Table of Contents

• Foreword by Rachel Weiss
• Part I: On and Against Translation
  • Introduction
  • 1. Contemporary Colonial Art (1969)
  • 2. The Sixties (1998)
  • 3. Exile (1983)
  • 4. Political Pop (1998)
  • 5. Access to the Mainstream (1987)
  • 6. Wonder Bread and Spanglish Art (1989)
  • 7. Cultural Identities Before and After the Exit of Bureau-Communism (1991)
  • 8. Art and Politics: The Aesthetics of Resistance (1994)
  • 9. The Artist's Role and Image in Latin America (2004)
  • 10. Out of Geography and Into the MoirÉ Pattern (1996)
  • 11. The Reconstruction of Salami (2003)
  • 12. Printmaking: A Colony of the Arts (1999)
  • 13. My Museums (1995)
  • 14. The Forgotten Individual (1996)
  • 15. Free-trade Diaspora (2003)
• Part II: Other Histories
  • Introduction
  • 16. Pedro Figari (1991)
  • 17. Resoftenings and Softenings in Uruguayan Art (1991)
  • 18. An Ode to Aquatint (2003)
  • 19. Revisiting Tautology (2006)
  • 20. The Museo Latinoamericano and MICLA (1992)
  • 21. Flying in Weightlessness (2004)
  • 22. Brazil in New York (2001)
  • 23. The Keeper of the Lens (2005)
  • 24. The Two Versions of Santa Anna's Leg and the Ethics of Public Art (1995)
  • 25. The Biennial of Utopias (1999)
  • 26. Introduction to the Symposium "Art as Education/Education as Art" (2007)
• Index

About the Author

After years of attacking from the margins, Luis Camnitzer is now, ironically, a bona fide "international artist," whose work has appeared in the Venice Biennial, Documenta 11, the Whitney Biennial, and several Havana Biennials. A professor emeritus at SUNY College at Old Westbury, Camnitzer presently is the pedagogical curator for the IberÉ Camargo Foundation in Brazil. He is the author of several books, including Conceptualism in Latin American Art: Didactics of Liberation. He lives in Great Neck, New York.

Rachel Weiss is Professor of Arts Administration and Policy at the School of the Art Institute of Chicago. She is the author of several books, including To Build the Sky: To and From Utopia in the New Cuban Art.