This exhibition was significant in that it focused on aspects of Mexican painting that had not been fully explored in previous exhibitions. Principal among these were the re-interpretation of Mexican identity, as well as the intense inward scrutiny of the artists’ individuality.

The exhibition focused on the recent work of three distinguished Latin American artists who lived and worked in New York: Alicia Creus, Raquel Rabinovich, and Francisca Sutil. (Creus and Rabinovich were originally from Argentina, Sutil from Chile).

The exhibition featured a selection of rare, important books manufactured during the Colonial period in Latin America and New England.

This exhibition featured seventeenth and eighteenth century old art and artifacts from Jesuit Missions in South America. The works exhibited were produced by Guarani Indians under the guidance of the missionaries established in what it is today the border of Argentina, Brazil, and Paraguay.

This exhibition focused on the ancient practice, continued to the present in Northeastern Brazil, of offering votive objects – ex-votos in Latin – to holy figures or saints. House of Miracles presented approximately 120 twentieth century sculptures commissioned for use as votive offerings, all outstanding examples of popular sculpture selected from the most important collections of Brazilian folk art.

The exhibition focused on the work of three young Argentine artists who best represented the diversity of the “New Image Painting” aesthetic in Argentina. Despite their different forms of expression, each artist addressed similar thematic concerns with underlying poetic and psychological currents.

The exhibition featured paintings from Paterson Ewen, Charles Gagnon, Yves Gaucher, Jacques Hurtubise, and Jean McEwen.

Americas Society presented the work of the Venezuelan artists Miguel Von Dangel, Ernesto León, and Carlos Zerpa. The three artists all lived in Caracas, and typified the diverse, sophisticated, and vigorous cultural heritage of this great twentieth century metropolis.

This exhibition featured 148 spectacular items of colonial silver from the celebrated collection of the Museo Isaac Fernández Blanco in Buenos Aires. Representing the seventeenth, eighteenth, and nineteenth centuries, this collection included pieces from Bolivia, Chile, Mexico, Peru, and Venezuela, as well as the Río de la Plata region encompassing Buenos Aires.

Ninety-three of the finest drawings by noted Brazilian pioneer modernist Emiliano Di Cavalcanti from the Museu de Arte Contemporanea in Sau Paulo were featured in this exhibition. Small, anecdotal, and intimiate in scale, these pieces emphasized the period of the 1920s and 1930s when the artist reached the pinnacle of his career.