For Rent: Consuelo Castañeda was the first of three exhibitions devoted to mid-career artists from Latin America, the Caribbean, and Canada to be presented annually from 2011 to 2013 by Americas Society’s Visual Arts program in our gallery.

Americas Society introduced Arturo Herrera’s groundbreaking installation Les Noces, the artist’s first work to incorporate music and moving images to New York audiences. Herrera is internationally renowned for his explorations of a wide variety of different media, including collage, sculpture, photography, prints, and video.

The 2010 exhibition is subtitled, "A Postgraduate Seminar and Exhibition by the Universidad Nacional Autónoma de México."

This exhibition organized by the Museo de Arte de Lima (MALI) presented an important selection of pre-Columbian objects that span from the time of the Cupisnique Culture to the Inca conquest.

Marta Minujín’s Minucode (1968) explored social codes in four groups of leading figures in the arts, business, fashion, and politics in New York. MINUCODEs revisited that project more than 40 years later. Using recovered footage and documents, the exhibition shed light on the original mythical event.

Fernell Franco (Cali 1942-2006) is considered one of the few photographers who developed a distinct lyrical view of the shift towards modernity in Latin America. The exhibition Fernell Franco: Amarrados [Bound] is focused on the homonymous series comprising large-scale black and white photographs developed by Franco in the early 1980s.

Mauricio Dias and Walter Riedweg have worked together since 1993, developing a cohesive body of work that delves into the poetic as well as the critical potential of the moving image. Americas Society’s exhibition was their first solo show in the United States.

Americas Society’s exhibition elucidated the meaning of the symbolic, social, and artistic landscape of Mapuche culture and history. The display presented objects from the Domeyko Cassel Collection that reflect the high quality of cultural materialism, religious fervor, and political power of the Mapuche in the late 1800s and early 1900s.

In the fall of 2008, Americas Society presented Carlos Cruz-Diez’s first solo show in a major U.S. cultural institution. Focusing on the relationship between color and perception, the exhibition will increase Cruz-Diez's visibility and appreciation in the United States, one of Latin America’s Kinetic Art masters.

Over the last thirty years, Canadian artist Melvin Charney has produced a demanding and rhetorically complex body of work which lies on the cutting edge between art and architecture. These works were the focus of the exhibition at Americas Society, the first solo show by the artist in a New York museum since his P.S. 1.installation in 1979.