Documents of Latin American and Latino Art

This is Enrique Lihn’s lengthy, emphatic review of “Abstracción y Figurativismo o el dilema de la expresividad en la pintura,” an essay by Jorge Elliot. Lihn is not out to discredit Elliot’s proposals, he wants to [...]

In this essay, Enrique Lihn discusses the Tango series of photographs by Paz Errázuriz, based on a review of the works of authors who have written about the origins and lyrics of this particular style of music and dance. Lihn claims that & [...]

In this essay, Enrique Lihn writes about the first period in Nemesio Antúnez’s career as an artist, ignoring what people usually say about his work in order to discuss “energetic contrasts.” It was during that early period ( [...]

This essay is a review by Enrique Lihn on Pedro Millar’s exhibition at the Instituto Cultural de Providencia, and it being part of the IV Bienal Americana del Grabado in Santiago, Chile in 1970. Lihn characterized Millar’s work as [...]

Enrique Lihn imagines a dialogue between Pedro Luna’s work and what both Victor Carvacho and Antonio Romera have written about it. According to Lihn, Luna’s painting is inspired by a natural, instinctive feeling that is focused on form [...]

This was an interdisciplinary poetry project produced by Nicanor Parra in 1952. Parra worked with Enrique Lihn and Alejandro Jodorowsky to create Quebrantahuesos, a sheet of paper measuring 55 x 40 centimeters which they covered with newspaper [...]

Enrique Lihn introduces an exhibition of Chilean painting that includes modern works. He discusses what it means for a viewer to relate to figurative or non-figurative (abstract) works. He claims that, when faced with a work of art that “ [...]