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Art historian Anthony Gardner reminds us to think of art historical categories as broad and flexible, and identifies exhibition histories in the former Yugoslavia, as a rich area of interest.

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.

Art historian Emilia Terracciano examines the possibility of developing and de-colonizing narrative tools for the writing of (Indian) art history.

From action painting to free-form music concerts, East German performance art establishes itself in the GDR’s final decade.

During 2016 and 2017, more than 80 scholars, artists, and curators visited MoMA as C-MAP guests. n conjunction with the 5 Questions interview series, we asked them a sixth question: How can MoMA better approach international artistic production and exchange?

Art historian April Eisman looks at art produced in the German Democratic Republic (GDR) from the context of multiple canons.

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.

Art historian and curator Atreyee Gupta discusses the particularity and situatedness of perspectives, and presents the national and the regional as possibly conflicting categories, challenging us to unlearn both Western and Indian art history.

Over a dozen members of the C-MAP Central and Eastern European group traveled for research to Moscow in March 2017. As Roxana Marcoci, Senior Curator of Photography, notes, Russia spans eleven time zones and includes two-hundred nationalities. From this vast and deeply complex nation, the participants report on their impressions below. Reflection by Ksenia Nouril, C-MAP Central…

Curator Carolina Ponce de León discusses Colombian art history, describing how Conceptual art of the late 70s in Colombia differed from similar practices in South America.

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.

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.