A Principality of Its Own: 40 Years of Visual Arts at the Americas Society offers collection of critical essays examines distinctive moments of the Americas Society's visual art program and its impact on the formation of a Latin American market in the United States.

This is the catalogue of the first solo institutional exhibition of Uruguayan artist José Gurvich in New York. This important exhibition of paintings, drawings, and ceramics, produced between 1957 and 1973, examines Gurvich’s role in the School of the South as a student of Joaquin Torres-García and an exponent of constructivism nationally and internationally.

These works were drawn from the contemporary art section in Banco Mercantil's extensive art collection in Caracas. The work of Venezuelan artists in this exhibit highlight dialogues with the past and present, reflecting a break from kinetic art and the idea of modernity as a concept in crisis.

Unlike in Mexico City, contemporary artists from Guadalajara are not trained in art schools as they come from different disciplines such as architecture and media studies. So Far, So Close gathered recent works by those who do not share a style or common preoccupations, but rather a sense of geographical displacement.

This is the catalogue of the 2003 stunning exhibition Puerto Rican Light, where Allora & Calzadilla used a variety of representational means to convey light from the island.

Burt Glinn's photographs—of Fidel thronged by his fellow Cubans along the road to Havana, of troops embracing, and of fierce men and women taking up arms in the streets—are full of the revolutionary fervor and idealistic anticipation that characterized that moment in Cuban history.

Rather than simply presenting a set of pictures, the works drawn for Pictures of You by the four Mexican artists, Inaki Bonillas, Minerva Cuevas, Mario Garcia-Torres, and Yoshua Okon, can be seen as artistic propositions that underline the significance and potential of imagination.