The concept of modernism has so many uses and meanings that, as historian Perry Anderson points out in Modernity and Revolution (1984), it encompasses even incompatible aesthetic practices. Yet the concept is still useful. It is hardly news that some modern architectural adventures have been associated with undemocratic or even totalitarian historical moments—think of an architect like Giuseppe Terragni, who served Italy’s Fascist regime. With such acts of complicity in mind, Venezuelan artist Alexander Apóstol looks at Latin American modernism, demonstrating the collaboration between some