In 1959, the very year the Cuban Revolution amplified Cold War tensions in the Americas, museumgoers in the United States witnessed a sudden surge in major exhibitions of Latin American art. Surveying the 1960s boom of such exhibits, this book documents how art produced in regions considered susceptible to communist influence was staged on U.S. soil for U.S. audiences. Held in high-profile venues such as the Guggenheim Museum, the Walker Art Center, MoMA, and the Art Institute of Chicago, the exhibitions of the 1960s Latin American art boom did not define a single stylistic trend or the art of a single nation but rather attempted to frame Latin America as a unified whole for U.S. audiences. Delia Solomons calls attention to disruptive artworks that rebelled against the curatorial frames purporting to hold them and reveals these exhibitions to be complex contact zones in which competing voices collided. Ultimately, through multiple means—including choosing to exclude artworks with readily decipherable political messages and evading references to contemporary inter-American frictions—the U.S. curators who organized these shows crafted projections of Pan-American partnership and harmony, with the United States as leader, interpreter, and good neighbor, during an era of brutal U.S. interference across the Americas. Theoretically sophisticated and highly original, this survey of Cold War–era Latin American art exhibits sheds light on the midcentury history of major U.S. art museums and makes an important contribution to the fields of museum studies, art history, and Latin American modernist art.

Amsterdam at war in 2030. This terrifying projection into the future serves to sharpen and expand our thinking about topics such as tolerance, fear, security and control, censorship, public space and urban politics. Neither naming the enemy nor proffering any answers, theorists and artists fire off questions and sketch experimental scenarios, using Amsterdam as a concrete case as well as a strange attractor. What are the implications of urban warfare in a Western city? Is there a public domain under such circumstances and how does it function? Will people still be producing art, and how will artists reach their public? "2030: War zone Amsterdam" is being produced in association with curator Brigitte van der Sande and accompanies an international art manifestation that she is organizing under the same title, presented in various phases from November 2009 onwards in Amsterdam.

Iceland. In the winter it gets light at 10am and dark at 2pm. The daily announcement of the Chill Factor allows you to calculate how quickly you could die from exposure...

In this extraordinary book, P ter Gy rgy takes us on a fascinating journey into the often unsettling and shadowy worlds of public memory and memorializing in Europe and the United States of America.

Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific.

Reflections from curators, historians, philosophers, anthropologists, architects, and writers on the cultural and political conditions of European exhibition practice since the fall of the Berlin Wall.