The recent volume New Geographies of Abstract Art in Postwar Latin America explores abstract art in all its forms across the region since 1945. Notably, as a response to “increasingly narrow histories of abstract art” (1), it focuses not only on geometric abstract art but also on important histories of the lesser-studied “gestural, lyrical, calligraphic or Informalist” abstraction and “assemblage, environmental and kinetic” art (1), functioning as a welcome corrective to the historiography of Latin American art currently available in English. The book seeks to overturn deeply entrenched histories with contributions that explore the heterogenous political and aesthetic contexts that informed Latin American artists in the Americas. Indeed, many of the best-known Latin American abstract artists—such as Hélio Oiticica, Lygia Clark, Lygia Pape, Jesus Rafael Soto, Julio Le Parc and Alejandro Otero—do not feature in the book at all,...

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