The article compares two educational models that shaped Latin American experimental music

Emilia Casiva examines the "gestures" or "traits" in CAYC films, uncovering their spectral imagery and proposing a method to engage with them through the fragmented lens of the archive as a constructed entity.

Mara Polgovsky Ezcurra analyzes Margarita Paksa's performative video and poem Tiempo de descuento-cuenta regresiva-la hora cero, commissioned by CAYC in 1978. Polgovsky Ezcurra situates this work within CAYC’s broader video production, reflecting in particular on the place of women artists within the institution.

Renato Bermúdez Dini discusses the CAYC films through the lens of its audiovisual assemblages, referring not only to CAYC’s own production but also to its promotion of other artists, including the events it organized, its marketing and editorial strategies, and its public relations efforts, as well as its material conditions and its discursive framework.

ISLAA Writer in Residence Maggie Borowitz analyzes how Anna Bella Geiger's use of transparency in her artist books reveals an early engagement with feminism in contemporary Brazilian art.

ISLAA Writer in Residence Jorge Lopera discusses Anna Bella Geiger's notebooks as forms of creative expansion characteristic of non-objectualisms in Latin America.

The Luis Fernando Benedit Archive represents the artist’s activities across a range of media, from figurative painting to habitats for live animals. His notebooks, plans, and sketches also show an abiding concern with problems of process and transformation. When viewed in conjunction, these documents and works provide an opportunity to reexamine some of his contributions to debates concerning the relations between culture, nature, and technology.

Art historian Laura Bohnenblust excavates correspondence and ephemera to reconstruct a forgotten historical moment in which the Grupo de Artistas Modernos de la Argentina made their European debut.

Georgina Gluzman reviews the career of Mariette Lydis while reflecting on the artist's role as the narrator of her own trajectory.

Agustina Battezzati analyzes Argentine art collector Gustavo Bruzzone's filming of the Argentine art scene in the late 1990s. A digital copy of this footage is held at the ISLAA Library and Archives.

ISLAA Writer in Residence Joseph Shaikewitz examines the paradoxes concerning perception and representation, subjectivity and objectification, at play in the 1982 Venezuelan documentary film Trans.

Art historian Agustín Díez Fischer examines bodily extension and mediated reconstruction in a choreographic work by Argentine conceptual artist Leopoldo Maler.

2022–23 Graphic Designer in Residence Ramon Tejada muses on the multiplicity of perspectives on Latin American graphic design represented within the ISLAA Library and Archives.

Directed by Julio Grinblatt, Liliana Porter and Man with Axe: Fragments of Conversation with Julio Grinblatt on the Work 'Man with Axe' and Other Brief Situations, 2018, features the Argentine artist Liliana Porter discussing her installation, El hombre con el hacha y otras situaciones breves (Man with Axe and Other Brief Situations), 2014–2017.

270.02 documents artist Nicolás Guagnini's engagement with self-portraiture and autobiography, two forms defined by the imbrication of intimacy and publicity, the subject and the social.

Directed by Magali Lara, Mónica Mayer: Doña Lilia, 2021, showcases the work of Mexican artist Mónica Mayer and her homage to her mother, Doña Lilia.

Directed by Ana López, Marcia Schvartz: Ojo spotlights the creative process of Argentine artist Marcia Schvartz.

Directed by Claudia Del Río, Eduardo Costa: Soy un cura del pueblo (I’m a Small Town Priest), 2021–22, highlights the poetry in Argentine artist Eduardo Costa’s everyday life.

Directed by Alejandro Cesarco and Irina Raffo, Ernesto Vila is an intimate portrait of the Uruguayan visual artist Ernesto Vila and the inspiration he finds in his homeland.

Directed by Alejandro Cesarco and Irina Raffo, Clemente Padín, documents the Uruguayan artist Clemente Padín’s reading of Memoria Viva, which he considers one of the most important performances of his career.

Directed by Alberto Goldenstein, Marcelo Pombo: El silencio no existe, 2022, documents the Argentine artist Marcelo Pombo’s sensory approach to making images.

Directed by Guillermo Iuso, Mondongo: No me arrepiento de este amor (Mondongo: I Do Not Regret This Love), 2022, documents the practice of the Argentine artist group Mondongo, consisting of Agustina Picasso, Juliana Laffitte, and Manuel Mendanha.

Directed by Magali Lara, Coyolxauhqui Imperative, 2022, features the multidisciplinary Mexican artist Naomi Rincón Gallardo examining her interest in Mesoamerican ways of knowing.

Directed by K.ari.n Schneider, Rolando Peña: Sembrando el Petróleo, (Rolando Peña: Sowing the Oil), 2022, highlights the ecological origins of the work of Venezuelan conceptual artist Rolando Peña.

Directed by Albertina Carri, Luis Camnitzer: Arte, estado y no he estado, 2022, follows the Uruguayan artist Luis Camnitzer around his home as he contemplates the relationship between art and education and its relationship to the future.

Directed by Erina Duganne, Muriel Hasbun: to tell your story in pieces, as it is, 2022–23, traces the memories of Salvadoran artist Muriel Hasbun through her photographic work.

Directed by Julio Grinblatt, Ana Tiscornia: Cartografía del olvido (Cartography of Oblivion), 2022, features Uruguayan artist Ana Tiscornia in her studio as she creates work that acts as a vehicle between architecture and destruction.