PRINT December 2018

Catherine Wood

  Paz Errázuriz, Evelyn, 1982, gelatin silver print, 9 5⁄8 × 14 1⁄8". From “Radical Women: Latin American Art, 1960–1985.”

1 “RADICAL WOMEN: LATIN AMERICAN ART, 1960–1985” (HAMMER MUSEUM, LOS ANGELES; CURATED BY CECILIA FAJARDO-HILL AND ANDREA GIUNTA WITH MARCELA GUERRERO AND CONNIE BUTLER) I was thrilled and humbled to visit this expansive, deeply researched show at the game-changing moment #MeToo was breaking. The exhibition testified to the drive of so many women artists—who were very often working under repressive, authoritarian, and violent regimes—to take control of their own bodies as independent aesthetic, political, and sexual territories. The show brought visibility to marginalized practices through what Fajardo-Hill and Giunta called “situated perspectives”: an effort to avoid essentializing notions of “the feminine” by taking into account culture and context. What emerged was a powerful network—one constituted via bodies, acts, and intimate conversations—that coursed

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