Documents of Latin American and Latino Art

Luis Camnitzer discusses Joaquín Torres García’s exhibition at the Solomon R. Guggenheim Museum in New York and assesses reactions to his work among North American audiences and intellectuals. The Uruguayan artist and critic, who lives in New [...]

In this text, Uruguayan artist Luis Camnitzer—resident of New York since 1964 who was a correspondent from there for the Montevideo-based weekly Marcha—discusses the rising importance of “Latin American” art in New York art galleries and in [...]

This is Luis Camnitzer’s essay about his involvement in the NYGW (New York Graphic Workshop) presentation of prints inspired by the FANDSO [Free Assemblable Non-Functional Disposable Serial Object] Manifesto. Camnitzer’s goal is to re-define the [...]

Luis Camnitzer harshly criticizes the contemporary “young art” that emerged in Uruguay, while also critiquing his own 1960s generation. This article is of interest because of its highly controversial nature, given that it was published at a time [...]

In 1988, the Solomon R. Guggenheim Museum commemorated the fiftieth anniversary of its founding with a series of exhibitions of works in its permanent collection. Uruguayan artist and critic Luis Camnitzer voices his disappointment with the museum’ [...]

Artist and critic Luis Camnitzer analyzes the production of Antonio Caro on the basis of several works Caro produced between 1975 and 1995, specifically: El carrito de Marlboro [The Marlboro Cart], Colombia Cocacola [Coca-Cola],  Todo está muy Caro [...]

In this letter, Uruguayan artist and academic Luis Camnitzer tells printmaker Lorenzo Homar that he and the other artists at his New York Graphic Workshop had managed to get the Center for Inter-American Relations to suspend a New York exhibition of [...]

In this letter to Puerto Rican printmaker Lorenzo Homar, Uruguayan artist and academic Luis Camnitzer proposes that, on the occasion of the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial of Latin American Prints], scheduled [...]

In his introduction to the catalog, The Latin American Graphic Arts Biennial, Luis Camnitzer relates the graphic arts exhibition presented by the Museum of Contemporary Hispanic Art (MoCHA) in 1986, to the tradition of the 1960s of Latin American [...]

Uruguayan critic Luis Camnitzer asserts that access to mainstream trends in art, let alone success on the art market, is difficult for artists from oppressed cultures. In his view, the colonized believe that the passage from a subordinate to a [...]

Uruguayan artist and critic Luis Camnitzer asserts that the authorities that control the government of a colonized country determine its art and also dictate the principles underlying its education; any opposition is disregarded. During certain [...]

This is the first manifesto of the New York Graphic Workshop (NYGW). It proposes a redefinition of the concept of engraving [...]

In this text, Uruguayan artist Luis Camnitzer recounts the experience of The New York Graphic Workshop. In addition to describing the early days of the group, he explains its three principal aims: 1) to redefine printmaking on the level of theory and [...]

In his text for the Art in Editions: New Approaches (New York, Loeb Student Center: January 8–31, 1968) exhibition catalog, Luis Camnitzer explains the objective of the exhibition and describes the nature of the work of each of the participating [...]

This text provides a brief description of the aims of the New York Graphic Workshop (NYGW) from the time of its founding in 1964. It states that the works exhibited in the show, The New Graphic Workshop (Caracas: Instituto Nacional de Cultura y [...]

Luis Camnitzer discusses the New York Graphic Workshop (NYGW) exhibition at the Museo de Bellas Artes [Museum of Fine Arts] in Caracas in January 1969, musing on the idea of the “museum as device” and, therefore, on the role of the “art object [...]

In this essay, Uruguayan artist Luis Camnitzer proposes a new definition for the concept of the “print.” He also transcribes the first and second Manifestos of the New York Graphic Workshop (NYGW) from 1964 and 1966, and explains the idea behind [...]