Documents of Latin American and Latino Art

This article by the researcher Camilo Sarmiento, “El Automático, entre la literatura y el arte” [El Automático: Between Literature and Art] appeared in Café El Automático: arte, crítica y esfera pública [Café El Automático: Art, Criticism [...]

The book Las artes plásticas en la América Latina: del trance a lo transitorio [The Visual Arts in Latin America: From Trance to Transitory], written by the Brazilian art critic Frederico Morais, is essentially divided into two parts: (i) “ [...]

This article announces two exhibitions of works by Omar Rayo, one in Maracaibo and the other in Caracas, although no details about them are given. The article refers in particular to the thirty-four paintings by Rayo at the National Library, which [...]

In this article, Luis Vidales reflects on the art of caricature after viewing an exhibition of works by the young artist Omar Rayo, who distorts and contorts lianas to create his images. Vidales begins by asking where caricature stands within the [...]

In these two essays by Argentine artist Luis Felipe Noé and Mexican writer Juan García Ponce respectively, the authors discuss the originality of the prints by Colombian artist Omar Rayo. Noé first states that in his prints, Rayo attempts to [...]

In this text, poet Águeda Pizarro—wife of Colombian artist Omar Rayo—analyzes her husband’s geometric production. She examines the visual vocabulary and aesthetic problems that Rayo formulated in his earlier work (specifically the themes of [...]

This document is the postcard invitation to the inauguration of the Corporación Ciudad Solar [Solar City Association], an independent cultural space in Cali, Colombia, established by Hernando Guerrero, Francisco “Pakiko” Ordóñez, and Miguel [...]

In this brief letter to Pedro Alcántara, Puerto Rican printmaker Lorenzo Homar expresses his view of art biennials. He states that many of them “act as lackeys to the North American market.” Homar believes that the jury should not be indifferent [...]

The Puerto Rican historian Margarita Fernández Zavala interviews the Colombian artist Omar Rayo about his participation and experience as a juror for the Sexta Bienal del Grabado Latinoamericano [6th Biennial of Latin American Graphic Art] in San [...]

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 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 [...]