Marisol’s assemblage The Generals (1961–62) assumes a guise of well-worn signifiers of midcentury US patriotic masculinity: equestrian statue, founding father, soldier, and cowboy. At the same time, this sculpture of George Washington and Simón Bolívar on a single horse invokes the very forces Cold Warriors vilified as un-American threats at home and abroad: homoeroticism and Latin American dissent. Marisol’s irreverent antimonument, which has garnered little analysis but performed a central role during her meteoric rise in the 1960s, tapped into Cold War discourses about sexual politics, freedom, national mythologies, and inter-American relations.

中文翻译：

---

马里索尔的反纪念碑：男子气概，泛美主义和其他想象

马里索尔（Marisol）的组合将军（1961-62）假扮成世纪中叶美国爱国男子气概的破旧标志物：马术雕像，开国元勋，士兵和牛仔。同时，乔治·华盛顿和西蒙·玻利瓦尔骑在同一匹马上的雕塑唤起了被誉为国内外非裔美国人威胁的冷战力量：同性恋主义和拉丁美洲的异议。马里索尔（Marisol）顽强的对立纪念碑，虽然很少获得分析，但在1960年代的迅速崛起中发挥了核心作用，涉足有关性政治，自由，民族神话和美洲关系的冷战话题。