Documenting the Barrio's first national survey of Latinx art, featuring more than 40 artists from the US and Puerto Rico This publication features the work of the 42 participating artists and collectives included in the highly anticipated titular exhibition organized by El Museo del Barrio in New York. The result of two years of research, this project is the museum's first nationwide exhibition and publication exploring the diverse landscape of contemporary Latinx artists working in the United States and Puerto Rico. The volume includes an essay by the curators, a conversation between some of the artists conducted by artist Elia Alba as part of her Supper Club series and illustrated, individual short interviews with the participants. A closing anthology brings together poems and excerpts of essays by Lourdes Alberto, Ariana Brown, Karla Cornejo Villavicencio, Deborah Cullen, Carolina Ponce de León, Esteban Jefferson, Ed Morales, Alan Pelaez Lopez, Dixa Ramírez d'Oleo, Rose Salseda and Adriana Zavala.

In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.

With a spare, inspiring text and gorgeous watercolor illustrations, this is a timeless and important book for activists of all ages. This hardcover picture book is perfect for sharing and for gifting. Sometimes people march to resist injustice, to stand in solidarity, to inspire hope. Throughout American history, one thing remains true: no matter how or why people march, they are powerful because they march together.

Unprecedented in scope, this book examines the modern history of the Caribbean through its artistic culture. Acknowledging the individuality of various islands, the richness of the coastal regions, and the reach of the Diaspora, Caribbean looks at the vital visual and cultural links that exist among these diverse constituencies. The authors examine how the Caribbean has been imagined and pictures, and the role of art in the development of national identity.

Katalog til udstilling på El Museo del Barrio, New York. March 4-July 25, 2004

A groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream. This groundbreaking book—part exhibition catalogue, part cultural history—chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites—including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others—that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context. Contributors Jacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam Interviewees Steve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez, Ann Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson