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.

Casta (caste) paintings were produced in Latin America in the eighteenth century to depict the mixing of the major racial groups-- Indians, Spaniards, and Africans-- that inhabited Spain’s colonies in the New World. This was the first exhibition on this subject to be organized by a cultural institution in the United States.

Americas Society and The Spanish Institute announced the opening of the first comprehensive exhibition in the United States to survey modern and contemporary art from the Dominican Republic.

The Art of Ivory show was comprised of an incomparable collection from the Museu Histórico Nacional of Rio de Janeiro of ivory sculptures created in the Portuguese colonies of India and Ceylon (now Sri Lanka) in the seventeenth century, and brought to Brazil in the nineteenth century.

Lola Álvarez Bravo: In Her Own Light was the first significant presentation of the artist’s work in the United States. The exhibition featured 75 of the most stirring and impressive works produced during many stages of her working life.

This major exhibition focused on the development and history of Impressionism as practiced by Canadian artists working in their native country and abroad, between 1885 and 1920.