In this edifying volume Sarah Corona and Claudia Zapata extrapolate the causes for the divisions between groups in Latin American society, bringing their years of experience investigating the conditions and consequences of heterogeneity in the region. First, Corona approaches the problem of difference and heterogeneity epistemologically, asking about the possible benefits of horizontal modes of knowledge production between academics and the "social other." She demands reification for those without access to institutions who experience social ills and theorizes a trans-disciplinary dialogue to discover a horizontal construction of knowledge. Zapata evaluates and questions whether indigenous people throughout the continent have had their quality of life improved by the recognition of their collective rights as peoples. These two works provide overviews of a Latin American multiculturalism that connects to parallel movements in North America and Europe. Combined they offer a guide that could be vital to future activism and social work whether in the classroom or on the streets. Critical Interculturality and Horizontal Methodology in Latin America will appeal to scholars and students who are in need of new ways to comprehend the current strain of multiculturalism and plurality. It offers reflections on how social research can be not only sensitive to the epistemologies and interests of the "cultural other," but approach parity and horizontality in dialogue.

In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include: The development of avant-garde art in the urban centers of Latin America from 1910-1945 The rise of abstraction during the Cold War and the internationalization of Latin American art from 1945-1959 The influence of the political upheavals of the 1960s on art and art theory in Latin America The rise of conceptual art as a response to dictatorship and social violence in the 1970s and 1980s The contemporary era of neoliberalism and globalization in Latin American and Latino Art, 1990-2010 With its comprehensive approach and informative structure, A Companion to Modern and Contemporary Latin American and Latinx Art is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field.

Sabotage is the deliberate disruption of a dominant system, be it political, military or economic. Yet in recent decades, sabotage has also become an artistic strategy most notably in Latin America. In Brazil, Colombia, Mexico, Chile and Argentina, artists are producing radical, unruly or even iconoclastic work that resists state violence, social conformity and the commodification of art. Sabotage Art reveals how contemporary Latin American artists have resorted to sabotage strategies as a means to bridge the gap between aesthetics and politics. The global status of and market for Latin American art is growing rapidly. This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialisation within current academic historiographies and art-world curatorial initiatives."