1Marta Minujín inside one of her Colchones for the exhibition El hombre antes del hombre, Galería Lirolay, Buenos Aires, 1962. Mattress material, wood and assemblage. Photographer unknown. Courtesy of Marta Minujín.
2Marta Minujín inside one of her Colchones at her Rue Delambre studio, Paris, c. 1963. Mattress material and wood. Photographer unknown. Courtesy of Marta Minujín.
3Marta Minujín, La destrucción, happening at the Impasse Ronsin, Paris, June 1963. Photo: Shunk-Kender. Courtesy of Marta Minujín and the J. Paul Getty Trust. The Getty Research Institute, Los Angeles. (2014.R.20) Gift of the Roy Lichtenstein Foundation in memory of Harry Shunk and Janos Kender.
4Marta Minujín with a pair of unidentified Colchones. Photographer unknown, as published in Fanny Polimeni, ‘La Muchacha del Colchón’ in the magazine Para Ti, Buenos Aires, 22 December 1964. Courtesy of Marta Minujín.
5Marta Minujín, Importación-exportación, July 1968. Installation and environment at the Centro de Artes Visuales, Instituto Torcuato Di Tella, Buenos Aires. Photographer unknown. Courtesy of Marta Minujín and Archivos Universidad Di Tella.
6Marta Minujín, scheme for Espi-art, installation at the Galería Birger, Buenos Aires, July 1977. Courtesy of Marta Minujín.
7Marcos Kurtycz, Potlatch, 1979. Photograph of performance at the Forum of Contemporary Art in Mexico City intervened by the artist in 1984. Author unknown. Courtesy of Marcos Kurtycz Archive.
8Marcos Kurtycz with axe, March 1985. Photo by Michael Schnorr. Courtesy of Marcos Kurtycz Archive.
9Marcos Kurtycz, Potlatch, November 1979. Photo: author unknown. Courtesy of Marcos Kurtycz Archive.
10Marcos Kurtycz, Potlatch, November 1979. Photo: author unknown. Courtesy of Marcos Kurtycz Archive.
11Envelope of a letter bomb sent by Marcos Kurtycz to sculptor Helen Escobedo when serving as Director of Mexico’s Museum of Modern Art (MAM) (c. 1982–83). Courtesy of the Estate of Helen Escobedo.
12Letter bomb sent by Marcos Kurtycz to sculptor Helen Escobedo when serving as Director of Mexico’s Museum of Modern Art (MAM) (c. 1982–83). Courtesy of the Estate of Helen Escobedo.
13Marcos Kurtycz, leaflet for Artefacto Kurtycz (1982). Courtesy of Marcos Kurtycz Archive.
14Enrique Guzmán, Sonido de una mano aplaudiendo or marmota herida/Sound of a Hand Clapping or Wounded Marmot, 1973. Oil on canvas. Courtesy of Galería Arvil.
15Enrique Guzmán, La patria/Motherland, 1977. Oil on canvas. Courtesy of Galería Arvil.
16Enrique Guzmán, ¡Oh Santa Bandera!/Oh Holy Flag!, 1977. Oil on canvas. Courtesy of Galería Arvil.
17Nahum B. Zenil, Tiro de dardos/Game of Darts, 1994. Oil on wood. Courtesy of the artist.
18Nahum B. Zenil, ¡Oh Santa Bandera! (a Enrique Guzmán)/Oh Holy Flag! (to Enrique Guzmán), 1996. Mixed media on paper. Courtesy of the artist.
19Ulises Carrión, Mail Art and the Big Monster, 1977. Poster: Private Collection. Courtesy of Sucesión U. Carrión.
20Felipe Ehrenberg, Obra secretamente titulada Arriba y Adelante…y si no pues también/Work Secretly titled Upwards and Onwards...Whether You Like It or Not, 1970. 200 postcards. Courtesy of Felipe Ehrenberg.
21Paulo Bruscky, Ação Postal – Post Ação, 1975. Photographic register of performance. Courtesy of Paulo Bruscky.
22Paulo Bruscky, Ação Postal – Post Ação, 1975. Photographic register of performance. Courtesy of Paulo Bruscky (detail).
23Antonio Vigo, La llave/abrelatas que viajó (junto a 200) La Plata/Buenos Aires/La Plata, el 7 enero ’71 / The Key/Can Opener that Travelled (with 200 others) La Plata/Buenos Aires/La Plata, on 7 January ’71. Courtesy of Centro de Arte Experimental Vigo and MoMA.
24Antonio Vigo, La llave/abrelatas que viajó (junto a 200) La Plata/Buenos Aires/La Plata, el 7 enero ’71 / The Key/Can Opener that Travelled (with 200 others) La Plata/Buenos Aires/La Plata, on 7 January ’71. (detail). Courtesy of Centro de Arte Experimental Vigo and MoMA.
25Press coverage of Eduardo Costa, Raúl Escari and Roberto Jacoby’s ‘anti-happening’, Participación total o Happening para un jabalí difunto in the newspaper El Mundo (Buenos Aires), 21 August 1966. Courtesy of the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston.
26CADA, Inversión de Escena: Acción de arte CADA/Santiago de Chile, 1979. Photographic register of performance. Photo credit: CADA.
27CADA, Inversión de Escena: Acción de arte CADA/Santiago de Chile, 1979. Photographic register of performance. Photo credit: CADA.
28CADA, Viuda: Prensa Acción CADA/Chile, 1985. Newspaper clip. Photo credit: Paz Errázuriz.
29Artist Collective, Tucumán Arde, 1968. Performance.
30CADA, NO+: Acción de arte CADA/Santiago de Chile, 1983. Photographic register of performance. Photo credit: Jorge Brantmayer.
31Óscar Navarro, No más porque somos más. Día internacional de la mujer, Santiago/No More because We are More. International Women’s Day, Santiago. 1986. Photographic print. Courtesy of Óscar Navarro.
32Political flyer for the 1988 plebiscite in Chile. Courtesy of Wikimedia Commons.
33Gabriel Orozco, Empty Shoe Box, 1993. Silver dye bleach print. 40.6 x 50.8 cm. Courtesy of the artist and Marian Goodman Gallery.
34Gabriel Orozco, Yielding Stone, 1992. Plasticine. Approx. 35.6 x 43.2 x 43.2 cm. Courtesy of the artist and Marian Goodman Gallery.
35Gabriel Orozco, Empty Shoe Box, 1993. Shoe box. 12.4 x 33 x 21.6 cm.
36Gabriel Orozco, Yogurt Caps, 1994. Four yogurt lids. 7.9 cm.
37André Breton, Cinderella Ashtray (Cendrier Cendrillon), 1934. Carved wood. Author’s photograph.
38Gabriel Orozco, Working Tables, 2000–2005. Mixed media, including unfired clay, straw, egg container, bottle caps, wire mesh screen, string, stones, shells, plaster, bark, polystyrene foam, painted wood elements and pizza dough. Dimensions variable. Courtesy of the artist and Marian Goodman Gallery.
39El Museo de la Calle. Installation view in Bogotá, 1998–2001. Courtesy of Federico Guzmán / Cambalache Collective.
40El Museo de la Calle (Detail: El Veloz), 1998–2001. Courtesy of Federico Guzmán / Cambalache Collective.
41El Museo de la Calle (Detail: Technology), 1998–2001. Courtesy of Federico Guzmán / Cambalache Collective.
42El Museo de la Calle (Detail: Treasure Box), 1998–2001. Courtesy of Federico Guzmán / Cambalache Collective.
43El Museo de la Calle. Installation view. Musée d’Art Moderne de la Ville de Paris, 2001. Photo credit: Federico Guzmán / Cambalache Collective.
44Elkin Calderón, Colombia, el riesgo es que te quieras quedar…/Colombia, the Risk is Wanting to Stay…, 2013. Book cover. Photo credit: Francisco Toquica. Courtesy of Elkin Calderón.
45Elkin Calderón, Pola (balinera), 2013. Painted wooden board with wheels. Courtesy of Elkin Calderón.
46Elkin Calderón, Photograph of a balinera race participant, 2013. Participatory action at La Otra Bienal, Bogotá, Colombia. Courtesy of Elkin Calderón.
47The artist Elkin Calderón working on the balineras at La Perseverancia, Bogotá, Colombia. Photograph of participatory action at La Otra Bienal, Bogotá, Colombia. Courtesy of Elkin Calderón.
48Elkin Calderón, Start of balinera race, 2013. Photograph of participatory action at La Otra Bienal, Bogotá, Colombia. Courtesy of Elkin Calderón.
49Elkin Calderón, Balinera race, 2013. Photograph of participatory action at La Otra Bienal, Bogotá, Colombia. Courtesy of Elkin Calderón.
50Elkin Calderón, Balinera race, 2013. Photograph of participatory action at La Otra Bienal, Bogotá, Colombia. Courtesy of Elkin Calderón.
51Rafael Lozano-Hemmer, Voz Alta. Relational Architecture #15, Mexico City, 2008. Photograph of performance. Courtesy of Artists Rights Society (ARS), New York/VEGAP, Madrid.
51Rafael Lozano-Hemmer, Voz Alta. Relational Architecture #15, Mexico City, 2008. Photograph of performance. Courtesy of Artists Rights Society (ARS), New York/VEGAP, Madrid.
53Rafael Lozano-Hemmer, Voz Alta. Relational Architecture #15, Mexico City, 2008. Photograph of performance. Courtesy of Artists Rights Society (ARS), New York/VEGAP, Madrid.
54Photograph of 2 October 1968 rally in Plaza de las Tres Culturas, reproduced in La Jornada, Mexico City, 2 October 2008. Courtesy of the Hemeroteca Nacional de México.
55La Prensa, Mexico City, 2 October 1968. Courtesy of the Hemeroteca Nacional de México.
56Monument to the Fallen at Tlatelolco, Mexico City, 1993. Photo credit: Thelma Datter. Courtesy of Wikimedia Commons.