A Tale of Two Worlds

Experimental Art in Dialogue with the
MMK Collection, 1944–1989

Edición trilingüe español-alemán-inglés
Texts: Alejandra Aguado, Gonzalo Aguilar, Luca Massimo Barbero, Marcos Cabobianco,
Luis Camnitzer, Mauricio Corbalán, Martin Engler, Carlos Gamerro, María Amalia García,
Santiago García Navarro, Klaus Görner, Mario Kramer, Tobi Maier, Abaseh Mirvali, Harper
Montgomery, Victoria Noorthoorn, Bernardo Ortiz, Marcelo E. Pacheco, Florencia Qualina,
Ana María Reyes, Silvano Santiago, Dirk Snauwaert, Katrin Thomschke and Javier Villa
Graphic Design: Buero noc berlin, Sarah Nöllenheidt, Miriam Busch, Judith Gärtner
Translations: Lance Anderson, Ian Barnett, Kit Maude, Victoria Patience, Judith Rosenthal,
Daniel Tunnard (English), Elfi Cagala, Herwig Engelmann, Katharina Freisinger, Dirk Höfer,
Ea-Raphaela Jaksch, Claudia Kotte, Frank Süßdorf (German), Julia Benseñor, Jorge
Fondebrider, Virginia Higa, Carla Imbrogno, Vera von Kreutzbruck,
Rodrigo Molina-Zavalía (Spanish)


496 pages
Format: Formato: 31 cm x 24 cm
IISBN (German/English) 978-3-7356-4027-7
ISBN (Spanish/English) 978-3-7356-4028-4


This book was published to mark the exhibition, A Tale of Two Worlds: Experimental Art
in Dialogue with the MMK Collection, 1944–1989
, presented at the Museo de Arte Moderno
de Buenos Aires from 12 July to 14 October 2018. In twenty-nine critical essays written
from various viewpoints by specialists, writers and artists across three continents, this major
publication complements and expands on the exhibition’s thesis and core themes, which
addressed the complex relations of dialogue, contradiction, resonance and difference
between the avant-gardes of Latin America, Europe and the United States over the course
of the twentieth century.

A Tale of Two Worlds proposes a turn in European and North American discourses on
Latin American art. By incorporating a Southern perspective on a canonical collection of
European and American art that focuses on the 1960 and 1970s, the exhibition sets out to
demonstrate the importance of practices developed on Latin American soil over a large part
of the twentieth century, as well as their historical and contemporary relevance. Briefly, the
exhibition posits historical Latin American art not as a footnote to the North’s artistic
discourses but as totally innovative and complex central practices that shed light on the
history of art when it stops being programmatic and springs from a vital need to respond to
specific contexts from viewpoints that go beyond all isms and take their force from the power
of individual artists, voices and gestures. Far from being encyclopaedic, the exhibition leaves
more out than in. As such, it furnishes specific historical examples of an on-going and
far-reaching dialogue between two worlds. ’

                                                                    Victoria Noorthoorn, Klaus Görner and Javier Villa

Historia de dos mundos tapa

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