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Colorhythms, a group of works by Venezuelan artist Alejandro Otero made in the 1940s and 1950s, are vertical or horizontal rectangular paintings that unfold in countless serial compositional variations.

Karin Zitzewitz discusses significant impulses and influences on art production in South Asia, between the artists’ immediate context and practices or discourses of feminism and globalization, which have dominated since the 1980s.

Twelve ink drawings by Hércules Barsotti explore a radical geometry and a systematic mode of working that, already in 1960, point to a new mode of working for the Brazilian artist.

Ewa Partum gives a close readings of her work Autobiography in the MoMA collection and describes some of her earliest performances from the 1970s, including Active Poetry.

Historian Mary Roldán speaks to 20th century Colombian social and political history and argues against imposing a false historical isolation on Colombia as well as addressing areas of scholarship that need further research.

Postwar: Art Between the Pacific and the Atlantic, 1945-65, an exhibition on view at Haus der Kunst in Munich from October 2016 – March 2017, presents the period and its art as already global, multi-faceted, and modern.

Curator and writer Nataša Petrešin-Bachelez wants us to look at art history from both sides—the canonical and the traditionally “uncanonical” or those areas and things outside the accepted parameters of a “Western” art history.

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.

The very first scene of the video Centro Espacial Satelital de Colombia, by the art collective La Decanatura, depicts a mother cow slowly, even lovingly, stroking with her tongue a newborn calf.

Curator Olga Kopenkina describes her curatorial practice, which moves away from grand historical narratives toward specific, national histories producing intersectionalities that she feels are missing in art history today.

Translated into English for the first time, this text by Latin American theorist Juan Acha was first presented at a conference at the Museo de Arte Moderno de Medellín in 1981 and later published as part of the conference proceedings.

Curator Anna Bitkina addresses the expanding role of the curator and art, specifically in Russia, where public space continues to be politically charged.