Description
Alexander Alberro demonstrates that artists such as Tomás Maldonado, Jesús Soto, Julio Le Parc, and Lygia Clark, in breaking with the core tenets of the type of abstract art referred to as Concrete art, redefined the role of both the artist and the spectator. As a substitute of manufacturing autonomous art, these artists produced artistic endeavors that required the presence of the spectator to be complete. Alberro also shows the more than a few ways these artists strategically demoted regionalism in favor of a new modernist voice that transcended the traditions of the nation-state and contributed to a nascent globalization of the art world.