Figure 1. Program, Speak-Out! Charla! Bate-Papo! A Symposium of Contemporary Art and Literature of Latin America , 1975. Stanton Loomis Catlin Papers, Benson Latin American Collection, LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin More

Figure 2. Flyer, Speak-Out! Charla! Bate-Papo! A Symposium of Contemporary Art and Literature of Latin America , 1975. Stanton Loomis Catlin Papers, Benson Latin American Collection, LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin More

Figure 3. Photographs of the Austin Symposium, October 29, 1975. Visible: Juan Acha, Aracy Amaral, Damián Bayón, Rita Eder, Leonel Góngora, among others. Archives of the Blanton Museum of Art, The University of Texas at Austin (photographs by Mike Musson) More

Figure 1. Reconstruction of Ángel Kalenberg’s audiovisual presentation for the Latin American Section at the Tenth Paris Biennial (1977), 22:27:00. From left to right, photographs of Rio de Janeiro’s Candelária Cathedral, an example of modern architecture, and Indigenous Andean reed boats. Reconst... More

Figure 2. Reconstruction (2012) of Ángel Kalenberg’s audiovisual presentation for the Latin American Section at the Tenth Paris Biennial (1977). From left to right, photographs of two details of Diego Rivera’s mural at the National Palace in Mexico City and an Andean festival. Centre Pompidou/MNAM... More

Figure 3. Reconstruction (2012) of Ángel Kalenberg’s audiovisual presentation for the Latin American Section at the Tenth Paris Biennial (1977). From left to right, intertitle and a photograph of the Temple of Inscriptions in Palenque, Mexico. Centre Pompidou/MNAM-CCI/Bibliothèque Kandinsky, fonds... More

Figure 4. Reconstruction (2012) of Ángel Kalenberg’s audiovisual presentation for the Latin American Section at the Tenth Paris Biennial (1977). From left to right, photographs of a rural landscape and an Indigenous Andean weaver. Centre Pompidou/MNAM-CCI/Bibliothèque Kandinsky, fonds “Biennale de... More

Figure 1. Julián Soler, dir., Negro es un bello color (still from DVD), 1974, distributed by Condor Video. Uninvited, Elisa (Lucero Reynoso) touches Joyce’s (Jeannie Bell) skin as if she were an exotic object. More

Figure 2. Rogelio A. González, dir., Vidita negra (still), 1973, Nacional Cinematográfica. Vidita (Robertha) leans in for a kiss from her paramour Enrique (Mauricio Garcés), surrounded by props reminiscent of a tropical and “primitive” setting, in the film’s conclusion of their matrimony. More

Figure 3. Roberto Gavaldón, dir., El hombre de los hongos (still), 1976, CONACINE. In flashbacks, Afro-Mexican character Gaspar is played by a boy (Luis Miguel Jacob) in blackface. This exemplifies this moment of transition in Mexican cinema in which the practice of blackface was being phased ou... More

Figure 4. Roberto Gavaldón, dir., El hombre de los hongos (still), 1976, CONACINE. Gaspar (Philip Michael Thomas) and Emma (Sandra Mozarowsky) embrace after a sensual skinny-dipping scene, showing how exploitation cinema lingers on the naked bodies of women of all races and Black men. More

Figure 5. Roberto Gavaldón, dir., El hombre de los hongos (still), 1976, CONACINE. Gaspar introduces Emma to the special properties of the mushrooms growing in the forest surrounding the plantation, signaling the subversive power of botanical knowledge passed down among Afro-descendant communiti... More

Figure 1. Latin American Exhibition of Fine and Applied Art , catalog cover, Riverside Museum, New York, 1939. Collection of Eddie Chambers (photograph provided by the author) More

Figure 2. First page of a major feature in Ebony magazine, July 1965, Era Bell Thompson, “Does Amalgamation Work in Brazil?: Absorbing Negro through interracial marriage is their answer to race problem.” Collection of Eddie Chambers (photograph provided by the author) More

Figure 3. Cover of Black World 22, no. 1, November 1972. Collection of Eddie Chambers (photograph provided by the author) More

Figure 4. Cover of The Black Scholar 8, nos. 8–10, “Report from Cuba” special issue, summer 1977. Collection of Eddie Chambers (photograph provided by the author) More

Figure 5. Elizabeth Catlett, La integración nacional (racial) en Cuba , 1961, linocut (© 2022 Mora-Catlett Family / Licensed by VAGA at Artists Rights Society (ARS), NY, with thanks and gratitude to Dr. Melanie Herzog) More

Figure 1. Ben Cuevas, Knit Heart , 2008, wool (photograph provided by the artist) More

Figure 2. Ben Cuevas, Transcending the Material , 2010, knitted sculpture and mixed media installation, wool, silk, screen prints, condensed milk cans (photograph provided by the artist) More

Figure 3. Ben Cuevas, Jockstrap , 2014, performance (photograph provided by the artist) More