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Waldemar Cordeiro’s work shifts from his involvement with Concrete Art in São Paulo (of which he was one of the central artists, critics, and curators), to landscape design, a unique take on Pop Art through his “Popcretos,” and his final 1970s experiments with computer art. Cordeiro’s 1970s works were produced while Brazil was ruled by a military dictatorship that was skilled and innovative in its manipulation of mass media to control society and manage dissent.

The interview with Zarina considers the artist’s life and work as a bridge between New Delhi and New York.

Through a close analysis of documents in the MoMA Archives, this essay challenges the dominant narrative about the development and internationalization of Haitian art in the 1940s.

After following the work of Gauri Gill for many years and meeting with her in New Delhi, curator Sarah Suzuki acquired two works from Gill’s Fields of Sight series (in collaboration with Rajesh Vangad) for The Museum of Modern Art’s collection.

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

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.

In 2016, The Museum of Modern Art received a major gift from the Colección Patricia Phelps de Cisneros, which added more than 100 works of modern art by major artists from Latin America to the Museum’s collection and established the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America.

The Museum of Modern Art has just received what is arguably one of the most transformative donations in its history: more than one hundred modern works produced by thirty-seven Latin American masters, which have entered the collection through the generosity of the Colección Patricia Phelps de Cisneros. This theme was developed to share information about…

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…