TABLE OF CONTENTS

Inés Katzenstein

Sandra Gamarra, The Erased Art Museum (d’aprés Emilio Hernández Saavedra, 1970), 2008–2009, oil on canvas, 86 5/8 x 78 3/4". From Micromuseo.

THE DICHOTOMY between the traditional museum and the “new” museum is not the same everywhere in the world. In Buenos Aires, one of the most culturally active cities in South America, for instance, a museum with a consistent exhibition program, a curatorial department, an education department, and professional management—things that would be taken as givens at any art institution in Europe or the United States—is still a novelty, a genuine accomplishment, something to strive for.

Thus, it was an enormous step in the historical development of local and regional arts institutions when Eduardo F. Costantini, the most important collector of Latin American art in Argentina, founded MALBA (Museo de Arte Latinoamericano de Buenos Aires) in 2001. (I worked as a curator there from 2004 to 2008.) With its professional staff, coherent schedule of high-quality international exhibitions

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