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    A Universal Language and an Unrealized European Tour: Grupo de Artistas Modernos de la Argentina
    Desire, Mystery, Devotion: On Mariette Lydis’s Trajectory
    Neofiguración and Dibujazo: Uruguayan Painting and Graphic Arts, 1960–80
    "Trans" (1982): Queering the Temporality of the Archive
    In Focus: 270 Series
    270.12—Luis Camnitzer: Arte, estado y no he estado
    270.01—Liliana Porter and Man with Axe: Fragments of a Conversation with Julio Grinblatt
    270.04— Marcia Schvartz: Ojo
    270.11—Rolando Peña: Sembrando el Petróleo
    In Focus: 270 Series
    270.12—Luis Camnitzer: Arte, estado y no he estado
    270.01—Liliana Porter and Man with Axe: Fragments of a Conversation with Julio Grinblatt
    270.04— Marcia Schvartz: Ojo
    270.11—Rolando Peña: Sembrando el Petróleo

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    Poetics of the Body and Language in CAYC’s Audiovisual Archives

    Sociotechnical Impetus: CAYC’s Audiovisual Assemblages

    Temporality and Technics in Margarita Paksa's Tiempo de descuento

    Transparency and Feminist Revision in Anna Bella Geiger’s Artist’s Books

    A Creative Form of Expansion: Non-Objectualism and Anna Bella Geiger’s Artist’s Notebooks (1974–77)

    Two Women at the Japan Video Art Festival at CAYC, 1978

    A Universal Language and an Unrealized European Tour: Grupo de Artistas Modernos de la Argentina

    Neofiguración and Dibujazo: Uruguayan Painting and Graphic Arts, 1960–80

    Desire, Mystery, Devotion: On Mariette Lydis’s Trajectory

    Montevideo’s Grupo 8 (1959–62): The Ephemeral Avant-Garde

    Informalist Painting in Uruguay: Its Origins and Processes (1957–65)

    "Garments", "Knots" and "High Tide": Three Poems in Response to Jorge Eielson

    Toward a Poetics of Multiplicity: On Juan Carlos Romero’s Experiments in Repetition

    A Dance of Bodies and Machines: Leopoldo Maler’s Crane Ballet

    An “Intermedia Revolution”: Audiovisual Experimentation at the Centro de Arte y Comunicación

    Time in Motion: An Approach to Gustavo Bruzzone’s More Than Four Hundred Hours of Filming Toward the End of the Century

    El Dibujazo: Drawing as Resistance in 1970s Uruguay

    In Plane Sight

    “El Dibujazo”: Approaching an Atmosphere

    Desire, Deferral, and the Failings of Filmic Representation—"Trans" (1982)

    "Trans" (1982): Queering the Temporality of the Archive

    “Our School”: Testimonies from the Kasak-Madí Archive

    Do Whatever You Want: Edgardo Giménez in Dialogue with Gonzalo Guerrero

    Artes Visuales: A Latin American Debate

    Living Cultural Landscapes

    Rayando el Archivo: Mónica Mayer’s "El Tendedero"

    Cal: An Analysis of the Journal’s Plastic Arts Section

    Notes on Latin American Graphic Design, Artes Gráficas, Typography, and Printed Matter from the ISLAA Library and Archives

    Informalism’s Last Curveball: Informal Painting and Its Exegesis between Argentina and Europe

    Same Sea (Rose Horse)

    People Are the Only Thing that Matters: Alberto Greco and the Traveling Cultural Exhibitions

    Between the Earth and the Divine

    Pedro Figari: Art Industrial Education in Uruguay (1900–20)

    Load-Bearing Subjects: On Grupo Escombros’s "Teoría del arte"

    A short conversation about André Cadere

    Conversations with Magali Lara’s Interiors

    From East 78th Street to Segovia: A Morning with César Paternosto, August 2021

    Reading the Register

    María Freire: Her Work in the Context of Abstract-Geometric Art from Río de la Plata and Brazil with European References (1950–1980)

    This Is Not a Map: Extraction and Supplement in Sol LeWitt and Claudio Perna

    The Contemplation of Writing

    Matters of Process and Techniques of Control: The Luis Fernando Benedit Papers, 1960–1978

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    The Institute for Studies on Latin American Art (ISLAA) advances the study and visibility of Latin American art through exhibitions, research, and education. Our gallery is free and open to the public Tuesday through Saturday, from 12 to 6 PM. We are closed on Sundays and Mondays. For private appointments, group visits, or research inquiries, please contact us at info@islaa.org. We look forward to welcoming you.

    The Institute for Studies on Latin American Art (ISLAA) advances the study and visibility of Latin American art through exhibitions, research, and education. Our gallery is free and open to the public Tuesday through Saturday, from 12 to 6 PM. We are closed on Sundays and Mondays. For private appointments, group visits, or research inquiries, please contact us at info@islaa.org. We look forward to welcoming you.

    © 2025 Institute for Studies on Latin American Art