Amazonia Açu provides a kaleidoscopic overview of the aesthetic and material diversity found in Amazonia, as a means to upend flattening generalizations typically associated with the region and to reframe discourse on the subject within a contemporary context. The exhibition was led by curatorial advisor Keyna Eleison and co-curated by a committee of representatives from all nine countries of the Amazonian territory (Bolivia, Brazil, Colombia, Ecuador, French Guiana, Guyana, Peru, Suriname, and Venezuela). This exhibition presents over fifty works by thirty-four local artists and collectives as each artwork mirrors their culture.

The artists and collectives participating in this exhibition include: Danasion Akobe, Angélica Alomoto, Pablo Amaringo, Johan Amiemba, Lola Ankarapi, Chonon Bensho, Darrell A. Carpenay, Elías Caurey Caurey, Colectivo TAWNA, Comunidad Weenhayek, Estela Dagua, PV Dias, Sara Flores, Dawa García, Sheroanawe Hakihiiwe, Shaundell Horton, Sri Irodikromo, Carlos Jacanamijoy, Wilfrido Lusitande Piaguaje, Thiago Martins de Melo, Hélio Melo, Mary Morales Barrientos, NouN, Claudia Opimí Vaca, Bernadette Indira Persaud, Javier Puunawe, Abel Rodríguez (Mogaje Guihu), Aycoobo (Wilson Rodríguez), Nancy Santi, Nelly Sheimi, T2i, Agustina Valera and Oliver Agustín, Gê Viana, and Santiago Yahuarcani.

Read the full pocketbook.

Table of contents 

• Foreword by Susan Segal
• Amazonia Beyond Borders by Aimé Iglesias Lukin
• The Nine-Faceted Prism by Keyna Eleison
• Works. Text by Grace Aneiza Ali, Christian Bendayán, Elvira Espejo Ayca, Diana Iturralde, Miguel Keerveld, NouN and T2i, Mateus Nunes, Luis Romero, and María Wills
• Curator Biographies
• Credits
• Acknowledgments

See all Americas Society publications. 

Price: $5. To purchase this catalog, please contact: art@as-coa.org or order on Amazon.

Keyna Elesion served as curatorial advisor, and the exhibition was co-curated by Grace Aneiza Ali, Christian Bendayán, Elvira Espejo Ayca, Diana Iturralde, Miguel Keerveld, NouN and T2i, Mateus Nunes, Luis Romero, and María Wills. 

Visual Arts exhibition series editors: Aimé Iglesias Lukin and Karen Marta 

Associate editor: Tatiana Marcel

This fully illustrated publication accompanies the Americas Society exhibition Fanny Sanín: Geometric Equations.

Curated by Dr. Edward J. Sullivan, the exhibition will survey the Colombian-born, New York-based painter’s accomplishments in monumental acrylic painting, smaller compositions, and pencil studies to reinforce Sanín’s position as an indispensable figure within the development of abstract art in both Latin America and the United States.

Dedicated primarily to geometric abstraction, Fanny Sanín’s prolific career spans five decades. Her paintings, drawings, and prints have been exhibited widely throughout Latin America, the United States, and Europe. Although her work has been shown widely in more than three hundred group and fifty-five solo exhibitions, has prompted a variety of publications and scholarly essays, and is included in numerous leading public and private collections, this exhibition will be the first institutional survey presentation of Sanín’s paintings in New York—where she has lived and worked for fifty-four years.

Designed by artist Carlos Motta, the exhibition features several free-form abstract compositions demonstrating the strength of the artist’s early work before moving into her characteristic geometry-based production.

Fanny Sanín's more than six-decade professional career—from her native Bogotá to Urbana, Illinois; Monterrey, México; London; and New York—demonstrates the continuous development from the initial expressionistic art to her geometric works. Major museums collect her work, such as, Smithsonian American Art Museum, Los Angeles County Museum of Art, National Museum of Women in the Arts, Museos de Arte Moderno of México, of Bogotá and of Medellín, Museo Nacional and Museo de Arte Miguel Urrutia in Bogotá, University of California at Berkeley, Oberlin College, and Wellesley College. The Institute of Fine Arts, NYU featured her work. Recently, paintings entered the collections of the Tate Modern and the Museo Reina Sofía. Key recent exhibitions include the inaugural exhibition of the David Rockefeller Creative Arts Center, the Achi Art Triennial, and the landmark exhibition in England, France, and Germany, Action-Gesture-Paint: Women Artists and Global Abstraction 1940–70. She was invited to the main section of the 2024 Venice Art Biennale. The 2019 monograph Fanny Sanín: The Concrete Language of Color and Structure presents a comprehensive review of her oeuvre. Galleries that represent her include Sicardi Ayers Bacino, Houston; Durban Segnini, Miami; Goya Contemporary, Baltimore; and Alonso Garcés, Bogotá. Her Legacy Project, led by prominent scholars, is committed to the placement of works in major museums and collections and later will continue as a trust responsible for the legacy of Fanny Sanín’s art.

Read the full pocketbook.

Table of contents 

• Foreword by Susan Segal 
• “Equations of Place” by Aimé Iglesias Lukin 
• “An Alternate Form of Vision: Fanny Sanín in New York” by Edward J. Sullivan 
• “Fanny Sanín and the Pursuit of Spiritual Harmony” by Ana María Reyes 
• Works 
• Biographies 
• Credits 
• Acknowledgments

See all Americas Society publications. 

Price: $5. To purchase this catalog, please contact: art@as-coa.org or order on Amazon.

The exhibition is curated by Edward J. Sullivan with exhibition design by Carlos Motta.

Visual Arts exhibition series editors: Aimé Iglesias Lukin and Karen Marta

Associate editor: Tatiana Marcel

This fully illustrated publication accompanies the Americas Society exhibition Beatriz Cortez x rafa esparza: Earth and Cosmos.

Cortez and esparza have over the years engaged in conversations about ancient and contemporary ideas of the Earth, the cosmos, the underworld, and the knowledge developed by ancient Indigenous people. These discussions inform their practices and have also led to numerous co-created projects such as Nomad 13, Xolotl's Time Travels, Solar Star, Puente, and Portal Sur, after Copán. Expanding on these dialogues, Beatriz Cortez x rafa esparza: Earth and Cosmos presents works selected by the artists that speak to the movement of this ancient knowledge through the flow of all beings and matter across the cosmos. 

Beatriz Cortez x rafa esparza: Earth and Cosmos inaugurates a series in which Americas Society invites two artists who are friends and collaborators to jointly explore how they influence each other's work. This new approach shares insight into a vital part of artistic production that is seldom the subject of exhibitions: the conversations that artists have with colleagues and companions that inform and enrich their practice.

Beatriz Cortez (b. 1970, San Salvador, El Salvador; lives and works in Los Angeles and Davis) is a multidisciplinary artist whose work explores memory, movement, and migration, as well as the experience of simultaneity, multiple temporalities, and speculative imaginaries. Her work explores untimely, time-traveling forms of communication and community building. Her sculptures function as metaphors of long temporalities, nomadism, and multiplicity. Her installations construct possible interventions in the chronological order of time and nonhuman temporalities and perspectives. Her collaborations with others explore the emergence of collective subjectivities as well as transborder and transtemporal forms of being. She teaches sculpture at the University of California, Davis.

rafa esparza (b. 1981, Pasadena; lives and works in Los Angeles) is a multidisciplinary artist whose work reveals his interests in history, personal narratives, and kinship, his own relationship to colonization and the disrupted genealogies that it produces. Using live performance as his main form of inquiry, esparza employs site-specificity, materiality, memory, and what he calls (non)documentation as primary tools to investigate and expose ideologies, power structures, and binary forms of identity that establish narratives, history, and social environments. esparza’s recent projects are grounded in laboring with land and adobe-making, a skill learned from his father, Ramón Esparza. In so doing, the artist invites Brown and Queer cultural producers to realize large-scale collective projects, gathering people together to build networks of support in and outside of traditional art spaces.

Read the full pocketbook.

Table of contents 

• Foreword by Susan Segal 
• “Artists Sharing” by Aimé Iglesias Lukin
• “A Conversation” by Beatriz Cortez and rafa esparza 
• Works 
• Part One: Prior Collaborations Codex (Nomad 13) 
• Part Two: Earth and Cosmos 
• Altar de Kaqjay by Kaqjay 
• Artist Biographies 
• Credits 
• Acknowledgments 

See all Americas Society publications. 

Price: $5. To purchase this catalog, please contact: art@as-coa.org or order on Amazon.

The exhibition is organized by the artists, with exhibition coordination by Sarah Lopez.

Visual Arts exhibition series editors: Aimé Iglesias Lukin and Karen Marta

Associate editor: Tatiana Marcel

This fully illustrated publication accompanies Americas Society exhibition The Appearance: Art of the Asian Diaspora in Latin America & the Caribbean.

The Appearance: Art of the Asian Diaspora in Latin America & the Caribbean centers the artistic production of the Asian diaspora in the regions from the 1940s to the present. Focusing on postwar and contemporary art, the exhibition showcases the work of thirty artists from fifteen countries working in a range of artistic mediums including painting, sculpture, performance, photography, and video, to shed light into strategies and themes that resonate across a wide array of Asian diasporic practice throughout Latin America and the Caribbean. 

The exhibition embraces and performs the multiple and interrelated meanings embedded in the notion of appearance, inspired by Japanese Brazilian artist Lydia Okumura’s 1975 print by the same title. From acts of appearing and becoming visible—including different types of apparitions—to the idea of impressions and physical resemblance, artists in the show grapple with the complexities of negotiating (in)visibility, revisiting and remaking family archives and stories, and engaging and reconfiguring spiritual practices. The show also addresses abstraction as a formal strategy linked to language, the senses, and the body in the context of the Americas’ postwar art. 

Conceived as an appearance in and of itself, the show sheds light on the often-overlooked experiences and artistic trajectories of Asian diasporic subjects and collectives across Latin America and the Caribbean, casting them as both grounded in their particular context and constitutive of broader transnational histories.

Read the full pocketbook.

Table of contents 

• Foreword by Susan Segal 
• Expanding the Hemisphere by Aimé Iglesias Lukin 
• The Appearance: Art of the Asian Diaspora in Latin America & the Caribbean by Tie Jojima and Yudi Rafael 
• Works
• Author Biographies 
• Credits 
• Acknowledgments 

See all Americas Society publications. 

Price: $5. To purchase this catalog, please contact: art@as-coa.org or order on Amazon.

This exhibition is curated by Tie Jojima and Yudi Rafael.

Visual Arts exhibition series editors: Aimé Iglesias Lukin and Karen Marta 

Associate editor: Tie Jojima

This fully illustrated publication accompanies Americas Society exhibition Alejandra Seeber: Interior with Landscapes, the first solo exhibition and career survey of the Argentine artist in New York. 

Alejandra Seeber (b. 1969, Buenos Aires, Argentina) is a painter who centers representations of various spaces to explore the tension between representation and abstraction in painting. Seeber utilizes bold color and gesture to examine liminal spaces within built and domestic environments. Later work veers further into abstraction, implementing visual devices like Rorschach drawings or knit grids to structure the composition. 

The exhibition will pair these paintings with Seeber’s contemporary explorations of the built landscape with an installation. This survey of her work is organized around a playable golf course installed inside the gallery space in which visitors will be invited to play golf as they walk through the show. The golf obstacles become active sculptures in the exhibition, creating porous boundaries between artwork and audience. This playful environment manifests the explorations of edges, doorways, windows, and borders in the artist’s painting. As they play, visitors will be able to trace Seeber’s artistic trajectory and see how her interventions in the form and practice of painting continue to this day.

Read the full pocketbook.

Table of contents 

• Foreword by Susan Segal 
• The Interior and the Exterior by Aimé Iglesias Lukin 
• Chaos and Care: On Alejandra Seeber’s Work by Dean Daderko
•  All that Seeber Allows by Mariano Lōpez Seoane 
• Works 
• Biographies 
• Credits 
• Acknowledgments 

See all Americas Society publications. 

Price: $5. To purchase this catalog, please contact: artgallery@as-coa.org or order on Amazon.

The exhibition is curated by Aimé Iglesias Lukin 

Visual Arts exhibition series editors: Aimé Iglesias Lukin and Karen Marta 

Associate editor: Tie Jojima 

El Dorado: A Reader investigates the ways that El Dorado—a legend as malleable as gold itself—has alchemized from myth to reality, deconstructing the ancient tale and allowing fresh narratives to surge forth. Ranging from commissioned essays by contemporary scholars to selected historical excerpts by explorers such as Marco Polo and Christopher Columbus, as well as literary productions by Robert Louis Stevenson and Edgar Allan Poe, these texts illustrate the way the legend has morphed and transfigured, but never lost its ethos. El Dorado: A Reader continues the search for El Dorado and investigates how it has shaped the continent’s history and future. 

Purchase El Dorado: A Reader.

The publication of El Dorado: A Reader was possible with major support of Rio Tinto. It was published in conjunction with the exhibition, El Dorado: Myths of Gold.

WITH ESSAYS BY 

• Timothy Alborn
• Sergio Baur 
• James Doyle
• Ana M. Franco 
• Milton Hatoum 
• Cristóbal Jácome-Moreno 
• Jennifer Josten 
• Davi Kopenawa and Bruce Albert 
• Sean Nesselrode Moncada 
• Joanne Pillsbury 
• Jennifer Raab 
• Charlotte Rogers 
• Gabriela Siracusano 
• Edward J. Sullivan 

HISTORICAL TEXTS BY 

• Cristobál de Acuña 
• Pedro de Aguado
• Richard Francis Burton 
• Luis Capoche 
• Pedro de Castañeda 
• Bartolomé de las Casas 
• Juan de Castellanos 
• Don Manuel Centurion 
• Hernán Cortés 
• Albrecht Dürer 
• Robert Harcourt 
• Antonio de Herrera 
• Alexander von Humboldt 
• Lawrence Kemys 
• Peter Martyr d’Anghiera 
• John Milton 
• Felipe Guaman Poma de Ayala 
• Sir Walter Raleigh 
• Juan Rodríguez Freyle 
• Bernardino de Sahagún and Nahua Collaborators 
• Pedro Simon Unknown Aztec Writer 
• Inca Garcilaso de la Vega 
• Amerigo Vespucci Voltaire 
• Titu Cusi Yupanqui 

El Dorado: Myths of Gold Exhibition Catalog

By Aimé Iglesias Lukin, Tie Jojima, and Edward J. Sullivan

This fully illustrated catalog accompanies the two-part group exhibition at Americas Society El Dorado: Myths of Gold, exploring the legend of El Dorado as a foundational myth of the Americas. The exhibition presents more than sixty artists, from the pre-Hispanic period to the contemporary era, that challenge, reinforce, and question the continuity and effects of the myth in the Americas into the present. 

Table of contents: 

• Foreword by Susan Segal 
• Introduction by Aimé Iglesias Lukin 
• El Dorado: Myths of Gold by Aimé Iglesias Lukin, Tie Jojima, and Edward J. Sullivan
• Gold, Value, and the Body 
• Religion and Transcendence
• Maps and Territory 
• Extraction and Wealth 
• List of Contributors 
• Acknowledgments 

Price: $25. Purchase the catalogue. 

To accompany this exhibition, Americas Society will publish a reader on El Dorado featuring essays by more than fourteen scholars as well as primary sources. This new anthology will be published in early 2024. 

Artists in the show include: Olga de Amaral, Denilson Baniwa, Bruno Baptistelli, Andrés Bedoya, Charles Bentley, Juan Brenner, Fernando Bryce, Wendy Cabrera Rubio, Leda Catunda, Chiriquí artist, Coclé artists, william cordova, Juan Covelli, Covens & Mortier, Theodor De Bry, Dario Escobar, Scherezade Garcia, Anna Bella Geiger, Mathias Goeritz, Joaquín Gutiérrez, Thomas Hariot, John Harris, Pablo Helguera, Ana Mercedes Hoyos, Alfredo Jaar, Nancy La Rosa & Juan Salas Carreño, Lambayeque artist, Jaime Lauriano, Mariano León, Hew Locke, Karen Lofgren, Juan Pedro López, Liliana Maresca, Esperanza Mayobre, Sara Mejia Kriendler, Ana María Millán, Marta Minujín, Herman Moll, Priscilla Monge, Santiago Montoya, Carlos Motta, Eamon Ore-Giron, Rubén Ortiz Torres, Ebony G. Patterson, Rolando Peña, José Antonio Peñaloza, Armando Queiroz, Ronny Quevedo, Mazenett Quiroga, Quimbaya style artist, Freddy Rodríguez, Carlos Rojas, Miguel Ángel Rojas, Luis Romero, Harmonia Rosales, Johann Moritz Rugendas, Tiago Sant’Ana, Julia Santos Solomon, Vicente Telles, Pedro Terán, Ernest Charton de Treville, Moara Tupinambá, Veraguas artist, Laura Vinci, and Alberta Whittle

Sylvia Palacios Whitman: To Draw a Line with the Body Pocket Book 

The exhibition co-curated by Aimé Iglesias Lukin and Rachel Remick 

Visual Arts exhibition series editors: Aimé Iglesias Lukin and Karen Marta 

Associate editor: Tie Jojima 

This fully illustrated publication accompanies Americas Society exhibition Sylvia Palacios Whitman: To Draw a Line with the Body. 

Sylvia Palacios Whitman: To Draw a Line with the Body is the first solo exhibition and career survey of the Chilean artist in New York. Sylvia Palacios Whitman (b. Osorno, Chile, 1941) is a visual and performance artist, who has been experimenting with movement and contemporary dance since her moving to New York in the early 1960s. She became an integral figure of the experimental downtown arts scene in 1970s New York, having collaborated with many American and international artists. In her solo and group performances, Palacios Whitman developed her own choreographic language, which privileged the participation of untrained performers, embraced humor and unexpected elements, and incorporated found objects and ephemeral props.

Sylvia Palacios Whitman: To Draw a Line with the Body will revisit these landmark performances with never-before-seen material from the artist’s archives alongside sketches, video and photographic documentation, and new large scale works on paper. Central to the presentation will be the restaging of Palacios Whitman’s key historical works. 

Read the full pocket book. 

Table of contents 

• Foreword by Susan Segal 
• Sylvia Palacios Whitman’s Stories by Aimé Iglesias Lukin 
• Visual Performance in the Work of Sylvia Palacios Whitman by Jennifer McColl Crozier 
• To Draw a Line with the Body by Rachel Remick 
• Works 
• Exhibition History 
• Author Biographies 
• Credits 
• Acknowledgments 

See all Americas Society publications. 

You can purchase the catalogue here.

Bispo do Rosario: All Existing Materials on Earth Pocket Book

By Aimé Iglesias Lukin, Ricardo Resende, and Javier Téllez. 

Associate editor: Tie Jojima

This fully illustrated publication accompanies Americas Society exhibition Bispo do Rosario: All Existing Materials on Earth. 

Bispo do Rosario: All Existing Materials on Earth, the first solo exhibition in the United States of Bispo do Rosario (b. 1909, Japaratuba, d. 1989, Rio de Janeiro), an Afro-Brazilian artist who created more than one thousand objects from within his confinement at Colônia Juliano Moreira, a psychiatric institution in Rio de Janeiro where he lived most of his life. The exhibition is bringing together iconic artworks by Bispo, including hand-embroidered textiles with assorted attached elements, mixed-media sculptures, and his signature “Annunciation Garment,” his best-known work. 

The exhibition is organized in collaboration with the Museu Bispo do Rosario Arte Contemporânea in Rio de Janeiro, and is co-curated by Aimé Iglesias Lukin, Ricardo Resende, and Javier Téllez, with Tie Jojima. 

Read the full pocket book.

Table of contents 

• Foreword by Susan Segal 
• Foreword by Raquel Fernandez 
• Bispo do Rosario: All Existing Materials On Earth, by Aimé Iglesias Lukin, Ricardo Resende, and Javier Téllez 
• Works
• Chronology
• Bibliography
• Author Biographies
• Credits
• Acknowledgments

See all Americas Society publications.

Price: $5. To purchase this catalog, please contact: artgallery@as-coa.org

Tropical is Political: Caribbean Art Under the Visitor Economy Regime Pocket Book Pocket Book

Edited by Aimé Iglesias Lukin and Karen Marta

This is a fully illustrated pocket book released in both English and Spanish editions to accompany the same-titled exhibition at Americas Society, curated by Marina Reyes Franco.

Tropical is Political: Caribbean Art Under The Visitor Economy Regime investigates the ideas of natural and fiscal paradise, and the geographical coincidence of these concepts within the Caribbean region, where tourism and finance form the “visitor economy regime.” Tropical is Political features works by 19 contemporary artists from the Caribbean and its diasporas, including Allora & Calzadilla, Sofía Gallisá Muriente, Gwladys Gambie, Abigail Hadeed, Joiri Minaya, José Morbán, Dave Smith, Yiyo Tirado, Oneika Russell, among others. Through video, installation, painting, and sculpture, the exhibition will underline the effects of tourism and finance on subjects including economic policy, self-image, and artistic production.

Read the full pocket book (English).

Read the full pocket book (Spanish).

Learn more about exhibition Tropical is Political: Caribbean Art Under The Visitor Economy Regime at Americas Society.

Table of contents

• Foreword by Susan Segal
• Foreword by Marianne Ramírez Aponte
• Tropical is Political: Caribbean Art Under the Visitor Economy Regime by Marina Reyes Franco
• Works
• Further Reading
• Author Biography
• Credits
• Acknowledgments

See all Americas Society publications.

Price: $5. To purchase this catalogue, please contact: artgallery@as-coa.org