The Marian Goodman Gallery in New York is presenting its inaugural exhibition Ana Mendieta Back to the Source. Thoughtfully and beautifully installed, the exhibition presents a significant body of work from 1972 to 1985 that includes photographs, the installation Ñañigo Burial, designs on leaves, drawings of hands and female figures on paper with ink, graphite and wash, ten films, and two vitrines with diverse personal items.

Ben Shahn, On Nonconformity is the artist’s first retrospective in the United States in almost fifty years. Impeccably curated and designed, the exhibition aims to bring renewed critical attention to one of America’s most consequential modernists. 

For those of us who have followed the creative paths of Ana Tiscornia, we are very familiar with the many inventive forms and materials the artist has employed to refer to the architecture of place. The architecture of place may have been a building or a section of it; it may have been a street. Esquina / Corner of 2010, for example, is a complex paper collage of cut-out floor plans, densely layered to represent collapsed structures. This collage features a small red dot signaling the end of a street, a specific place no longer recognizable.

The Fund for Park Avenue and its Sculpture Committee have invited two artists, Betsabeé Romero and Jorge Otero-Pailos to exhibit their sculptures on Park Avenue from March through October 2024. Their eight works are presented in conjunction with New York City (NYC) Parks’ Art in the Parks program.

El Dorado: Myths of Gold is an extensively researched, impeccably installed exhibition featuring one-hundred objects and artworks from the Pre-Columbian period to the 21^st century by sixty artists.

On its 25th anniversary, Hamburger Bahnhof – Museum für Gegenwart – Berlin shows important works from the Nationalgalerie Collection and the Haubrok Collection. A spacious architectural design was developed in the museum’s Historical Hall especially for the occasion. Highlighted among the works are those by Alfredo Jaar and Ruben Ochoa.

This exhibition features thirteen photographs by Gory from the Moonlight Serenade series (2012-2018). The essay by the curator Julia P. Herzberg discusses the varied contexts of the photographs, which are exhibited and discussed here for the first time.

This Miami art space presents a very careful and complete retrospective of Alfonzo’s work

The artist Rubie Rumié (Cartagena, 1958) reproduces her Divine Breath project, originally developed with Colombian women, and takes it to New York City. A dialogue that highlights the universality of domestic violence and the need to stand against it.

The visual artist, writer, and filmmaker spoke with Julia P. Herzberg for Arte al Día about his work process, his interest in photography and its boundaries.

Pacific Standard Time: LA/LA was a collaborative initiative led by the Getty that explored Latin American and Latino art over a four-month period from September 2017 through January 2018. Through Julia P. Herzberg, Arte al Día presented each of its proposals and exhibitions from the beginning. Now we shared a report by Los Angeles County Economic Development Corporation, that shows initiative also supported 4,080 jobs and added $24.3 million in tax revenues for state and local government

Since March 2017, Julia Herzberg has made a special coverage of this unique initiative on Latin-American art for Artealdia 

For my twentieth and final posting on the Getty-led initiative exploring Latin American and Latino art in dialogue with Los Angeles, we will look at Juan Downey: Radiant Nature, a joint exhibition by Los Angeles Contemporary Exhibitions (LACE) and Pitzer College Art Galleries. The exhibitions brought to life important interactive works by the Chilean-­‐born artist Juan Downey (1940–1993) that have not been seen for generations. Drawing on groundbreaking research, Radiant Nature features recreations of Downey’s electronic sculptures and installations from the late 1960s and documentation of his early, innovative performance pieces. This two-­‐part exhibition opened at Pitzer College in Claremont, CA, on September 9 and at LACE in Los Angeles on September 13. They closed in December of 2017.

For my nineteenth posting of the Getty-led initiative exploring Latin American and Latino art in dialogue with Los Angeles, we will look at the Skirball Cultural Center’s exhibition ANOTHER PROMISED LAND: ANITA BRENNER’S MEXICO on view from September 14, 2017 through February 25, 2018. The exhibition celebrates a Mexican-American Jewish cultural trailblazer featuring works by luminaries of the Mexican Renaissance including Diego Rivera, José Clemente Orozco, and Frida Kahlo. The Skirball Museum Director, Robert Kirschner, points out that the museum’s participation in PST: LA/LA fully aligns with its mission to bridge people of diverse heritage and history while learning about its neighbors and consider how it represent cultures that are not their own. This posting is adapted from the museum’s press release in English. 

In the wake of devastating hurricanes and a faltering local and global economy, the Havana Biennial successfully harnessed the support of Cuban institutions as well as friends, foundations, and governments outside the island.