Past Exhibitions

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.

Pictures of You called attention to looking, expectation, and observation. The works included in the show employed and captured the intrinsic sensorial and structural qualities of the pictorial, yet relied on perceptive modes other than the visual.

Abstract Art from the Río de la Plata: Buenos Aires and Montevideo, 1933-1953, was the first exhibition in the United States to present an in-depth analysis of this vital moment in the history of abstract art in the Americas. It was curated by Mario H. Gradowczyk and Nelly Perazzo.

This show focused on the recent production of Iran do Espirito Santo and Rivane Neuenschwander. Both artists created spare and ephemeral works that recalled not only American minimalism, but also the innovative and experimental art of the concrete and neo-concrete movements in Brazil in the 1950s and 1960s.

This exhibition presented the work of two pioneering abstract artists from the early years of concrete and neo-concrete art, a period in the 1940s and 1950s, in which Brazilian artists developed ideas from the European avant-garde in an innovative and unique way.