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Forum on Latin American Art Criticism

When it comes to modernism, the United States continues to suffer from a distressing provincialism. We still presume to share modernism's cultural patent between ourselves and Europe—before World War II belongs to that side of the Atlantic; post-WWII goes to us. (In case you are thinking “beating a dead horse” as you read this, try the following exercise: count the major references to non-European/non-U.S. works in the splashy new textbook by Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900.1 Even for those who really ought to know better, modernism still adds up to an overwhelmingly Eurocentric phenomenon.)