AMA's Permanent Collection: Part IV

Unlike other self-portraits where the artist’s hand is holding a brush or the palette, Carballo’s hand is there to give testimony about her life. She is looking ahead in a determined fashion.

Escritura Hurtado, originally titled Escritura en gris obscuro, belongs to Soto’s artistic output of “writings” dating from the early 1960s which allowed the artist to draw in spaces.

After Jaime Colsón, Darío Suro, and Ada Balcácer, the late Ramón Oviedo is undoubtedly the leading figure of Dominican painting to emerge in the 1960s.

Sphere Spatio-Temporelle BS 7523 belongs to a series of two-dimensional optical geometric works created in Paris starting in 1973.

Las tres gracias characteristically inflects an aloof, polymastic armature with a classical referent, in this case the mythological and eternally youthful daughters of Zeus—said to embody grace, beauty, and charm.

Physicromie is what Carlos Cruz-Diez calls the collection of works that he has created since 1959, where he proposes a visual discourse about the spatial production of color.

Since the late 1950s, Julio Zachrisson has been one of a handful of Latin American artists exclusively dedicated to drawing and printmaking as his primary mediums of expression.

Fanny Sanín’s Acrylic No. 6, 1979 is a perfect example of the artist’s signature style. Symmetry and balance are the main characteristics of this piece as is common in her entire oeuvre.

Yanomami is part of a large series of photographs titled Marcados, or Branded, which Andujar shot in the period between 1981 and 1984 when she participated in a medical expedition to the Yanomami lands of northern Brazil.

In this work, Martínez-Cañas combined two-inch negatives—details of trees on the property of her mother’s house in Miami, the cradle of Cuban America—with marks that she scratched onto the surface of the print.

An intriguing black and white photograph where we see a foot resting on the window sill of a house. The hut is a typical chattel house, a Barbadian small movable wooden house for the working class.

In this color photograph, a boy sits outside a house with an orange pumpkin cut in two halves resting at his feet.

Iturbide chose to document the Chicano community of Boyle Heights in East Los Angeles. Iturbide was able to live with and shadow a group of women of the community for one and a half days closely detailing their activities.

Septiembre is a double life-size sculpture in aluminum mesh and welded iron. It is a wavy silhouette figure that curves graciously.

By deftly bringing together art, craft, and design in her fiber art work, Olga de Amaral has pushed the boundaries of conventional textiles.

The piece consists of some 500 green and blue rubber flip flops that the artist found on the banks of the Ozama River in the Dominican Republic.

The whole installation was based on the projection of his utopic ideal in search of a better reality, through his concern for the land and his passion for topography.

The graphic and pictorial work of Felix Ángel uses pictographic and compositional elements of German expressionism. I Do Not Hear a Thing is a piece that displays that.