Museums

Diego Rivera’s relationship with New York is longstanding. As the most internationally renowned Mexican muralist of his time, MOMA commissioned Rivera in 1931 to work in the museum and create a series of portable fresco murals for a retrospective exhibition.

At the entrance to the 21c Museum Hotel, in Louisville, Kentucky, guests and passers-by stop at the sight of some weird white suitcases that seemingly appear to be an abandoned luggage. When they notice they are made of concrete, they discover that the sculpture has been placed there to be used as a bench.

Eduardo Costantini frowned; he leaned over his computer screen and began to shake his head slowly in a gesture of disbelief. His displeasure was so evident that even María Bonta de la Pezuela, Sotheby’s director for Latin America, made a brief pause in her lecture.

In 1970, Emilio Hernández Saavedra –a member of a group of artists who, in the mid- 1960s, opted with urgency for a critical practice which might restate the aesthetic conservatism of the local scene.

The feeling of uprootedness and of not belonging is one of the most problematic experiences émigrés must confront in the perennial ordeal that the loss of the place of birth and the adaptation to the country that takes them in entails.

In recent years, Miami has become a market with an increased circulation of Latin American art. This has been the result of a number of favorable circumstances, among them...