ABSTRACT
Performance art in Mexico must be understood in relation to the term “nonobjectualism,” or non-objective artmaking. The first person to use the term “noobjetualismo” (non-objective artforms) was theoretician Juan Acha. His texts, lectures, and courses contributed to our awareness of new artforms and their importance to us as Latin Americans. In order to explain and justify the birth, development, and wide acceptance of non-objective artforms in Mexico, as something other than a “conceptual contraband,”1 it is necessary to explain their logic. They imply new forms of conceiving of and making art, which were as widely disseminated and forceful as their counterparts in Europe and the US. In Mexico, non-objectual artforms succeeded because they represented new ways of thinking.
