Harlem ”Good Scout” award from the Manhattan Council of the Boy Scouts of America (1998); “Mujeres Latinas” of achievement mention from El Diario/La Prensa; “East Harlem Community Service Award” from Hope Community Church (2002), and a “Certificate of Achievement” from the Puerto Rico Federal Affairs Administration, New York Regional Office (2002).
Zuleiva Vivas, Independent Scholar, Caracas, Venezuela (2003–2010)
Tomás Ybarra-Frausto, Ph.D., Independent Scholar, San Antonio, Texas
Dr. Tomás Ybarra-Frausto recently retired as Associate Director for Creativity & Culture at the Rockefeller Foundation in New York. His work with the division included the Humanities Residency Fellowship Program, the Recovering and Reinventing Cultures through Museums Program, the U.S. Mexico Fund for Culture, and PACT (Partnerships Affirming Community Transformation). Prior to joining the Rockefeller Foundation, Dr. Ybarra-Frausto was a tenured professor at Stanford University in the Department of Spanish and Portuguese. He has served as Chair of the Mexican Museum in San Francisco and of the Smithsonian Council, and he has written and published extensively, focusing, for the most part, on Latin American and U.S./Latino cultural issues. He has edited, co-edited, and contributed to a number of texts that consider Latino expressive culture through art and literature, including Museum Frictions: Public Cultures/Global Transformations (Duke University Press, 2006); Velvet Barrios: Popular Culture & Chicana/o Sexualities (co-edited with Alicia Gaspar de Alba) (Palgrave Macmillan, 2002); Signs from the Heart: California Chicano Murals (co-edited with Amalia Mesa-Bains and Shifra M. Goldman) (University of New Mexico Press, 1990); Arte Chicano: A Comprehensive Annotated Bibliography of Chicano Art, 1965–1981 (compiled with Shifra M. Goldman) (University of California, 1986); and Chicano Literature: Text and Context (compiled with Antonia Castaneda Shular and Joseph Sommers) (Prentice Hall, 1972). In 1998, Dr. Ybarra-Frausto was awarded the Joseph Henry Medal by the Smithsonian Institution Center for Latino Initiatives for exemplary contributions to that institution, including the donation of his invaluable collection of documentation on Chicano art and culture (now at the Archives of American Art).