Helio Oiticica and Lygia Clark

How did the work of the Brazilian neo-concrete artists (Helio Oiticica, Lygia Clark, Lygia
Pape) build upon, and also intervene into, concrete art? In what ways did neo-concrete
art respond to the particular social and political conditions of Brazil in the 1960s and
1970s? Please response using two examples of neo-concrete artists/works.
2. How did modern architecture in Mexico both reflect and represent a break from modern
architecture in Europe? How and why did modern architecture in Mexico take on the
unique expression(s) it did? Please use two examples.
3. According to Mari Carmen Ramirez, Latin American Conceptualism diverges from what
she calls “mainstream” or Euro-American conceptual art in significant ways. What are
some of the reasons for this divergence, and how are they reflected in the works we’ve
discussed in this class? Please explore this question through two examples of Latin
American conceptualism we’ve covered in class, paying special attention to the historical
and political context out of which they emerged.
4. In his essay “To Bear Witness,” Charles Merewether describes Doris Salcedo’s work as
“counter-monumental.” What does he mean by this? Please compare Doris Salcedo’s
work with the work of another artists who engages with representations of violence, and
discuss the ways in which each artist engages with the notion of “counter-monumentality.”