In conjunction with a show of masterworks from the collection at the Queens Museum of Art entitled Art at Work Americas Society presented a thematic exhibition of 24 paintings, sculpture, and photographs drawn from the Chase Manhattan Collection.

This exhibition provided an overview of Guatemalan history and the country’s photographic production since the end of the last century. The exhibition featured the ethnographic images of Emilio Herbruger and Alberto Valdeavellano created in the photography studios of Juan José Yas and Tomás Zanotti.

Talavera Poblana: Four Centuries of a Mexican Ceramic Tradition was an historical survey presenting the history of Mexican Talavera ceramics tin-glazed earthenware, from its Spanish roots through contemporary manifestations.

Curated by France Gascon, Clara Gutsche: The Convent Series comprised of sixty-five photographs in both color and black-and-white of Gutsche’s recent work. The show was a photographic study of the monastic life of cloistered nuns in Quebec.

Gerardo Suter, one of Latin America's most important contemporary photographers was the subject of this mid-career survey of a dozen years of his work, which ranged from early photographs of enigmatic landscapes and ruins, to larger prints of more dramatic tableaux featuring nude figures with masks and other props, to recent monumental installations that combined photography with video and performance elements.

This major exhibition vividly documented the deep and long-lasting influence that Spanish folk art exerted on the popular aesthetic of the Americas, displaying ceremonial objects, masks, and elements of private devotion like family altars and votive paintings, decorative folk art objects of diverse media, and numerous domestic objects.

The exhibition Crosscurents focused on the past three decades of Panamanian painting, featuring fourteen artists working in a wide variety of styles.

This was a major exhibition presenting fine and decorative arts, liturgical objects, maps, prints, and other documents relating to Potosí, the great Bolivian silver mining city.

This exhibition focused on the development of artist María Izquierdo’s pictorial vocabulary drawn from her interest in the Mexican landscape, the still life, portraiture, and self-portraiture. The exhibition demonstrated the complex manner in which Izquierdo drew as much from her artistic milieu as from European movements such as Surrealism.

This exhibition highlighted three significant young artists living and working in New York. In varying ways, their painting, sculpture, and drawing reflected the remarkable resilience and relevance that abstract modes of expression maintained at the end of the modernist century.