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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.

Film historian and curator Ashish Rajadhyaksha discusses the need for a canon, the year 1971, cracks in the bastion of the nation(al), the belated effects of censorship, and the pluralization of globalities

Architect and artist Simón Hosie reflects on the changing dynamics of architecture in Colombia today, focusing on qualities such as context, the human element, and sustainability.

“In your practice, how do you approach the challenges that arise when presenting art from contexts that are not familiar to your audience?” With the dominance of the biennial model and the aggressive globalization of art institutions, such a question is as pertinent to a curator as it ever was.

Gego (1912–1994, Gertrud Goldschmidt), arguably the most influential Venezuelan artist of the twentieth century, was the critical counter-figure of Venezuelan Kineticism.

Art historian Sarah James considers art produced in the German Democratic Republic (GDR), reflecting on its circulation in both international and local contexts.

In this 5 Questions video, art historian Gina McDaniel Tarver, a specialist in modern and contemporary Colombian art, comments on the importance of local immersion to challenge categorical thinking.

Diana Campbell Betancourt, Artistic Director of Samdani Art Foundation and Chief Curator of Dhaka Art Summit, interviewed Syed Jahangir, artist and founder of the Asian Art Biennale, the oldest existing biennial of contemporary art in Asia.

Art historian Ana María Reyes discusses the importance of reception and institutional framing in understanding works of art and identifies key moments of Colombian art history.

The essay focuses on four artist books by Mladen Stilinović (1947-2016). Several of the books are in an accordion-fold format, common for Stilinović’s photobooks and pamphlets that include drawings, word constructions, and collages.

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.