The Americas

Curator Heloisa Espada sheds light on Geraldo de Barros’ 1951 Fotoforma exhibition, one of the earliest exhibitions of photography in a Brazilian museum.

This essay is the first in a series of texts on the Foto Cine Club Bandeirante, a group of amateur photographers whose ambitious and innovative works embodied the abundant originality of postwar Brazilian culture. The series coincides with the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946–1964, on view at the Museum of Modern Art from May 8 to September 26, 2021.

In recent years, the Brazilian artist Regina Vater (born 1943) has gained renewed attention for her contributions to Latin American and Latinx feminist art histories of performance. However, her artistic explorations of ecology and the environment are virtually unexamined. This essay considers these subjects in Vater’s work through an analysis of several site-specific, participatory events that together address ecological themes of waste and renewal.

Widely distributed in recent years and now in MoMA’s collection, the two-minute video depicts Parente entering a closet and hanging up her sweater without first removing it from her body.

This text brings together Marisol’s sculpture Love and Frank O’Hara’s poem “Having a Coke with You” to explore their shared investigations of the personal in a capitalistic landscape, queer eroticism, global Cold War politics, and stoppered versus flowing communication.

In this interview, Mexican-born, Brooklyn-based artist Laura Anderson Barbata highlights the importance of reciprocity and shared knowledge in her community-based, trans-disciplinary practice.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.

Alejandro Paz Navas’s The Bodyguard is a testament to a generation of artists who mobilized conceptual performances in public spaces to respond to the socio-economic changes in postwar Guatemala.

The exhibition Neri Oxman: Material Ecology shows the architect’s practice at the intersection of nature and computation. Her dynamic approach, though rooted in the modernist tradition, brings together material science, digital fabrication technologies, and organic design.