Artists can be activists but can art be activism? C-MAP presents a forum at the Museum of Modern Art with Coco Fusco, Oleksiy Radynski, and Ram Rahman—artists who have all engaged with activist practices—who discuss relations between art and politics in Cuba, Ukraine, and India.
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.
The Rauschenberg Overseas Cultural Initiative was a large-scale international traveling exhibition that doubled as a cultural exchange program.
The Rauschenberg Overseas Cultural Initiative was a large-scale international traveling exhibition that doubled as a cultural exchange program.
independent curator and contemporary art researcher Santiago Rueda discusses the importance of understanding local art histories in Colombia and broader artistic developments and narratives as interrelated processes.
Experimenting with ideas of disruption, participation, community, and institutional critique, Argentine artist Marta Minujín blindfolded and “kidnapped” fifteen audience members as part of Kidnappening.
When the Brussels Expo presented the exhibition Fifty Years of Modern Art in 1958, it unintentionally pioneered a more broadly global view of modern art, although not without some friction.
Going beyond the context of modern Brazil and its experimental art scene, this essay traces a wide genealogy for his body of work, from local traditions such as samba to European intellectual figures such as Friedrich Nietzsche.
This series presents newly translated texts from the 1970s by Conceptual artists from Poland, Hungary, and Slovakia.
Artist, writer, and educator Lucas Ospina thoughtfully approaches the promotion of Latin American art much like, he says, any good translator who knows that certain information cannot be translated accurately.
As part of an ongoing collaboration between the Jaipur Literature Festival and MoMA, this post Presents discussion “Patriot Games: Contextualizing Nationalism” explores nationalism around the world, with panelists Urvashi Butalia, Bouchra Khalili, Bruce Robbins, Eyal Weizman, and moderator Marie Brenner.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
