1960s

Sarah Suzuki examines Schendel’s use of Japanese paper in the work at Objeto Gráfico (1967).

Physichromie 21 by Venezuelan artist Carlos Cruz-Diez is another highlight of the Cisneros’ gift to the Museum. Anne Umland, traces this work back to the artist’s studio in Paris in the 1960s and explores the ways Cruz-Diez’s Physichromie series is dependent on active viewer participation and contingencies of lighting.

Samantha Friedman comments on the importance of the work in the development of Brazilian modern art.

Acha established himself as a vigorous critical voice in Peru at a time when Conceptualist artistic approaches and political events such as the riots and military coup of 1968 strongly inflected the local art scene.

Twenty images of artworks and related materials by the Slovene group OHO from the MoMA Archives have been digitized and made accessible here.

Miguel A. López, curador y escritor, da una mirada a los textos tempranos de Juan Acha, quien se consolidó como una voz crítica y vigorosa en Perú, en tiempos en que la escena artística local estaba siendo fuertemente influenciada por las prácticas conceptualistas, los disturbios politicos y el golpe military de 1968. Read the essay…

Renowned Chilean critic Adriana Valdés talks about the Chilean art scene during the dictatorship and about the work of Eugenio Dittborn.

Consulting the MoMA Archives, this essay highlights and expands upon connections between the Slovene conceptual artists OHO Group and one of the Museum’s most well-known exhibitions.

Consulting the MoMA Archives, this essay highlights and expands upon connections between the Slovene conceptual artists OHO Group and one of the Museum’s most well-known exhibitions.

Since 1960, the North Korean government has constructed many buildings, monuments, and statues in Africa. These architectural structures have been covered by the international press since 2010, when the African Renaissance Monument was inaugurated in Senegal.

Mário Pedrosa is widely considered Brazil’s preeminent critic of art, culture, and politics and is one of Latin America’s most frequently cited public intellectuals. Three selections from his writings included here (“The Vital Need for Art”; “Environmental Art, Postmodern Art, Hélio Oiticica”; “The New MAM Will Consist of Five Museums”) come from the anthology Mário Pedrosa:…

Photography provided a guaranteed witness to the burgeoning genre of performance art in the 1960s, when restrictions in Socialist societies sometimes created a far different relationship between performance and documentation than in the West. Art historian Amy Bryzgel highlights several key works of Central and Eastern Europeanperformance art from the MoMA Collection. Artists have been…