1970s

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Film historian and curator Ashish Rajadhyaksha discusses the need for a canon, the year 1971, cracks in the bastion of the nation(al), the belated effects of censorship, and the pluralization of globalities

Gego (1912–1994, Gertrud Goldschmidt), arguably the most influential Venezuelan artist of the twentieth century, was the critical counter-figure of Venezuelan Kineticism.

The essay focuses on four artist books by Mladen Stilinović (1947-2016). Several of the books are in an accordion-fold format, common for Stilinović’s photobooks and pamphlets that include drawings, word constructions, and collages.

Art historian and curator Margarita Tupitsyn analyzes Balloon, a 1977 action by the Moscow-based Collective Actions Group (CAG), which entered the MoMA Collection in 2008 as a video work.

This series presents newly translated texts from the 1970s by Conceptual artists from Poland, Hungary, and Slovakia.

In 1973, critic and theorist Juan Acha published the text Por una nueva problemática artística en Latinoamérica in Artes Visuales. The critical essay is available here in the original Spanish as well as translated into English for the first time.

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

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

In the third and final part of this multi-section essay, art historian Ksenya Gurshtein addresses OHO Group’s work in the year 1970.

In this essay, art historian Rita Eder reviews, from a personal and first-hand point of view, the breadth and impact of Juan Acha’s critical contribution to Latin American art from the 1970s to the 1990s. She locates Acha’s theory of no-objetualismo (non-objectualism) within his wider production and considers his preoccupations with materiality, artistic hierarchies and the circulation…