1970s

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…

En este ensayo, Rita Eder revisa, desde su experiencia de primera mano, el profundo impacto del legado de Juan Acha. Su contribución al arte latinoamericano de los 70s, 80s y 90s es presentada por Eder en este texto que sitúa el desarrollo de la teoría del no-objetualismo en el amplio corpus de la producción de Acha que…

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.

Translated from Serbo-Croatian into English here for the first, this interview was published in the 1969 catalog of the exhibition Milenko Matanović, David Nez, Andraž Šalamun, Tomaž Šalamun that took place at the Gallery of Contemporary Art in Zagreb.