Since the late nineties, the work of Regina José Galindo has been characterized for denouncing different forms of oppression and violence in contemporary society. One recurring theme in her artistic career has been the migratory mobilizations and displacement of Central Americans as a result of the civil wars that took place in Guatemala and other countries of the region in the 1970s.
Proun 19D (1920 or 1921), one of El Lissitzky’s best-known works, offers different frames of interpretations closely related to the historiographical record of where and how the work has been displayed since its inception.
The essay analyzes the resonances between the Brazilian artist Rubem Valentim and the Sudanese artist Ibrahim El-Salahi by focusing on two paintings belonging to MoMA’s collection. Deploying hybridized semiotics and different strands of painterly abstraction, the artists critically express their stance towards race, nationhood, and universal human values.
Cara Manes on Sheela Gowda’s complex and multidisciplinary practice.
This essay considers the condition of Gertrudes Altschul as a German exile who developed a notable photographic practice after settling in Brazil in 1940. Altschul participated in the Foto Cine Clube Bandeirante (FCCB) camera club, contributing to the development of the history of photography in São Paulo through her work.
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.
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.
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.
Gego (1912–1994, Gertrud Goldschmidt), arguably the most influential Venezuelan artist of the twentieth century, was the critical counter-figure of Venezuelan Kineticism.
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.
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.
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.
