Recapturing History The (Un)official Story in Contemporary Latin American Art Susana Torrwella Leval atin Americans find a profound sense of themselves I by looking to their historical past. This sense of story is inextricably bound up with their identity as Latin Americans. It elucidates the present and projects the favure in unbroken continuum, Contemporary artists of Latin American descent—born or living in the United States— often embody this historical consciousness in their work. In widely varied forms and strategies, they recapture their past {rom distortion ar oblivion. This essay discusses the work of a representative few. For them, historical memory—the aet of remembering, of salvaging the puast—is equivalent to cllec= live survival. Some recapture the past indirectly, through waginary journeys into time. For others, the w history have required actual physical pil- srimages, Still others have found that their perspective of the past must be translated into ditect, political terms that reflect current events Regardless of the formal or conceptual manner they huve chosen, the artists selected for diseussion here presenta form of cultural resistance. By reconsidering their Latin American pus, their work recontextualizes i, conveys i on their own terms. ‘The conscious act ef memory embodied in their work redeem the past from the indifferenee, marginal= ization, oF distortion it has suffered from the dominant Exar pean, 4 matter of nostalgia or of dutiful veneration of dead tradi- tions. The cultural traditions of the past—soeial, political, spiritual, popu lucidative component of the present. The past is understood as an essential, if partial, blueprint forthe ture Remapping the future entails redefining historical junctures between cultures. The six artists discussed here share that goal, one particularly relevant in view of the celebrations” of the quincentenary of Columbus's first voy age othe Americas. On id North American cultures. Looking tothe past is not and aesthetie—are felt to be a vital, ly theunigh a re-vision of past events and their contemporary interpretations will such “celebra- lions” reflect history more accurately and fairly. Only then will they have any meaning tothe descendants of the ancient tered, ‘cultures Columbus eno A key instrument of reinterpretation is the revelation of the biased viewpoin affect the evolution of historical events and subsequent “official” versions of thers. and interest An excellent example of this is contained in The Catherwood Project by Leandm Katz, intended, in his words, to “reap- propriate” the ancient Maya sites from their “colonialist! rneocolonialist representations.” Since 1984 the Argentin born artist has created a “visual reconstruction of Stephens and Catherwood's expeditions” by visting and photographing, the same Mayan sites in Mexico, the Yucatén peninsula, Honduras, and Guatemala.! The collaboration of John L. tiquarian, alish architect and draft ‘ments to the Western world through illustrated travel books published inthe early 1840s.? Catherwou's drawings, exe> cuted with the aid of « camera lucida, were regarded as a marvel of the period to this day, the steel engravings made from them ate considered remarkably accurate and are con salted as reference sources by archaeologists. With The Catherwood Project Katz set out on an unstal expedition that utilized the fall range and complexity of media at his disposal as writer poe. filmmaker, and photog rapher. As an artist, he has placed the image/language problematic at the center of his work, addressing issues around the split between seeing und reading visual signs. As jension ofthis, The Catherwood Project funetions as “a complex text about epistemology and the history of cultural forms—an archaeological site at which to unearth the hidden premises of understanding and perception.” As Kata says: “My work exists inside a very transitory position between the senses and the intellect, between nature and culture, al- tempting to make sense within the ruins of both.” Literally following Catherwood's footsteps through the Mayan ruins, Katz used two formats to represent them. One consisted of photographing the monuments directly, seeking «point of view as close as possible to Catherwoos!’s. ‘The photographs were then shown side by side with tions of the published engravings. The second for- ‘mat inserted, usually in the foregrounel, a hand-held version of the Catherwood engraving in front of the documented ‘monument, msking the comparison in a single image, as in “Tidal Cashersorod (iz 1}: Bath Toetans pee crnples questions about the variability af human perception, artistic intention, and the passage of time.When juxtaposed with Kat ‘contemporary pendants, Catherwood’s images are revealed in the fullness of their picturesque, colonializing romanticism. Throughout Katz’s project reminds us, represent ‘mount to authority and power. In his word: European eye coins the culture in its own terms.” Catherwoo "around the monumental sites, strategically placed for scale and local color The figures were represented within parameters strictly familiar to the British Empire and bore Title or o0 relation to the actual population. ‘Thu ald deli sppearance of the indigenous . as Katz sees it, Catherwood's bourgeois n viewing the exotic peoples of the “savage” continents they had colonized from the sale comfort of their Vietorian homes. Yet Leandro Katz admits to his own form of tomarti- cis. He, too, renounces “truth” by using filters to prodace dramatic chiaroscuro effects, or by deliberately printing im- ages darker to convey a neoromantie version of “the drama of historieal vision—an abstraction of time, space, ® In Katz's photographs, then, fact, romanticism, and humor coexist with the conscious aim of deconstructing the intentions of an earlier artist. This deconstructive i which curbs the romantie one, extends toa revelation of the Katz inserts hand-held versions of Catherwood’s peopled views with s own views of modern tourists visiting the monuments; his hand, holding the older raving, offers « transition for tween the two images. The hand symbolizes a distinctly Jifferent approach from Catherwood’s—Katz’s postmodern ime warp be as an artist who questions and challenges his own, motives in front of the motif. While revealing the arbitrary nature of “official,” colonializing representations ofthe past, Leandro Katz refuses to allow his images to become “aff In his words: “I not deny my own manipulation of reality. I, too, am representing.” Chicano artist David Avalos, like Leandro Katz, under- took aj ney into the pas teenth century his time into the late eigh- to reassess previous versions ofa portion of history. California Mission Daze—a collaborative project with James Lana, Deborah Small, and William E, Weeks — takes a hard, revisionist look atthe figure of Father Juniper Serra (I713~1784), the Spanish Franciscan missionary who ‘established nine of tl ‘most of North Ameria, Serra continues to be the “Apostle of e twenty-one missions in California. To California,” who led an “exemplary life that marked the -ginning of California.” The Columbia Encyclopedia de- seribes him as having worked “successfully” among. the Indians. Avalos and his collaborators wanted to look behind these official accounts of Se ‘Their multimedia project California Mission Daze (fg. 2) did this brilliantly, revealing the Spanish missionary ann his time. 1. 1 Leandro Kate, Tu fer Catherwod, 1985 fom The Catherwood Pet sie pint, 16 x 20 Inches. Cllecton of the artPO eee ee ee ee an ee eee Berar eer eedas the creator of a system that oppressed the Indians and decimated their population through mistreatment, malnutri tion, and Europ ited diseases. The project's var. ious components —a mission-style facade, an “Honest Inu” ‘souvenir shop, a classroom with a video and audio program, a burial ground, and a meditation chapel/chamber—take one ‘on a remarkable tour that fuses past and present through an inonie len Approaching the bleached austerity of a mission church, facade and rounding its false front, we find a classroom replete with the emblems of the dominant culture (fig. 3} portraits of the “great white fathers” wateh with overbearing authority lined high above the blackboard: Stars and Stripes are prominently displayeds the pledge of allegiance awaits recitals the republican eagle hovers nearby. The only th aan Indian child at this school could have learned about herself would be the appellations given her by those em powered to teach her: “hostile,” primitive,” “savage,” *hea- then.” On each desk lies a history text “revised” by the artists. In true/false and multiple-choice format, it sets the record straight on Father Serra. An example of a typical ‘question would be: The Padres: (a) established 21 missions throughout Alta California; (b) introduced the grape-growing industry: (c) last the World Series in 1984; (4) destroyed Indian civilization: Around the comer, the “Honest Injui shop gather, in sellable trinkets (liquor, racoon tails, bows and arrows, tacos, feathers, earthenware pots, ete.), the clichés and stereatypes that constitute the only forms of knowledge and tion between Indians and the dominant white culture. The shop takes the form ofan altar where a devalued culture is sacrificed to the erass, consuming interests of another: Nearby, the dignity of an Indian graveyard drives hhome the statistes on the classroom charts: within sixty years of Serra’s arrival in 1769, the population of the Caifore nia Tndians had been reduced from 134,000 te 98,000. ‘The last component ofthe installation is a chapel whose altar purports to be in honor of Junipero Serra. Upon closer inspection, its threes Native American's back, and alludes to the recent historical ‘event that California Mission Daze passionately condemns: Ue beatification of J Serra by Pope John Paul Il on sd structure is literally built upon a September 25, 1988. To most Native Americans, the beat- ification (the second of three steps toward official sainthood) is an outrage. Historian William E, Weeks puts it eloquently To canonize Serra isto legitimize both the mission system and the “savage” view of the Indian past. ... it raises basic questions of historical memory: will contemporary society choose to remember Serra’s conquest of the “California” In- dians as beneficial for them? Or will Western civilization confront the reality of genocide and subjugation (of which Serras efforts were but one chapter) that is the true story ofthe European relationship to the Indians? Will our children con- tinue t0 be taught that the history of California begins with ‘the arrival of Cabrillo in 1542? Orcan the educational system fully acknowledge the long histories of indigenous civilizations? Avalos’ alternative perspective to the “official story” secks “are-d of our shared histories” and strives fora mare accurate account of the relationship between two cul= tures.” It presupposes the freedom to see history as living, ing reality and art as a medium for transmitting it. According to the artist: “There's belief inthis group that art can affect people's consciousness in a way that has concrete benefits for society. ‘There's a belief that knowing, history makes a difference, tha i not just an academic subject, but that it has relevance in our daily lives." Brazilian Regina Silveira, too, chose to question an accepted viewpoint of historical events by reinterpreting a key public monument in her native city of Séo Paula, The Monumenio as Banderas rises in Ubirapuera Park as a proud metaphor of Séo Paulo's progressive spirit. I celebrates the brave forays of the bandeirantes, seventeenth-century Por tuguese, Indian, and black explorers who set out from Séo Paulo into Brazil's rugged interior to look for gold. Each politcal administration has claimed identification with the heroes of the monument, which was commissioned by the ‘modernists in 1922 from French-born Vietor Brecheret, but ‘ot built until 1953 by de Salles Oliveira. During the fifties the modernists identified the energetic forward momentum of the momament’s bund of “men setting off n conquest of «new world” with their dreams of “progress.” to be achieved through the “eivilizing” effeets of industrialization and technology." Rogina Silveira questions that “progress” and its conse~7” 115.4 Regina Sibir, Enccunt; 199%, computer generated image fr skaceen bilboard, 78% x 226% Inches. Exe in “maqulnalones: 16 Mradas a ‘32 Mada sponsored bythe Socednd Ena dl Cunt Cente, The works of Katz, Avalos, and Silveira reinterpret revise, or challenge versions of past events or periods, ac- ‘counts coined by domi ant cultures and accepted as official over time. Other artists of Latin American descent employ historical memory for the recovery of a spiritual dimension for its restoration to a place of familiarity and imps within contemporary life. These artists deplore the 1 isolation from, and discoonfvet with, dimensions of experience that involve the spititual, the sacred, the supematural, the and the magical, Consciously incorporating a work, they cele spiritual dime recent traditions that animate their native cultures, which have been ignored, misunderstood, devalued, or repressed Thus, the work of such artists assumes a politcal dimension it restores value and di traditions excluded from the ultural practices and Jominant Anglo-American world view del aa key m Cuban-horn artist Ana Mendieta provi im this context. She believed that “art is a material part cculture but its greatest value is its spititual role, and that influences society, because it's the greatest contribution to the intellectual and moral development of humanity that can be made." This passionately held belief was matched by Mendieta’s overriding preoccupation with returning to her ified reunion with her rightfal Cuban homeland. A return to Cuba si the spiritual forces inherent in nature that w heritage: the popular traditions of Santeria, a syneretic blend of Yoruba and Catholic beliefs that evalved in the Caribbean; and the animistic system ofthe Taino Indians, who inhabited the Caribbean in pre-Columbian A sense of displacement at having left Cuba at ag hin 1985, ‘Through her art, she returned to her homeland, In her words thirteen o sed Mendieta until her tragic de Thave been carrying on a dialogue between the landscape and the female body (based on my oun sithowette) believe this has been a direct result of my having been torn from my homeland during my adolescence. 1 am overwhelmed by the fling of having been cast from the womb (nature). My art isthe way 1 re-establish the bonds that unite me to the universe. It is a hibody turn to the maternal source. Through my ea tures I become one with the earth.!* In Cuban Santeria, nature is the sacred site where the orisha (gods) reside, and cach god is associated with a natural element. For Mendieta, the Mother Goddess associ= ated with the earth vas all-powerful. The identification of her own body with that of the Earth Mother was a physical ane spiritual process that flowed from her deeply held belie in the inseparability of body and spirit For over a decade, Mendieta played out this reunifica tion with the spirits in nature through symbolic rituals of identification, resi in, and purification. The process‘originated with her experimental “earth-body sculptures” during the early seventies asa graduate student al the Univer: sity of Iowa." Mendieta’s body, active ereator and passive vessel, subject and object of meaning, was to give its mea sure and imprint to her best work. In the Tree of Life. her body, covered with mud, earth, and twigs, becomes the tree Ihouctted self lined by candle light, delineated by fragile twigs, petals, and shells, built up or sunk into eroding river banks where earth met water and trunk it yenerates. Far over a decade, her sought its source: blasted by gunpowder, o ral form would gradually return to its origin, In August of 1981, Mendieta finally went home. In the soft clay ofthe Jaruco cli series, Esculturas Rupestres (fi from the Ta 1 Cuba, she carved a climactic 5), which bears titles drawn, o language. At this long-aw identification, Mendieta transcended the personal dimension ted mornent of through images with universal resonance as signs of fertility and regeneration Despite the work, .ceral, sensuous physicality of Mendieta’s A fire- = greatest impact lay in its spiritual power works silhouette, Anima/AlmalSoul, burned in 1976 in Oax- aca, generated “an emotional energy similar to that found in a religious ceremony or ritual."!® Just as the orisha confer ashé divine power, the life fore in them, Men of the ods) om thase web la, as artist and orisha (shama possessed by the orisha), passed on the force of spiritual throigh her work. For Mendieta, the spirit was the core dimension in the concentric, everswidening circles of her lifes struggle —as an artist, asa woman, and as a represen tative of the so-called Third Word. Tn the past to decades, the “altar movement” led by Chicano and Mexican-American artists has also contributed significantly to the reeavery of a spiritual dimension in ceantemporary art and eulture. Ar armen Lomas As such as Enrique Ch ova, arza, Amalia Mesa-Bains, Maxi- iliano Pruneda, Celia Alvarez Mufoz, Patssi Valdez, Patricia Rodriguez, and Peter Rodriguez have tured to the altar and shrine form as a reaffirmation of past traditions that continue to be important to the life of their communities. Amalia Mesa-Bains, artist and scholar ofthis tradition, has described its “primary impulse” toward the spiritual as an ric. 5 Ana Mendieta, one ofthe seis Ecuturas Ropestres (Rupestian Suptresl 1981, caved cay wall, Cua del Agua (Eagle's Cave Excaleras de rac, evan6. 6 Juan Sanches, Bleeding Reality: As stam, 1988, laser prin, nd mined mei on cans, 4 % 108 inches. EI Musee del Bar, New ork “expression of cultural memory.” She has accurately con- nected the powerful energy ofthis drive toa form of “cultural resistance” expressed through “the al worldview. Within the contemporary art world, the altar "movement can be understoo as “response to the encounter between the everyday reality of Hispanic artists and the hie ularizing Anglo- in alternative with relevance to ion of an ancient ceanon of fine art."!7 It has empowered counter the exclusionary rigidity of se no artists to American norms, offeri their own people For the artists discussed above, an understanding of history is a necessary tool for grounding themselves in the present and projecting change for the future. Through his work, Juan Sénchex advocates the necessity of urgent poli ceal action as an agent of change. The powerful word/image interplay in Séncher’s work conveys specific messages that speak directly to his Puerto Rican community. The artist condemns Puerto Rico's lack of political self-determination aas a colony of the United States since the 1898 military invasion that evicted the Spanish, who had ruled it for four centuries. Sinchex seeks to redress Puerto Ricans’ luck of pride in their own history, a feeling compounded by the experience of injustice and racial prejudice for islanders living in the U.S. From the fifties on, since their arrival on e Enst coast of this country in large numbers, Puerto Ricans’ hopes forthe promised American dream have turned (© & nightmare of intolerance and racial discrimination, while their history and traditions have been marginalized and devalued within mainstream Anglo culture New York-bam Sanchez recovers portions ofthe Puerto Rican past in order to establish « proud identity and the right of Puerto Rico to its sovereignty. ‘The legacy of the pre- Columbian Tafno Indians, the dignity of the abolitionists struggle," the beauty of Julia de B the noble scraps of history that Sanchez gathers and salvages for his compatriots. He works through a blend of painted andl reos’s poetry —these a collaged popular and religious imagery, ole and new photo- sraphs, and carefully selected texts from historical sourees nd personal journals. Yet for the artist, knowing. one’s his tory is not enough. Its ultimate vindication must be through political action, and Sdnche’s works convey dieect appeals to Puerto Ricans to take the future of their country into their own hands by achieving independence from the United States. ‘The triptych Bleeding Reality: Ast Estamos fig. 6)is an eloquent statement ofthe artist's message and aesthetic. The painting combines religious symbols of sorrow (the Sacred Heart, the Crucified Christ, stigmata}, whieh also convey allusions to the Puerto Rican ordeal in North America, andl handwritten texts quoting humiliating, stereotyping judg- wool teachers (“their silence retardation, belligerent, anti- social behavior”) that Sanchez remembers suffering as a child n in New Yark City. These are ments from primary and high is judged to be “slowness, within the publie school syst counterpointed by proud symbols of Puerto Rico's cultural patrimony, such as Taino petroglyphs and pre-Columbian stone carvings depicting natural and spiritual beings. Signs ‘of disruption (an inverted palm tree, a tom Puerto Riean flag) ‘co-exist with a key symbol of the continuing exploitation of ‘one country and culture by another—an advertisement fram the New York Times showing a hand holding an American Express card that reads: "Youve got Puerto Rico in the palm of your hand.” To this, scrawled message: “Qué hacen los Puertorriquefios que rebelan?” (Why dort Puerto Rieans rebel?) inchez counters with the hand- Another striking painting by Stinchex (fig. 7) offers an ‘equally articulate synthesis of his politieal beliefs. At its hase, Sinche inverts a well-known photograph—that of President Kennedy shaking hands with Luis Mufioz Marin, fir or of Puerto Rico—thus alluding to Muroz Marinis betrayal ofhis original ideals for Puerto Rican independence. Muvioz forced the island deeper into its pres=‘ent colonial status through a series of political compromises with the Kennedy administration. The middle register of the picture juxtaposes Taino petroglyphs with the head of the Statue of Liberty wrapped in the Puerto Rican flag by New ‘York activists. The upper part shows the martyred pro- Independence leader Pedro Albizu Campos giving a historic speech to the Nationalist Party during the 1930s. The paint ings the artists salute toa great leader and his personal call to Puerto Ricans to free themselves from their colonial status. Sinche’s works present a unique combination of historical ‘material and deep personal emotion, Their artistic and eon- cceplual integrity makes them broad symbols in the fight for justice and self-determination throughout the world. If Sanchez addresses the interests of a particular ‘community. Chilean-born Alfredo Jar takes on global inter. ‘action. More precisely, his works re-create, in complex con- cceplual and visual metaphors, “the distances between differ: ent worlds.”!? Jaar’s meticulously calculated installations draw on his background in filmmaking, architecture, and public-art commissions, Despite a highly intellectual ap- proach, product of his “Cartesian” upbringing and an affinity with conceptual att via Marcel Duchamp, Jars unique fo ‘of humanistic conceptualism seeks to salvage individual identity and personal dignity against a global framework. Over the last decade, Jaar’s work has relentlessly ex- posed historical and contemporary incidents of domination sand abuse of power by the “Firsi” World toward the “Third” World. As frontispiece for his catalogue to Documenta "87, Jar used a circular design drawn by Amerigo Vespucci and originally published in Mundus Novus in 1305 to deseribe the “New” World. Its text reads: “Thus it comes about that we are on an upright line, but they on a line drawn sidewise. A. kind of orthogonal triangle is thus formed, the position of whose upright line we occupy, but they the base; and the hypotenuse is drawn from our zenith to theirs."2° For Jaar, design and text by Vaspucci are emblematic, five hundred years later, of the atitudes of the “First” World vis-a-vis the “Third.” In addressing contemporary issues, Jaar's works offer ic. 8 Allred na A Logo for Amerie, 1987, compute srimationseauence {ermsioned by the Pubic rt Fund forthe Spear Lgboar Times Suu, Hew Yor. startling reminders of the Eurocentric arrogance that under: lies common assumptions. Fascinated by cartography since childhood, the artist hus utilized maps to explore how they have shaped and extended the Western-dominant world view. For instance, the commonly used (and until recently unques- tioned!) version ofthe world, the Mereator projection map, was developed in 1569 by Gerardus Mercator far European navi- gators in an age of conquest and discovery. It extended Vespucei’s Eurocentric perspective, placing Europe at the “center” of the workd and enlarging its size in relation to the rest of the world. In his recent work, Jaar has replaced the Mercator projection by the 1974 Peters projection map, which “accurately represents all areas ofthe globe according, to relative size, reinstating a proportional equality to each Jandmass."2* Another everyclay example of national arrogance is the use in the United States of the name “America” to mean exclusively the United States. In a suecinet play of word and ‘mage, Jaar called this to public attention in the serial images ofa piece titled A Logo for America (fig. 8) shown in 1987 on the Spectacolor board in Times Square, New York. The final image of Jaar’s message presents the word “AMERICA” as logo, with the “R” replaced by the image of the entire Wester Hemisphere, North and Sout Beyond analyzing the neocolonial assumptions that un- derlie contemporary Euro-American domination, Jaar re- veals the devastating consequences for the peoples whose lives are dominated. The artis’s elegant conceptualism sub- verts its own Western European form to personalize the America, anonymous masses that the “First” World exploits and then wishes to forget. Inthe course of doing so, Jar often exposes the hidden crimes that “ies” World powers commit against, “underdeveloped” countries. Since 1985 a series of his in- stalations has dealt with the horror of Serra Pelada, a mine in the eastern Amazon where 100,000 Brazilian men break their backs daily in search of gold.2’ Their exploitation benefits « world market in which they will never participate and from which they will never profit. Another work, Geogra- >phy= War of 1989, revealed the shame of the international ‘tafficin hazardous waste. The work exposes the dumping, in 1987-89, of 3.500 pounds of toxic waste on the port town of Koko, Nigeria, by three European freighters. Jaars installa- [ART JOURNALie. 9 Aledo Jay, Spheres of influence, 1990, two of tele ight boxes ‘crying site, pat of site spetcnstalton resid rte Syoney Beil Inthe At Gallery of New South Wes, tion offered a powerfull metaphor of the impotence of the Thite ‘World: Koko chileren playing among the rusting metal drums as the deadly toxie materials leached into the soil around their homes. In Spheres of Influence (fig. 9) forthe 1990 Biennial in Australia, J missing from an official, commonly ae Towed to create his installation in the 1 galleries of the Art Gallery of New South Wale spersed his light-box const the idyllic French-inspived pictures thi Sydney 1 again male visible the elements pled account, Al- teenth-century he inter- ng there. The stark ted close-ups of Brazilian workers’ faces symbolically ri indige Beaux-Arts narrative. Jaar’s work ch cred a place and an image for those forced ous peoples systematically excluded fom the official wleristically recov 1 invisibility Once seen, they are impossible to forget. ‘The six contemporary artists discussed here function as collective monitor ofthe eyelical patterns affecting past and present, orgin events, these artists reveal the links between historical and contemporary inconsistencies, lies, and absurdities ofthe “oficial” versions. Fo nga consciousness of the present unfolding is both witness and a imum with the past, they nt in the making of history. Anethical stance toward current events and issues is for these artists an inevitable component oftheir work. They are nis inthe “dea active: partici cartography,” in wri the first step of which must be the realization of “an America wg of the next century’ artist Guillermo Gomez 's words, beyond Columbus"? tis that America which these artists celebrate and aspire to—an Ameriea without conquerors and without diseaverers =- 1 Lean Kate, “The Cake Prt: 1988-8" unpubl wit ae 2 Ses, Ios rin intr Arce, Chinas ad Yara in Frick Cer, 2 ol 194; New rc Doner Iuctinm, 1969, served i care tpn Ka poe Soba. Haar, trchare fr "The New Aner Flzmaere Sete” d= mean Ka he Winch (New Yorks Whitey sro Aca At 1982, 3 Lean Kat, ne 2 5. The qua inthis ps ph thea ceri wth a 6 Fra, Sun Do Ur, Speier 28 1968 Delo with Willa, Wee, Dd Aa alae a Lesa Ts uae,” Califia Mai Darlin, 1988 Wik Om isin” ii Gallas, Now et, dane 189. 10. Dal Aral ante in Eh 12. Gast with Regina Si, New rk, Nowe 4 1991 12, Ane elon seme co Weal Mere: Ayr fe Cae Mei” ein at STAR Scr in US hn” Lat Angee id recht oti dm 8-80 Mena nt hero gate ee yea Baoan ta: A His ‘rer Bare del eel ent, ne Medi: Rect, 3 7 Amalit Men Baan “Crstrial Semen,” in Commony of Moma Nav {spss ef Spray aang CnenpryPipan Ais, ae Fe {enor Contrary At of Sata, 18), 7 Thi tal on eb ed De Mose isco severest may sei lia ‘ele tie ed shee Rit Dead ne han Sony ma eal Spa in Pato Ris Mah 22,187, 10. Comes th lids Ja, Nw Yk, Domb B 19 2A Alfred far 141+ I: Dot Be cat eon Wks vay wid 21H, Aaiey ith, “Re-Vshnn: An ft te Geography = Wa” id oer Cerny = het. Riche: Vigits Mansel Pre 22 Tar ese secre copter animation source wat am nent time tral the Spector Lhe Tae Sar er mth ‘ryan Arde Jeet (a SUSANA TORRUELLA LEVAL is an art historian and curator of contemporary art. Currently she is chief eurator at El Museo del Barrio in New York.Copyright of Art Journal is the property of College Art Association and its content may net be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express uiritten permission. However, users may print, download, or email articles for individual use.