Documents of Latin American and Latino Art

This article documents a $20,000 prize awarded to the Colombian artist Ana Mercedes Hoyos for her work in the exhibition Espacios ambientales, held by the Museo de Arte Moderno of Bogotá (1968). The work awarded the prize was Blanco sobre blanco, [...]

In March 1988, journalist and editor Guillermo González Uribe, then editor-in-chief of the journal ¡Viva el arte! interviewed nine Colombian artists of different generations to ask their opinions about the following: What function should be [...]

“El Salón Nacional de Pintura: En el país de los ciegos, el tuerto es rey” is an interview-conversation between the editorial staff of the magazine Alternativa and four important figures in Colombian art of the seventies: Colombian-Cuban art [...]

This document is excerpted from the catalogue for Los que son [Those Who Are], the exhibition organized by Marta Traba at the Galería Marta Traba in Bogotá (May 3–16, 1968). The catalogue includes ten brief critical and biographical reviews of [...]

Written by Marta Traba and published in the magazine Arte en Colombia, “El VII Salón Atenas” is perhaps the harshest criticism of the Colombian salons held in November. Traba argues that despite belief to the contrary, the Salon Atenas has not [...]

In this article, the theoretician Marta Traba critiques the 1978 Salón Nacional de Artistas. The Salón has been an annual fixture since 1940, and is considered the most important event on the Colombian visual arts calendar. In her article, Traba [...]

The text, ¡Al Fin Pintura! (1976) [Painting, at Last!] was an introduction to the exhibition with the same name at the Galería Belarca in Bogotá, organized by Eduardo Serrano. This art critic emphasizes the acceptance of the drawing and the print [...]

The article “Propuesta para una doble lectura” is a statement of principle as well as a thesis that Marta Traba formulated on the occasion of an exhibition of Modern Colombian art in Paris. In this text, Traba provides a periodization of [...]

In this text, critic Marta Traba reviews the exhibition entitled Pintura y Grabado Hoy en Venezuela [Painting and Printmaking in Venezuela Today] held at the Biblioteca Luis Ángel Arango in Bogotá in 1968. She questions the representativeness of [...]

This essay posits the concept of “geometría sensível” [Sensitive Geometry] as one of the unitary characteristics of contemporary Latin American art, and notes the growing interest (within the region and further afield) in [...]