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Bisi Silva discusses the history of the organization and how it serves to introduce theoretical discourse and build connections among practitioners across the continent.

Yellow Abakan and Pregnant by Magdalena Abakanowicz engage with a diverse range of materials that address the limitations of working as a female sculptor under state socialism.

José Roca examines institutional and social interaction with Latin American Art as a genre. He considers the development of Latin American cultural movements in relation to lagging North American and European artistic growth.

Shi Lu’s 1955 trip to India to oversee the design of the Chinese Pavilion at the Indian Industries Fair and his 1956 trip to Egypt for the Afro-Asian Art Conference offer a lens for understanding the PRC’s outreach and artistic diplomacy in the Cold War era.

En este texto, la artista Maris Bustamante recuerda la importancia que tuvieron las ideas de Juan Acha para ella y para una generación de artistas jóvenes. Sostiene que el abordaje refrescante de Acha respecto de su rol de crítico redefinió la manera en la que los artistas defendían y conceptualizaban su trabajo.

Artist Maris Bustamante reminisces about the importance Juan Acha’s ideas had for her and a generation of young artists.

As the Guggenheim prepared to open its exhibition Art and China after 1989: Theater of the World on October 6, 2017, post collaborated with the Guggenheim’s Checklist blog to reflect on works by Yang Fudong and Zhang Peili, two important contemporary artists from China.

Michelle Elligott, Chief of Archives, Library, and Research Collections at MoMA, speaks with Maciej Cholewiński, Archivist at Muzeum Sztuki in Łodz (MSŁ).

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.

Eda Čufer, art historian and member of the art collective Neue Slowenische Kunst (NSK), sheds light on the challenges in negotiating between canonical art histories and local specificities in Eastern Europe, specifically in the countries of former Yugoslavia.

This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.

Artist and art historian Camilo Leyva considers how the practices of artists in the 1960s opened up many paths for contemporary artists in Colombia today.