Jump Cuts featured 28 Venezuelan artists addressing themes central to the country’s recent social and aesthetic development. Through painting, drawing, photography, and video, the exhibition offered an exceptional opportunity to witness the spirit of change and the complex diversity of Venezuelan contemporary art.

The exhibition So Far So Close: Contemporary Art from Guadalajara displayed works by artists from Mexico's second largest city and focused on the recent movement of young artists there.

Known for his eloquent black-and-white photographs of culturally charged landscapes, the work of the Welsh-born, Canada-based photographer Geoffrey James defied the traditional category of journalistic photography through a series of compelling images that subtly investigated the intersection between nature and the built environment.

Rés de Chão, the fourth participant in As a Satellite was founded in 2002 and operated from the small apartment of artist and cultural producer Edson Barros in Rio de Janeiro, Brazil. For As a Satellite: Rés de Chão initiated a process-based project that generated new situations and created meeting points between cultural producers in Rio de Janeiro and New York City.

This exhibition explored the work of Enrique Bostelmann, paying tribute to his early work through his contemporary work.

As a Satellite: Instant Coffee included the work of dozens of artists from Canada and abroad through a number of events, from slideshow talks to video screenings to performances. As a Satellite was a program with independent cultural initiatives in Latin America, Canada, and the Caribbean, which consisted of positioning and using Americas Society as their satellite for the production of exhibitions and event-based projects in New York.

Muro Sur was an artist-run center in Santiago, Chile, and the second participant in As a Satellite. Founded in 1998, it concentrated on organizing and presenting exhibitions of Chilean experimental and contemporary art. Muro Sur’s project explored the idea that Latin America is the "backyard" of the United States and highlighted the emblematic coincidence of September 11, 1973, in Chile and September 11, 2001, in New York City.

Puerto Rican Light included three works by Jennifer Allora and Guillermo Calzadilla that utilized a variety of representational means to convey light "from" the island of Puerto Rico: the installation Traffic Patterns (2001-2003), a photograph from the series Seeing Otherwise (1999-2003), and the sculptural project Puerto Rican Light (2003).

La Panadería, an artist-run center in Mexico City, was the first participant of As a Satellite. For this series the collective created not merely an exhibition space, but a versatile, multi-purpose, activity-based art center.

Havana: The Revolutionary Moment presented a unique collection of rarely seen photographs by veteran Magnum photographer Burt Glinn, recording Castro’s historic entry into Havana in January 1959.