Barroco de la Nueva Granada: Colonial Art from Colombia and Ecuador, a didactive and visually exciting exhibition, focused on the major forms of artistic expression that flourished in colonial South America from the mid 1600s through the 1700s. Through a carefully selected group of objects, the exhibit examined the major stylistic traits, iconography and symbols of colonial Colombian and Ecuadorian painting and sculpture.

This exhibit included reproductions of 100 of the 380 drawings that Guamán Poma created for his 1,188 page Nueva corónica. Written by a native Andean in early colonial Peru, Felipe Guamán Poma de Ayala, the Nueva corónica was a letter addressed to King Philip III of Spain to inform him about affairs in Peru and to urge better government of his colony.

The exhibition, curated by Dr. N.C. Christopher Couch, featured a selection of 83 outstanding examples of masks of precious metals, stone, ceramic, shell, and wood – as well as ceramic and stone sculptures depicting masked warriors and performers – from major museums and lesser-known collections of Pre-Columbian art in the United States and Latin America.

This exhibition presented recent works by Chilean artists Gonzalo Díaz, Virginia Errázuriz, Gonzalo Mezza, Alicia Villarreal, and Enrique Zamudio. It was the first museum-quality exhibition of contemporary Chilean art to be presented in the United States in over a decade.

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.