ABSTRACT

This chapter discusses three series of paintings elaborated by Vicente Rojo, Kazuya Sakai, and Manuel Felguerez during the 1970s: Negaciones, Ondulaciones, and El espacio multiple/La maquina estetica, respectively. Post-painterly abstraction separated colors in order to achieve a greater visual impact, something that parallels the way in which the technology of High Fidelity reproduction refines the sources of its sound to accomplish a better aural experience. The works of Felguerez, Rojo, and Sakai were highlighted in this constructed history with Gamboa even declaring that Sakai should be credited as introducing Geometrism, properly speaking, to Mexico. The features are often associated with other artistic practices that also developed in Mexico during the 1970s, related to the network of non-objectual or global conceptual art. Under Geometrism, the new art of Mexico could be situated in line with similar works produced in other countries of Latin America.