Cecilia Brunson

  • Anna Maria Maiolino

    During the five decades of Anna Maria Maiolino’s career, she has left almost no artistic medium unexplored, from sculpture to reliefs, drawing, film, and performance. Her early artistic experiments date back to the 1960s and Brazil’s artistic ferment at that time: the New Figuration movement, Neo-concretism, and New Brazilian Objectivity; she worked alongside such renowned artists as Lygia Clark and Hélio Oiticica. Later, she was associated with various neo-avant-gardes in Europe (particularly Italy, where she was born) and the United States. Then, in 1989, after two decades of diverse work in

  • Cristóbal Lehyt

    In “The Penultimate Landscape,” Cristóbal Lehyt presented a compelling meditation on systems of representation and the impossibility of communicating an “authentic” national identity. The artist, a Chilean living in New York since 1995, explored these contradictions, inconsistencies, and contrasting modes of nationality through three precisely crafted new works named after places in Chile: Pomaire (all works 2009), a town outside Santiago known for its pottery; Antofagasta, a key port city in northern Chile, once part of the Inca Empire; and La Costa, the Pacific coastline that threads down the

  • Alvaro Oyarzún

    Alvaro Oyarzún is an artist untroubled by fear of narrative excess. Master of the prolonged title, he dubbed his recent exhibition in the Museo Nacional de Bellas Artes “Historía del Dibujo de A a L” (A History of Drawing from A to L), with the subtitle, presented here in English for brevity, “Seven ways to visit the museum crossing twice round the same rotunda, or how to confront all these years’ improvidence once and for all.” The exhibition was indeed installed in an entrancing nineteenth-century rotunda. But any expectation that Oyarzún’s artistic dialogue would meander through the whys and