Skip to main content
Gary Nader
Gary Nader: a premium interview
Zona Maco is the most important art fair in Latin America, not only on account of what it represents in art from these countries, but because the great European and American galleries are participating.

A Tico in Habana

If archives were not to be delved into and were scorned as simply useless and lugubrious places, we’ll be taking the risk of letting boldface names like Max Jimenez Huete (1900-1947) fall into oblivion

TO SEE THE SPIRIT

I ignore whether curating a book –organize it, be responsible for all its images and vignettes, for all texts both critical and informative– may hamper someone from writing a review about it.

Cariebbean Art, THE LAST DECADE OF THE 20TH CENTURY

When the past century came to a close , the Caribbean art was basking in the international limelight. The 1990s were fertile in the opening of regional exchanges and in terms of major world-class exhib

Contemporary Art in NICARAGUA

I remember that a few years ago information on Central America’s artistic scene was scarce and misleading. On nations like Nicaragua, it used to be far more disappointing. No wonder one of the exhibits

VANITIES AND RHIZOMES

El Observatorio de Línea (Ediciones Union, 2008) is an anti-academic book. I guess it’s the most bohemian book I’ve ever read and that enthralls me. I can’t help it. Elvia Rosa Castro gives herself all

VOICES LIKE ECHOES

The fact that America is a young people is borne out, first of all, by the very history of the United States. The arch of sense that would fundamentally span from the 2000 to the 2008 presidential elec

Elusive PARAGUAY

The invisibility of Paraguay’s arts in the world scene is not under discussion; it’s a fact. A shroud of silence wraps the country’s cultural creation. Even in the South Cone, Paraguay is still draped

Traveling with Camejo

A city vision, in which the light draws the full scope of the night, is the image that serves as backdrop for this book entitled “Luis Enrique Camejo Vento.”

Jose Bedia:Our obligation of going cross-cultural

Jose Bedia has never bee n properly an artis t. He ’s never wanted to be. Either way, he’s always been trying to avoid it, to escape from art just like any hounded animal in peril would do. Just as muc

Lourdes Fernández ARCOmadrid 2009 Director

In your view, what were the