*“This magazine, in the intellectual field, does not represent a group. Rather, it represents a movement, a spirit. For some time now in Peru, one feels an increasingly well-defined, vigorous current of renewal. The instigators of this current have been called avant-gardists, socialists, revolutionaries, etc. History has yet to definitively baptize them.”* José Carlos Mariátegui, “Presentation of Amauta,” 1926 *The Avant-garde Networks of Amauta: Argentina, Mexico, and Peru in the 1920s* explores Latin American vanguard art from the perspective of the influential magazine *Amauta*. Created and directed by the intellectual and political activist José Carlos Mariátegui (Moquegua, Peru, 1894 – Lima, Peru, 1930), it was published in Lima between 1926 and 1930. It had a broad international circulation and a vast intellectual network of collaborators. The exhibition investigates the densely woven references and connections that defined *Amauta’s* program for the visual arts. It features the art reproduced in the magazine, as well as works by artists and writers whose ideas helped frame the debates that were held in its pages. These discussions forged links between modern art, local traditions, and political action, especially in relation to Indigenism—the movement dedicated to the cultural and political vindication of indigenous populations. The exchange of ideas that took place through *Amauta* affirmed the notion of Latin America as a region with strong cultural ties and shared political interests. By focusing on the arts of Argentina, Mexico, and Peru of the 1920s, the exhibition recovers forgotten chapters of the art of this period. It simultaneously reveals the importance of Mariátegui’s pluralistic vision, which remains a key reference in cultural discussions of Latin America.

This exhibition is organized by the Blanton Museum of Art and the Museo de Arte de Lima. Major funding for the exhibition is provided by The Diane and Bruce Halle Foundation. Generous funding is also provided by Judy and Charles Tate, Jeanne and Michael Klein, PromPerú, and the Scurlock Foundation Exhibition Endowment, with additional support from Sarah and Ernest Butler.

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*“This magazine, in the intellectual field, does not represent a group. Rather, it represents a movement, a spirit. For some time now in Peru, one feels an increasingly well-defined, vigorous current of renewal. The instigators of this current have been called avant-gardists, socialists, revolutionaries, etc. History has yet to definitively baptize them.”* José Carlos Mariátegui, “Presentation of Amauta,” 1926 *The Avant-garde Networks of Amauta: Argentina, Mexico, and Peru in the 1920s* explores Latin American vanguard art from the perspective of the influential magazine *Amauta*. Created and directed by the intellectual and political activist José Carlos Mariátegui (Moquegua, Peru, 1894 – Lima, Peru, 1930), it was published in Lima between 1926 and 1930. It had a broad international circulation and a vast intellectual network of collaborators. The exhibition investigates the densely woven references and connections that defined *Amauta’s* program for the visual arts. It features the art reproduced in the magazine, as well as works by artists and writers whose ideas helped frame the debates that were held in its pages. These discussions forged links between modern art, local traditions, and political action, especially in relation to Indigenism—the movement dedicated to the cultural and political vindication of indigenous populations. The exchange of ideas that took place through *Amauta* affirmed the notion of Latin America as a region with strong cultural ties and shared political interests. By focusing on the arts of Argentina, Mexico, and Peru of the 1920s, the exhibition recovers forgotten chapters of the art of this period. It simultaneously reveals the importance of Mariátegui’s pluralistic vision, which remains a key reference in cultural discussions of Latin America.

This exhibition is organized by the Blanton Museum of Art and the Museo de Arte de Lima. Major funding for the exhibition is provided by The Diane and Bruce Halle Foundation. Generous funding is also provided by Judy and Charles Tate, Jeanne and Michael Klein, PromPerú, and the Scurlock Foundation Exhibition Endowment, with additional support from Sarah and Ernest Butler.

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