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Abstract

This article examines the network curatorial model popularized in the early 2000s by Héctor Olea and Mari Carmen Ramírez’s Heterotopías: medio siglo sin-lugar, 1918-1968. The network allows for a paradoxical rejection and reinforcement of Latin American art’s peripheral status, rendering the region simultaneously a bounded locality where new ideas emerge and a set of nodes in a global art ecology. Recent exhibitions such as the Red Conceptualismos del Sur’s Perder la forma humana (2012-2014) have adapted the network and its possibilities of visualization, while revising anew the geography and ontology of “Latin American art.”

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