Documents of Latin American and Latino Art

In the introduction to this catalog, César Moro (a celebrated Peruvian poet and artist) alludes to the antecedents of Surrealism within the avant-garde movements of the beginning of the twentieth century. He also identifies the contact points that [...]

According to Luis Zevallos Hetzel, the painting that took the prize at the Festivales Ancón is not exactly a work of art because it is an (exact) reproduction of an advertisement for a brand of motorcycles. Though the painter claims he is under no [...]

This text suggests that although there is no “Latin American art” as such — that is, art produced by Latin American nations — these countries certainly share a number of “common problems” in terms of the social and political reality of [...]

In this interview, artist Doris Salcedo and critic Carlos Basualdo—who is from Rosario, Argentina—analyze Salcedo’s career from her student days in Colombia in the late 1970s to the present—the late 1990s—when she had gained considerable [...]

This essay examines the impact of Roberto Matta’s presence in the United States during 1939–1948, when, as part of a Surrealist cohort of émigrés, he established temporary residence in New York to escape the war in Europe. The authors [...]

In this [1986] article, Miguel von Dangel contemplates contemporary Venezuelan art, as he sees it in the evolution of Western art. He believes that there has been a certain arbitrariness and exhibitionism in contemporary art practices in Venezuela in [...]

According to Rafael Heliodoro Valle, the distinguishing feature of the Surrealist movement is that it has “old roots” that set it apart from the rest of the avant-garde. And that, “Mexico, [which] is not a myth,” but has a mythical past has [...]

The article “Génesis de una idea” [Genesis of an Idea] was published in La Re-vista in the early 1980s. In it, artist Álvaro Barrios explains his interest in French artist Marcel Duchamp, stating that it was through the study of Duchamp’s art [...]