“In the decades following 1960, the dictatorships and authoritarian regimes dominating most of Latin America reinforced the dependent role of women, while institutionalizing inequality. Within this context, the human body took center stage for many female artists. Their experimental works—often favoring video, photography, and performance—introduced a shift in representations of the female form, while questioning patriarchal structures and regional politics."
Despite this, few of these artists would have referred to their work as “feminist.” Instead of a desire to advocate for women, their sensibilities were heavily shaped by the revolutionary struggle and the widespread resistance of their respective countries—even if their works did reflect a repertoire of issues addressed by feminism, such as motherhood, civil rights, and sexual violence.”
“When you see that these women are being empowered, that they’re present, and they’re saying important things—these are important references for the next generation,” Fajardo-Hill notes, and adds that women still only make up around 30 percent of artists represented in galleries and museums. “We need to move forward not by excluding, but by including all these voices.”
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| Ana Mendieta, Untitled (Glass on Body Imprints), 1972. |
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| Sonia Gutiérrez, Y con unos lazos me izaron (And they lifted me up with a rope), 1977. |
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| Ana Mendieta, Rape Scene, 1973. |
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