Working Papers

We are pleased to announce the expansion of the ICAA Documents Project Working Papers, an online publishing platform for emerging research and scholarship that critically engages primary documents and offers reflections on archival practices in Latin American and Latinx art history. 

Since the public launch of the Documents of Latin American and Latino Art digital archive in 2012, Working Papers has published the Peter C. Marzio Award-winning essays, which draw extensively from the Documents Project digital archive. 

Eligible submissions consist of short articles and long-form, research-based articles, interviews, artist projects, and reviews. Main articles are a maximum of 7,500 words, including footnotes. Shorter texts range from 2,500-4,000 words. Media-based submissions may include images and/or video and a minimum of 1,000 words.

Submissions are welcome in English, Spanish, and Portuguese. 

  • Authors should adhere to the Chicago Manual of Style for all formatting, including foototes and bibliography.
  • Papers should be double‐spaced; Times New Roman Font, point size 12; one‐inch margins on all sides.
  • All images should be submitted in JPG format and must include captions and credit line information.
  • Authors are responsible for obtaining high-res images (300 dpi) or media and permissions rights for all images not found in the ICAA Digital Archive. 

Submissions should be sent to ICAA Research and Publications Senior Specialist, Liz Donato at


Number 7 (May 2021)

  • Introduction: The Collective and the Intimate: Strategies of Resistance and International Solidarities in Late 1960s and Early 1970s Art of the Americas

    Liz Donato, ICAA/MFAH

  • Boycott Histories: On the Causes and Consequences of Chile’s Participation in the Boycott of the 10th Bienal de São Paulo, 1969   

    Amalia Cross, Pontificia Universidad Católica de Chile

  • Una fe de justicia social: Liberation through Print and Word in Antonio Martorell’s Salmos 

    Sonja Elena Gandert, The CUNY Graduate Center


Number 6 (December 2018)

  • Introduction

    Beatriz R. Olivetti, ICAA/MFAH

  • La Ciudad Hidroespacial: Challenging the Functional City

    Giovanna M. Bassi Cendra, Rice University, Houston

  • Antonio Henrique Amaral’s Battlefield Paintings and the Brazilian Military Dictatorship

    Margaret H. Adams, University of UtahSalt Lake City


Number 5 (December 2017)

  • Introduction

    Beatriz R. Olivetti, ICAA/MFAH

  • Signs, Systems, Contexts: The Centro de Arte y Comunicación at the São Paulo Bienal, 1977

    Julia Detchon, University of Texas, Austin

  • Remembering Marta Minujín’s Informalismo: Memory and Politics in the Art of Post-Peronist Argentina

    Michaela de Lacaze, Columbia UniversityNew York.    


Number 4 (November 2016)

  • Introduction

    Beatriz R. Olivetti, ICAA/MFAH

  • Contrabienal: Redefining Latin American Art and Identity in 1970s New York

    Aimé Iglesias Lukin, Rutgers University, New Brunswick

  • Retrato de la Burguesía o El Impulso Gráfico Dinámico en la Plástica Monumental

    Paola Uribe, Universidad Nacional Autónoma de México, Ciudad de México


Number 3 (November 2013)

  • Partisan Life and Revolutionary Practice: the Place of Ideology in Nonobjective Argentinean Art and Conceptual Chilean Happenings

    Marcela C. Guerrero, ICAA/MFAH

  • Art for Partisan Life: Nonobjectivity Translated to Buenos Aires, 1944–48

    Sean Nesselrode, New York University, New York

  • CADA: a Revolutionary Practice

    Molly Moog, Washington University, Saint Louis


Number 2  (May 2008)

  • O Debate em torno da Primera Exposição Nacional de Arte Concreta (1956-1957)

    Heloísa Espada, FAPESP, São Paulo

  • La integración plástica: confluencias y divergencias en los discursos del arte en México

    Leticia Torres, CURARE, Espacio crítico para las artes

  • O Congresso Internacional Extraordinário de Críticos de Arte de 1959: Contradições da síntese das artes

    Marco Antonio Pasqualini de Andrade, FAPESP, São Paulo



Number 1 (September 2007)

  • Entre la acción directa y la vanguardia: el Estridentismo

    Francisco Reyes Palma, CURARE, Espacio crítico para las artes

  • Vanguardia concreta rioplatense: Acerca del Arte Concreto y la Música

    Cristina Rossi, Fundación Espigas

  • Un chico correcto: Luis Felipe Noé, crítico de arte en los años cincuenta 

    Roberto Amigo, Fundación Espigas