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Publishers Weekly, 2001-07-09 "Addressing volatile issues of sexism, racism, Puerto Rico's relationship with the United States and the dual nature of Puerto Rican existence, [installation artists] transcend the formally conservative, nationalistic character of Puerto Rican art as defined by earlier generations," writes Laura Roulet, a curator and freelance writer from Washington, D.C. In Contemporary Puerto Rican Installation Art: The Guagua Aerea, the Trojan Horse and the Termite, Roulet traces (with 29 color prints) the movement from its inception in the 1960s (when Rafael Ferrer's seminal works and attitudes "really freaked out the establishment," the artist notes not just in Puerto Rico but also in New York's art scene) through to the mode's present incarnations, where artists like Antonio Morales explode "otherness" with industrial detritus and other found objects. (July) Copyright 2001 Cahners Business Information.
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