ABSTRACT
In February 1968 at the Museo de Arte Moderno de Bogota (MAMBO), Feliza Bursztyn became the first artist to present an immersive environment in Colombia. More than a year after the Histericas shook up the Bogota art scene, in March 1969 and also at MAMBO, experimental musician Jacqueline Nova and visual artist Julia Acuna produced Luz, sonido, movimiento, an even more complex series of multisensorial environments. Many of the material innovations that make these two spatial environments outstanding are closely connected to developments in the international avant-garde, in which Bursztyn, Nova, and Acuna were actively involved. Social spaces, generally, are gendered and political, and so is the art world. Thinking of how Bursztyn, Nova, and Acuna as women personally experienced social spaces as they established themselves as artists adds a certain intensity to the new dimensions they proposed through their art.
