Antonio died on March 29, 2021, apparently from heart failure, the primary organ he used to generate his works. He died prematurely at the age of seventy. He has been one of the few irreplaceable characters in the art of the South American continent, and luckily, his work will remain and compensate for his leaving us.

I don’t believe that there is any other aesthetic premise than freedom, as much personal as collective. As this is also an ethical premise, I don’t believe that one can detach aesthetic premises from pedagogical methodologies. In reference to art, leaving aside any precise definition, I understand that it should be a universal form of expression, since every action should be aesthetic and everything should be creative. The opposite is neutral and stagnant. I understand that there is no “anti-art” but, if anything, there is an “other-art” with the same rights and validity.

I like to use Aladdin’s lamp as a simile for what happens in the art world. Artists make their work as they would make lamps: in the hope that the genie is inside. Sometimes they even believe that they can control the presence of the genie. Museums then display the art-equivalents of the lamp, betting, not just hoping, that the genie is in there and will stay there for the foreseeable future. The genie is intangible while the lamps are not, so attention tends to focus on the technical execution of the lamp, hence the emphasis on crafts and finish, or, after Duchamp, on how well they were intellectually framed as objects capable of containing the genie. The genie is in the lamp because museums say so, and the canon is the measuring stick with which they validate their statement.

In 1963, the Uruguayan writer and journalist Eduardo Galeano went to China to interview the last emperor, Pu Yi. He and I were both working for Marcha , a Uruguayan weekly, at the time. Upon his return he commented about finding centuries-old Ming cups treated as useless garbage because they were cracked and had lost their functionality. This wasn’t meant as a critical remark; Galeano was just surprised at how the parameters for what was considered valuable differed across cultures. A...

The official announcement that Casa Daros, the cultural institution of the Daros Latin America Collection, is closing in Rio de Janeiro as of December 2015 came as a big surprise to Latin American cultural circles. The ambitious project insofar as it concerned exhibitions only lasted two years. The argument invoked in a press conference is a lack of financial means to keep the project running. After an investment of sixteen million reais in 2006 (roughly $8 million USD) to buy the building,...

One of the problems we face when talking about art education is that we take the term “work of art” for granted. “Work” refers to labor as much as to an object, while “art” means the discipline in which this is performed, although it is also used as a laudatory adjective. In any case this divides people in two groups: those who make the objects, and those who appreciate them. Those who make them are subject to the criteria of meritocracy and the educational system aims to distill the few...

A few days ago it was my birthday. 1 I find that birthdays are the real days of atonement, days when one revisits the past, vacuums it, takes stock, apologizes at least mentally, and distills lessons. Because they are tailor-made and private, I take birthdays much more seriously than somber holidays imposed by religion. Going through this form of accounting I realized, probably once more, that I’m still a militant and a student—a leftist student at that. I realized that I’m still Jewish of...

As of next September, Emory College is closing its Visual Arts Department. Dean Robin Forman wrote a letter dated September 14, 2012 communicating this to the faculty. The news recently hit Facebook via an Art and Education announcement of March 2014. I don’t know what exactly happened in the intervening two years, but the consequences of the retrenchment are far reaching. The dean’s letter is more interesting in what it implies than helpful in what it says. Forman is happy to underline...

Having been educated in Latin America in the fifties, I was subject to two apparently contradictory premises. On the one hand, art was thought of as a weapon for social improvement. On the other, art was seen as the territory for individual freedom. Looking back at the past half century, it seems that my generation’s main task was probably to bring together both premises in one continuum. One way of doing so was to follow the process of institutional critique that had started in the...