Mário Pedrosa (left) with Francisco Matarazzo Sobrinho and unidentified person, in front of Robert Rauschenberg’s Barge (1962–1963), 9th São Paulo Biennial, 1967. Courtesy of Arquivo Histórico Wanda Svevo/Fundação Bienal de São Paulo.
Antonia Eiriz, El vaso de agua (The Glass of Water), 1963. Oil on canvas, 52 × 41 inches. Collection of Susana Barciela and Manuel Gómez. Source: Photograph courtesy of Manuel Gómez.
13.1
Telegram to Hélio Oiticica from Kynaston McShine, 1 March 1970. Source: Courtesy of the Hélio Oiticica Foundation.
14.1
Marta Minujín, Leyendo las noticias (Reading the News), 1965. Source: Courtesy of the artist and Henrique Faria, New York and Buenos Aires. Reproduced with permission.
Marta Traba at the Speak‐Out! Charla! Bate‐Papo symposium at the University of Texas, Austin, 27–29 October 1975. Others in the photo are Rufino Tamayo, Damian Bayón, Fernando Gamboa, and Juan Acha. Source: Photo courtesy of the Estate of Julia Dawson.
17.1
Promotional display for the Esso Salon of Young Artists of Latin America, Saks Fifth Avenue, New York, 1965. Pictured in the foreground are works by Humberto Jaimes Sánchez (Venezuela, 1930–2003) and Omar Rayo (Colombia, 1928–2010). The Jaimes Sánchez work pertains to the artist’s informalist period in the 1960s and is presumed to be in a private collection. Source: Published with permission of the Fundación Jaimes Sánchez. Photograph courtesy of the Archives of the AMA | Art Museum of the Americas, Organization of American States (OAS).
18.1
Jorge Soto, Taller Boricua, 1974. Collection of Marcos Dimas, New York City. Source: Courtesy of Marcos Dimas.
19.1
Juan Acha, Papel y más papel (Paper and More Paper) exhibition, June 1969, Lima. Source: Courtesy of Mario Acha.
21.1
Grupo Proceso Pentágono, Hay que hacer un cuadro (Let’s Make a Painting), 1980. Collection of the Instituto Nacional de Bellas Artes, Mexico. Source: Courtesy of the Instituto Nacional de Bellas Artes.
Antonio Dias. Project for “The Body,” 1970. Acrylic on canvas, 200 × 600 cm. Source: Collection Daros Latinamerica, Zurich. Photograph, Udo Grabow. Reproduced with permission.
24.1
Jennifer Allora and Guillermo Calzadilla, Land Mark (Foot Prints), 2001–2002. 24 color photographs, 50.8 × 60.9 cm. (20 × 24 in.) each. Collection: Princeton University Art Museum. Source: Courtesy of the artists.
25.1
Las Yeguas del Apocalipsis, The Two Fridas (detail), 1990, performance‐installation (3 hours) and staged photograph (160 × 150 cm), Galería Bucci, Santiago. Museo Nacional de Bellas Artes Collection, Santiago, Chile. Source: Photograph, Pedro Marinelo.
26.1
Tania Bruguera, Autobiografía (Versión dentro de Cuba) (Autobiography [Version Inside Cuba]), 2003. Sound installation, Havana, Museo Nacional de Bellas Artes. Source: Photograph courtesy of Tania Bruguera.
Freddy Rodríguez, A Rod Six of Thirteen, 2007. Acrylic on canvas, 40 × 40 in. Source: National Portrait Gallery, Smithsonian Institution, Washington, DC.
29.1
Central Cemetery on 26th Avenue, Bogotá, Colombia, with the façade of the Central Cemetery Columbarium, with a small portion of the work Auras anónimas (Anonymous Spirits) by Beatriz González, and a fading scripture by Antanas Mockus. Source: Courtesy of Ana María Reyes.
30.1
Parque de la Memoria (Park of Remembrance). Monumento a las Víctimas del Terrorismo de Estado (Monument to the Victims of State Terrorism). Buenos Aires, 2007. Source: Photograph, Andrea Giunta.
31.1
Interior of the National Museum of Fine Arts located at the Bon Marché store(ca. 1906). Archivo General de la Nación, Argentina. Image in the public domain.
32.1
Raphael Montañez Ortiz, Duncan Terrace Mattress Destruction for the Destruction in Art Symposium, London, England, 1966. Source: Photograph, John Prosser. Courtesy of Raphael Montañez Ortiz.
34.1
Brazalete Tomaraho, Ishir, 2002. Color photograph, 45.8 × 64.7 cm. Source: Photograph courtesy of Nicolás Richard.
Alejandro Anreus, PhD, is Professor of Art History and Latin American/Latina/o Studies at William Paterson University, New Jersey, USA. He is the author of Orozco in Gringoland (2001), Ben Shahn and the Passion of Sacco and Vanzetti (2001), the A Ver series monograph Luis Cruz Azaceta (2015), and the forthcoming Havana in the 1940s. Artists, Critics and Exhibitions (2022), and The Dark is Light Enough: Raul Milián (2023), as well as co‐editor/contributor of The Social and The Real (2006) and Mexican Muralism: A Critical History (2012). His articles and essays have appeared in Art Journal, Third Text, Art Nexus, Encuentro de la Cultura Cubana, Diario de Cuba and Commonweal. He is President Emeritus of the Joan Mitchell Foundation.
Robin Adèle Greeley, PhD, is Associate Professor of Art History at the University of Connecticut, USA, and Affiliate Faculty at Massachusetts Institute
