Ruptura y continuidad: Crítica de arte desde América Latina (Rupture and continuity: Art criticism from Latin America)

In a detailed examination of the critical models with which art in Latin America is theorised, Ruptura y continuidad (Rupture and continuity) provided a broad overview of the meta-theoretical development of the Latin American critique from its formation during the 1930s and 1940s as a model of cultural identity and integration, and its formula as “Latin American art” between the 1950s and 1970s, to the criticism of that model between the 1980s and 1990s. Gabriela Piñero focuses especially on the transformation of a critical theory of the South which, despite responding to the imperialist threat from the North as a result of the advance of Western modernity, had inherited the same premises and notions from her project. Ramírez, Mosquera, Richard, and Camnitzer will form part of this “new critique” which, for Piñero, aims to reconsider the logic of action with which Latin American art is politically conceived, that is, with a view to reconfiguring its models of politicization on the basis of a complex relationship of rupture and continuity with regard to the conceptualizations, dichotomies, and logics that permeate the discussions on Latin America.