♯ 11 second semester 2017: 102-109 ISSN 2313-9242

Andrea Giunta CONICET-University of Buenos Aires, Argentina

George Flaherty Center for Latin American Visual Studies-University of Texas, U.S.A.

Exhibitions as fields of comparison

Dossier. Exhibitions as fields of comparison. / Andrea Giunta and George Flaherty

♯11 second semester 2017: 102-109

participating in international debates and exchanges nearly universally. The back and forth between artists, curators, museum directors, collectors, and critics documented by the articles are the connective tissue of exhibitions, revealing complex and often unresolved negotiations. Certain actors were especially mobile and thus prominent, either in person or through their ideas and communications. For example, José Gómez Exhibitions as fields of comparison. Sicre of the Organization of American States (OAS) in Washington, Jorge Glusberg of the Centro de Arte y Comunicación in Buenos Aires (CAyC), Walter Zanini of the Museu de Arte Contemporânea da Universidade de São Paulo Andrea Giunta (MAC-USP), and Marta Traba, who was based CONICET-University of Buenos Aires, in various cities. CAyC and MAC-USP were Argentina fledgling institutions in the 1970s that nonetheless had global ambitions. Multinational George Flaherty corporations based in the U.S. also played a Center for Latin American Visual Studies- role. It was not a coincidence that many of these University of Texas, U.S.A. companies engaged in extractive industries (i.e., petroleum, agriculture) that depended on the deterritorialization and reterritorialization of commodities, people, and ultimately art. The perpetual “discovery” of Latin American Art in the Global North is a byproduct of these historical and contemporary displacements. Cultural diplomacy, these articles show, was not the exclusive domain of states. The specificities of these case studies expand and correct Understood as fields of comparison par generalities, and the Euro-U.S. bias, of the excellence, exhibitions have played a pioneering current scholarship on exhibitions. role in the writing of histories of art from Latin America. Observed from the United States, this These articles began as presentations of process began in the 1930s, intensified in the research-in-progress by emerging scholars for a ‘60s, and was consolidated in the 1990s. “Latin series seminars the Center for Latin American American Art” was a field (and market) initially Visual Studies at the University of Texas at developed by curators in the United States. Austin organized in collaboration with These exhibitions moved from broad travelling colleagues in Bogotá, Buenos Aires, and São surveys organized by non-expert museum staff Paulo between 2013 and 2015, sponsored by the based on formal affinity or geographic Getty Foundation’s “Connecting Art Histories” adjacency—often sponsored by government initiative.2 The meetings had as their purpose agencies, multinational corporations or their the reconsideration of the status of study of neo- agents—to much more monographic and avant-gardes of the 1960s through 1990s in thematic shows initiated by curator-scholars.1 Latin American and the Latinx U.S. More recently, artists, curators, and cultural comparatively, in order to rethink dominant brokers based in the Americas have sought to Eurocentric and colonialist narratives of supplement, expand, and challenge Latin modern and contemporary art. A closer look at American Art and the very idea of an exhibition. exhibitions and parallel strategies of display from this period offer an important avenue For this CAIANA dossier, we sustain that toward historical revision. As we proposed in makers and promoters of vanguard art in Latin our 2014 call for participation, “Exhibitions America saw themselves and their work actively contribute to the configuration of

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♯11 second semester 2017: 102-109 national, regional and post-identity models. that even the most astute analyst might have They articulate hemispheric and transoceanic trouble connecting culturally, except maybe maps. They make possible the formation of because they were desired as spheres of archives, install problems, and provoke influence for the expansion of economic scandals.” As Bruce Ferguson argues, an development by the United States. The exhibition is rhetorical, it aims to persuade. The exhibition was, in fact, a work of sociology. The exhibition, “admits to its own necessary catalog detailed the “development” of art in each contradictions and multiplicities,” as Ferguson country, including the establishment of art writes.3 To situate this dossier in a broad academies (arbiters of “fine” arts), centers of historical context, it is useful to revisit the artistic production, and government support for origins of interest in Latin American Art. In the the arts--a set of data more interesting to the U.S., it emerged from a complex web of cultural attaché of an embassy than the average intellectual, political, and economic stakes, museumgoer. NYMOMA’s interest in art from involving at least four cycles over the course of Latin America in the 1930s and early 1940s, the twentieth century. which was monographic rather than surveying in its approach, with retrospectives of the work The first cycle is linked to North American of Diego Rivera (1931), José Clemente Orozco businessman and politician Nelson Rockefeller’s (1940) and Candido Portinari (1940), was also travel through the region in the 1930s, as a entangled in the geopolitics and economics of trustee of the New York Museum of Modern Art the day.6 From this perspective we can also (NYMOMA), and culminated with the formation understand NYMOMA’s participation in the of the Office of the Coordinator of Inter- organization of the São Paulo Biennial in the American Affairs in 1937 (later renamed the early 1950s. Office of Inter-American Affairs). Appointed the head of this office by President Franklin Delano Not until the 1960s, concurrent with the Roosevelt, Rockefeller was charged with explosion of artistic vanguards in Latin America conflating, in a way, hemispheric cultural and the Cold War, that North American solidarities with free trade sympathies. The first museums began to produce large-scale, exhibition of Latin American art in the U.S. was panoramic exhibitions that spanned the held at New York’s Riverside Museum in 1940 nineteenth and twentieth centuries, such as Art and sponsored by United States’ New York of Latin America since Independence (1966, World’s Fair Commission. Its catalog included a New Haven and Austin), or began to address statement from Roosevelt, “all cultural efforts to contemporary art, such as The Emergent promote the mutual understanding of the Decade: Latin American Painters and Painting Americas have my interest and hearty support,” in the 1960s (1966, Ithaca and New York). and a foreword by Leo Stanton Rowe, director of University museums, which were leveraging the Pan American Union (today the OAS).4 funding from U.S. government for “area studies,” including Latin America—part of its Latin American Art was an outgrowth of the campaign against communism—played hosts to geopolitics of cultural diplomacy during and several of these new exhibitions.7 The visual arts after World War II. It was also an outcome of program of the OAS was also quite active, under modern notion of nations and national cultural the direction of Cuban critic-curator José production as commodities for competitive and Gómez Sicre. spectacular display, originated by World’s Fairs in the nineteenth century. The Riverside Gómez Sicre was a key figure in initiatives like exhibition’s title, Latin American Exhibition of the Esso Salons—Esso was a subsidiary of Fine Art, reminded visitors that the works on Standard Oil, founded by John D. Rockefeller, display were not ancient or folkloric, as their father of Nelson— a series of juried art stereotypes about the region may have led them competitions realized in 1964-65 in 13 Latin to think, but comparable to works at European American cities. They focused on artists under and U.S. museums.5 The title also betrayed a the age of 40. The Salons, with juries composed certain anxiety about the intellectual rationale mostly of North American curators and museum for bringing together works by artists from directors, sought to give shape to a young Latin Brazil, the Dominican Republic, Ecuador, American Art. Through their selections, prizes, Mexico, and Venezuela, a group of countries and advertising they promoted abstraction as a

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♯11 second semester 2017: 102-109 counter movement to the history of political art struggled to reconcile art histories with in the region.8 This agenda counted with the neocolonial orders.13 For example, the support, as is now well documented, of the exhibition attempted to account for artists from Rockefeller, Carnegie, and Ford foundations.9 his home island, under U.S. invasion since 1898, NYMOMA continued to be active in the field. as Latin Americans.14 Through its International Council, the museum organized travelling exhibitions and continued An extension of the “fantastic” paradigm were buying works.10 the exhibitions associated with the 1992 celebration of the 500th anniversary of With the waning hemispheric influence of Christopher Columbus’s first voyage to the Mexican Muralism, which Goméz Sicre Americas. These celebrations largely ignored the opposed, a new generation of Esso-sponsored violence and ongoing injustices of the colonial artists found audiences at home and in New enterprise that followed the continent’s York. The Salons—and their petro-dollars—were “discovery.” Among the earliest of these shows key in the establishment of new museums on Art in Latin America: The Modern Era, 1820- the grounds that they would continue this 1980 (1989, London) was also one of the first project, including Museo de Arte Moderno de exhibitions realized at the new Museo Nacional Bogota and the Instituto de Arte Moderno de Centro de Arte Reina Sofia in Madrid, which Cartagena.11 The Salons, however, with their would take an increasingly prominent role in traditional disciplinary divisions (i.e., painting, shaping modern and contemporary Latin sculpture) were slow to recognize growing social American Art. The catalog, edited by Dawn unrest and the de-materialization and de- Ades, served as a de facto English-language commodification of art through textbook on the subject—and also in translation interdisciplinary experiments, ephemeral for Spanish. Fitting for the neocolonial performances, and face-to-face encounters with quincentennial, exhibitions increasingly audiences. This second exhibition cycle was crisscrossed the Atlantic. NYMOMA organized closely aligned with U.S. fears of spread of the Latin American Artists of the Twentieth Cuban Revolution in Central and South Century, curated by Waldo Rassmusen, director America. of the museum’s international program, which opened in Sevilla in 1992 on occasion of the A third cycle in the construction of the idea of Universal Exposition in the city, then travelled Latin American Art was inaugurated via to the Musée National d’ Art Moderne in Paris exhibitions at the end of the 1980s, with shows (1992), to the Cologne Kusthalle in Germany such as Art of the Fantastic, Latin America, (1992-93), and finally to MOMA (1993) in New 1920-1987, in which notions of the “fantastic,” York. “mythical” and “colorful” gave place to a new constellation of curatorial concepts for de- This last cycle, in which we are now immersed, politicization through exoticism and eroticism.12 involves the figure of the curator as the Art of the Fantastic was planned to coincide producer not just of exhibitions but also critical with the Pan American Games held in discourses established through an intensive Indianapolis in 1987. It travelled to archival practice. In recent decades, curatorial Queens/New York, Miami, and Mexico City, and and academic research have advanced in was sponsored by the U.S. National Endowment parallel fashion, plotting collaborative networks for the Arts and the National Endowment for at the same time.15 In 1988, the Huntington Art the Humanities, which was beginning to fund Gallery (now Blanton Museum of Art) at the shows that sought to educate U.S. Latinx University of Texas hired Maria Carmen audiences about their cultural “heritage.” In this Ramírez as curator of Latin American Art. In cycle, we can also observe curators attempting Austin, Ramírez initiated a series of scholarly to trace migrations and forge aesthetic exhibitions with a strong research base, continuities between Latin America and the U.S. beginning with El Taller Torres-García: The with exhibitions like The Latin American Spirit: School of the South and Its Legacy (1992, co- Art and Artists in the United States, 1920-1970 curated with Cecilia Buzio de Torres), which (1988, Bronx/New York). As Luis Cancel, the situated this workshop led by Joaquín Torres- Puerto Rican curator of The Latin American García in Montevideo in tension with both Spirit discussed in the exhibition catalog, he European and Latin American artistic languages

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♯11 second semester 2017: 102-109 based on constructivist theories. This exhibition and historical continuities and discontinuities travelled to the Reina Sofia Museum, where while maintaining a dialogue.17 years later Ramírez also participated in a series of exhibitions under the banner “Versiones del Research-based exhibitions organized by sur. Cinco propuestas en torno al arte en Ramírez as well as by the Museo de Arte América,” which alerted audiences about Latinoamericano de Buenos Aires, Reina Sofía processes of multiplicity, contingency and Museum, Blanton Museum, and Museo discrepancy in art from Latin America between Universitario Arte Contempóraneo in Mexico 2000 and 2001. Ramírez had criticized curators’ City, among others, now intermix with art fetishization of the “fantastic” since the early historical research produced at universities in 1990s.16 The Reina Sofia exhibitions were: Latin America, United States, and Europe. Since Eztetyka del sueño, curated by Carlos Basualdo the 1960s and intensifying in the last two and Octavio Zaya; Más allá del documento, by decades, there has been a significant increase in Mónica Amor and Octavio Zaya; No es sólo lo the number of academic programs, que ves. Pervirtiendo el minimalismo by professorships, fellowships, and publication Gerardo Mosquera; F(r)icciones, by Ivo venues (books, catalogues and scientific Mesquita and Adriano Pedrosa; and journals). A brief tour of this transformation Heterotopías, medio siglo sin lugar, 1918-1968 includes the undergraduate and graduate by Ramírez and Héctor Olea. This last programs in art history at the Universidad de exhibition was presented in modified form in Buenos Aires, founded in 1962 by Julio E. 2004 as Inverted Utopias: Avant-Garde Art in Payró, which have been supplemented by Latin America at the Museum of Fine Arts, programs at the Universidad Nacional de San Houston (MFAH), where Ramírez was an Martín, also in Buenos Aires. In Mexico, the endowed curator of Latin American Art post-graduate and research programs of beginning in 2001. Instituto de Investigaciones Estéticas at the Universidad Nacional Autónoma de México are Countering the “fantastic” paradigm, Ramírez central, including the colloquia hosted since concentrated on exhibiting the depth and 1975 that pioneered international exchange “quality” of avant-garde artistic production in among scholars. In Brazil, Universidad de São Latin America. She positioned this production Paulo hosted an early graduate program. More as part of a “constellation” of global vanguard recent additions include the Universidade do production (south-north), subverting audience Estado do Rio de Janeiro, Universidad de Chile expectations by granting more visibility and in Santiago, Universidad de Los Andes and value to abstraction over figuration, suggesting a Universidad Tadeo Lozano, both in Bogotá, in more heterogeneous landscape within the part driven by the reestablishment and region, and problematizing the narrative of expansion of democracy after dictatorship in modern art as so far written, with Latin America Latin America. situated in the periphery. The MFAH not only exhibited this work but vigorously collected it, In the early years of post-dictatorship in expanding markets beyond artists’ home Argentina, students at the University of Buenos country in many cases. Inverted Utopias was Aires slowly expanded the borders of art history, perhaps the synthesis of this outlook, breaking with the Eurocentric curriculum and foregrounding assemblages, mixed-media incorporating themes (Latin American art, Pre- works, and installations as well as printed Colombian art) and methods (sociology, materials (books, manifestos, and reviews), anthropology, psychology, semiotics) previously many not featured in a major exhibition of Latin excluded at the undergraduate level. From this American art in the U.S. or Europe before. reform emerged an intense revision of Argentine Regardless of whether Ramírez and Olea saw and Latin American art history, with findings this production as autonomous or intimately reported in the first academic publications and entwined to European historical avant-gardes, conferences created by the Centro Argentino de the outcome was to link it effectively to critical Investigadores de Artes, founded in 1989. These universal history. Ramírez also navigated the encounters, still in operation, contributed a conflation and chasm between Latin American bibliographic base for the field of art history. and U.S. Latinx arts, recognizing their aesthetic

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In the U.S., there was an equivalent (Miami, London) and ARCO (Madrid), or transformation. The University of Texas at ArteBA (Buenos Aires), which is reproduced in Austin played a prominent role. A major Chile, Colombia, México, São Paulo, Lima, modern Latin American art collection was among other locales. Dealers, auction houses, established at the Huntington Gallery between and other cultural impresarios continue to 1963-78, overseen by Donald Goodall. employ insights from curators and art historians Argentinian critic Damian Bayón was hired as a to dress up commodities and exchanges and to visiting professor of Latin American art from rationalize increasingly inflated values and 1973-76, during which he co-organized an early symbolic capital.18 There are also private symposium in the field of Latin American art collections that operate as quasi-public criticism with the participation of Marta Traba, institutions: Colección Patricia Phelps de Juan Acha, Jorge Alberto Manrique, Rita Eder, Cisneros and the Colección Jumex (a museum and others. In 1983, Jacqueline Barnitz since 2014). These developments suggest that obtained the first tenure-line professorship in the intellectual basis, rhetoric, and basic concept modern and contemporary Latin American art. of exhibitions continues to change in tandem Barnitz was joined by Shifra Goldman, an art with politics and economics at local, national, historian based in Los Angeles, in travelling and global scales. extensively in the Americas and participating in emerging networks of scholars. This dossier points to several new avenues of art historical investigation regarding exhibitions. It More recently, a new map of the world of art has gathers 10 contributions that analyze art emerged, laid out by a global curatorial model exhibitions as political platforms emerging from that moves back and forth among museums, curatorial projects led by various institutions in fairs, biennials, and other recurring large-scale Latin America. From this corpus, a map of exhibitions. This model, whether out of a relations could be drawn that allows scholarly or market impulse, seeks to integrate understanding them as configuring a cultural various regions and aesthetic tendencies of the field; controversial in some cases, or oriented world previously treated as marginal under the toward presenting the culture of a country banner of the “contemporary.” This abroad. As a whole they also allow us to configuration is driven by institutions such as approach in a observable and efficient way a Tate Modern in London and exhibitions like comparative history of art, as these exhibitions Global Conceptualisms: Points of Origin, trace networks of contacts, the exchanges of 1950s-1980s (1999, Queens/New York), Global ideas and works, and they offer themselves, Feminisms (2007, Brooklyn/New York), and furthermore, as an observatory of simultaneous Wack! Art and the Feminist Revolution (2007, institutional strategies that account for Los Angeles), or, more recently, Radical coincidences and differences that enrich the Women: Latin American Art, 1960-1985 (2017, study of Latin American art. The dossier is Los Angeles). Biennials in Latin America have organized into four sections. functioned as platforms for drawing attention to art produced outside traditional centers of The first deals with the exhibitions that allowed commercial and political power. In addition to us to trace institutional policies. For example, the Sao Paulo Biennial, established in 1951, the experimental imprint that Walter Zannini, more recent biennials have inserted various the director of MAC USP in the city of São critical discourses into this “global” cartography, Paulo, left on the museum is addressed by Mari delineating unequal power relations, whether Rodríguez Binnie’s essay, centered on two themselves visible or invisible. The Habana exhibitions (Prospectiva 74 and Poéticas Biennial, founded in 1984, has played a central Visuais) at MAC USP in the 1970s, and offers a role in the proposal of alternate circuits of complementary view. She touches on exchange by emphasizing South-South axes, experimental technologies. Heliographic linking Latin America with Asia and Africa printing was used to quickly and cheaply directly rather than vis-à-vis New York or reproduce works on paper for exhibition. Madrid. Another recent development is the Audiences could also take copies of the works sponsorship of conference panels and home, where they would enter new circuits, exhibitions on modern and contemporary Latin known and unknown. As Rodríguez Binnie American art by commercial fairs such as Pinta argues, such changes “urge us, ultimately, to

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♯11 second semester 2017: 102-109 recast the exhibition, from a work’s finality to a Above Midtown Gallery in New York, analyzed component in its unfolding.” The museum also by Sean Nesselrode’s article "The Revelation of addressed Inter-American relations, for Crude Oil of Rolando Peña: a new image of example, through the presentation of the CAyC Venezuela"; an essay by Regina Tattersfield, group of Buenos Aires, a case analized by Luiza which focuses on the study of the Mexican art Mader Paladino’s essay "Exhibition Trajectories: exhibition The Age of Discrepancy: Art and the Grupo de los Trece at the Museu de Arte Visual culture in Mexico, 1968-1997 organized Contemporânea da Universidade de São Paulo". by the MUAC ("The Era of Discrepancy, A Premonitory Account in The Banquet in In second place, three of the dossier essays Tetlapayac"), and its relationship with the film analyze the international politics traced by directed by Olivier Debroise, The Banquet of salons and biennials. The work of Isabel Cristina Tetlapayac (2000); and a close look into the Ramírez Botero ("Latin American Art in the conflicts between esthetic and gay issues in the Colombian Caribbean: The Inter-American 1990s in Buenos Aires, through an exhibition Modern Art Exhibits of Cartagena (1959) and organized by the American curator Bill Arning Barranquilla (1960 and 1963") addresses Inter- of White Columns (New York), held at the Rojas American policies of two salons that Cultural Center of the University of Buenos consolidated institutions in the Caribbean Aires. Regarding this last exhibition, Natalia basin: the Museum of Modern Art of Cartagena Pineau's essay analyzes the controversies that and Barranquilla. Dorota Biczel focuses on the translate policies around gender as they were Lima Biennial and analyzes its successes and manifested by this exhibition ("Maricas in difficulties in establishing itself in the Buenos Aires: Tensions Between Artistic models international art circuit ("On the Impossibility and Models of Homosexuality"). of Drawing a Map: The "Failure" of the Lima Biennial (1997-2002)"). Tatiana Reinoza and This dossier, whose bilingual edition has been María del Mar González look at the relaunch in made with the support of the J. Paul Getty 2004 of the Bienal de San Juan, founded in Foundation, allows us to address specific cases 1970, by Mari Carmen Ramírez to belatedly in a period of intense exchanges and account for shifting geopolitical alignments, experimentations among neo-avant-garde including the rise of U.S. Latinx artists, and the movements that were articulated between the expanded field of printmaking (“La isla como sixties and nineties. puente. Reconceptualizing the Trienal Poli/Gráfica de San Juan”).

The third section considers international exchanges. On the one hand, the work of Nadia Moreno Moya, who studies the monumental exhibition of Pre-Columbian, colonial and contemporary art held at the Joe and Emily Rowe Gallery of the University of Miami, in

Coral Gables ("National identity and coloniality of knowledge in the exhibition 3,500 years of Colombian art (1960)" and, on the other hand, the Chilean shipment of an iceberg to be exhibited in the Chilean pavilion at the Seville Fair of 1992 that Sebastián Vidal studies (" The case of the Pavilion of Chile in Seville '92, A Reading from Three Aborted Cases of the Visual Arts ").

Finally, in its fourth part, this selection presents three analysis of exhibitions linked to specific aesthetic agendas: an exhibition on oil made by the Venezuelan artist Rolando Peña at the Just

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References 8 On abstraction’s role in U.S. cultural diplomacy, see the classics Eva Cockcroft, “Abstract Expressionism, Weapon of the Cold War,” and Max Kozloff, “American Painting in 1 While a monographic approach may seem outmoded Cold War”, in Artforum, May 1973. today, it signaled at the time a scholarly commitment to 9 See Shifra Goldman, Dimensions of the Americas: Art the material and depth of primary research. On the and Social Change in Latin America and the United historiographic turn in Latin American art, see Andrea States, Chicago, University of Chicago Press, 1995. Giunta and George Flaherty, “Latin American Art: An Historiographic Turn,” Art in Translation, v. 9, 10 See Andrea Giunta, Avant-Garde, Internationalism and suplemento 1, Edinburgh, University of Edinburgh, 2017, Politics. Argentine Art in the Sixties, Durham, Duke pp. 121-42, electronic document: University Press, 2007. http://www.tandfonline.com/doi/full/10.1080/17561310.2 11 See Michele Greet and Gina McDaniel Tarver (eds.), Art 016.1246293. Museums of Latin America: Structuring Representation, 2 Carmela Jaramillo Jiménez of the Universidad de Bogotá New York, Routledge, [forthcoming 2018]. Jorge Tadeo Lozano, Cristina Freire of the Museu de Arte 12 Mexican curators also participated in this romanticizing Contemporânea da Universidade de São Paulo, and Inés tendency, including Myth and Magic in America: The Katzenstein of the Universidad Torcuato Di Tella were our Eighties (1991), organized by the Museo de Arte partners. Contemporáneo in Monterrey and travelled 3 Bruce W. Ferguson, “Exhibition Rhetorics: Material internationally. Speech and Utter Sense,” in Thinking About Exhibitions, 13 The exhibition was sponsored by Philip Morris, the edited by Ferguson, Reesa Greenberg, and Sandy Nairne, cigarette maker, which used arts sponsorship to generate New York, Routledge, 2005, p. 134. See also Tony Bennett, goodwill and influence public opinion, especially among “The Exhibitionary Complex,” New Formations 4, London, minority communities in the U.S. Spring 1988, pp. 73-102. 14 Luis R. Cancel, “Introduction,” The Latin American 4 Latin American Exhibition of Fine Art, New York, Spirit: Art and Artists in the United States, 1920-1970, Riverside Museum, New York, 1940. On the visual arts New York, Bronx Museum of Art, 1988, pp. 7-11. program of the OAS, see Claire F. Fox, Making Art Panamerican: Cultural Policy and the Cold War, 15 Daniel Quiles, “Exhibition as Network, Network as Minneapolis, University of Minnesota Press, 2013; Michael Curator: Canonizing Art from ‘Latin America’,” Artl@s G. Wellen, “Pan-American Dreams: Art, Politics, and Bulletin 3, n. 1, Paris, Spring 2014, pp. 62-78; Abigail Museum-Making at the OAS, 1948-1976”, PhD Winograd and Camila Maroja “Vectors or Constellations? dissertation, University of Texas at Austin, 2015. Frederico Morais’s and Mari Carmen Ramírez’s Curatorial Narratives of Latin American Art,” Artl@s Bulletin 3, n. 2, 5 There was great interest in ancient Mesoamerican art in Paris, Fall 2014, pp. 83–96. the U.S. in the 1930s, see Helen Delpar, The Enormous Vogue of Things Mexican: Cultural Relations between the 16 Mari Carmen Ramírez, “Beyond ‘The Fantastic’: Framing United States and Mexico, 1920-1935, Tuscaloosa, Identity in U.S. Exhibitions of Latin American Art,” Art University of Alabama Press, 1992. Journal 51, n. 4, Winter 1992, pp. 60-68. 6 These entanglements were mediated through various 17 Mari Carmen Ramírez, “Brokering Identities: Art figures, including Abby Aldrich Rockefeller, Nelson Curators and the Politics of Cultural Representation,” in Rockefeller, and René d’Harnoncourt. See Catha Paquette, Bruce W. Ferguson, Reesa Greenberg, Sandy Nairne (eds.), At the Crossroads: Diego Rivera and his Patrons at Thinking About Exhibitions, London and New York, MoMA, Rockefeller Center, and the Palace of Fine Arts, Routledge, 1996, pp.15-26. Austin, University of Texas Press, 2017. The earliest 18 Sotheby’s held the first standalone Latin American art exhibition of Latin American art in Europe was held in auction in 1979; Christie’s joined the fray two years later. Paris in 1924 at the Musée Galliera. See Michelle Greet, On the market, see Mari Carmen Ramírez and Teresa “Occupying Paris: The First Survey Exhibition of Latin Papanikolas, (eds.), Collecting Latin American Art for the American Art,” Journal of Curatorial Studies 3, n. 2-3, 21st Century, Houston, Museum of Fine Arts, 2002. 2014, pp. 213-36.

7 We should also not forget the slightly earlier literary boom that occurred in the 1960s and 1970s, when writers from Latin America, especially those working in genres that appeared to stand in for the exoticism of the tropical Americas at a time of Cold War (represented by politics articulated by actions like Bay of Pigs Invasion, Cuban Missile Crisis, Operation Condor), came to Euro-American renown (and anxiety). These writers include Julio

Cortázar, Gabriel García Márquez, Carlos Fuentes, and Mario Vargas Llosa. On the Cultural Cold War, see Patrick Iber, Neither Peace Nor Freedom: The Cultural Cold War in Latin America, Cambridge, Harvard University Press, 2015.

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How to correctly cite this article?

Giunta Andrea and Flaherty, George; “Exhibitions as fields of comparison”. In caiana. Revista de Historia del Arte y Cultura Visual del Centro Argentino de Investigadores de Arte (CAIA). N° 11 | Second semester 2017, pp. 102- 109

URL: http://caiana.caia.org.ar/template/caiana.php? pag=articles/article_2.php&obj=288&vol=11

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