This Must Be the Place: Latin American Artists in New York, 1965–1975 at Americas Society is a two-part group exhibition that maps the connections and spaces created by Latin American artists in New York City during the 1960s and ’70s, presenting a much-needed reevaluation of art in America during that era. Embracing experimental practices such as Happening, minimalism, conceptualism, performance, and video art, the artists featured in This Must Be the Place centered their work around issues of community, identity, and belonging. By maintaining contact with migrants from other parts of the continent, these artists forged a new sense of self as Latin Americans that resisted the stereotypes imposed on them by mainstream American culture.
This exhibition puts into dialogue collectives and artists from diverse backgrounds in South American metropolises, the Caribbean, and New York. This Must Be the Place aims to highlight the efforts made by communities of creators to assert agency over their social and cultural identities, working collaboratively and in solidarity with one another.
Part One is currently on view at Americas Society through December 18, 2021, and Part Two will be on display from January 19 through May 14, 2022.
The presentation of This Must Be the Place: Latin American Artists in New York, 1965–1975 is made possible, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. Additional support is provided by the Smart Family Foundation of New York, Fundación Ama Amoedo, The Cowles Charitable Trust, and the Arts of the Americas Circle members: Estrellita B. Brodsky, Virginia Cowles Schroth, Emily A. Engel, Diana Fane, Galeria Almeida e Dale, Isabella Hutchinson, Carolina Jannicelli, Vivian Pfeiffer and Jeanette van Campenhout, Phillips, Gabriela Pérez Rocchietti, Erica Roberts, Diana López and Herman Sifontes, and Edward J. Sullivan.
This Must Be the Place: Latin American Artists in New York, 1965–1975 is curated by Aimé Iglesias Lukin, Director and Chief Curator of Visual Arts at Americas Society.
For more information, visit as-coa.org/visual-arts.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
What does it mean when the world’s richest person trolls us?
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.