Nicolás Guagnini


    ON MARCH 24, 1976, the bloodiest dictatorship in the history of South America began in Argentina. I was nine years old. At the time, Roberto Jacoby was living with my aunt Laura, a theater director. They were forced to abandon all public cultural and political activity—the alternatives were exile or “disappearance.” Everyone’s life was at stake, and many lives were lost.

    My cousin Miguel, Laura’s son, and I collected comics. One day, Roberto asked us whether we had multiple copies of any of our comic books, and we scrounged up two of the same issue of Superman. Roberto got out scissors and


    Thirteen scholars, critics, writers, and artists choose the year’s outstanding titles.

    T. J. CLARK

    No great surprise about my book of the year. I had been waiting for Michael Fried’s The Moment of Caravaggio (Princeton University Press) ever since hearing him present an early version of its opening ideas in Berkeley years ago, and when the volume arrived it took me by storm. I have never understood the churlishness of so much mainstream art history when confronted with the latest episode in Fried’s lifelong research project, but no doubt there will be the usual rolling of eyes in certain quarters