In the last ive years, we have witnessed a quantitative and qualitative increase in the production of scholarship on the Latin American historical avant-gardes, with such remarkable contributions as those by Anna Indych-López, Tatiana Flores, Mary K. Cofey, and Nancy Defebach, to name a few. Michele Greet’s Transatlantic Encounters and Harper Montgomery’s The Mobility of Modernism are both outstanding examples of this new wave of art criticism that is currently redeining and expanding our understanding of the Latin American avant-gardes. From diferent but complementary perspectives, Greet and Montgomery engage with the conceptual question of how Latin American avant-garde artists it into global networks of art production and distribution of the 1920s and 1930s, and how they negotiated tensions between the Eurocentric universalism of modernist art and their cultural and artistic identity as Latin American subjects. Whereas Montgomery engages with the emergence of artistic practices across Latin America that viewed avant-garde art as a means of developing an anticolonial, primitivist agenda that strived to subvert the peripheral position of the region vis-à-vis Europe, Greet reassesses the presence of Latin American artists in Paris during the interwar period as a means of relecting on the constant circulation of bodies, discourses, and concepts that characterized the geographies of modernism. Both scholars confront the unstable (and often contradictory) position of Latin American art within the art discourses of modernism and the struggle to develop a visual language that could be identiied as both Latin American and avant-garde. Adopting a trans-regional approach that breaks away from national narratives and emphasizes the mobility and transnational nature of aesthetic modernism, Greet’s and Montgomery’s books successfully contribute to rethinking the articulation of the Latin American avant-garde within

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拉丁美洲前卫及其全球地理

在过去的五年里，我们目睹了拉丁美洲历史先锋派学术研究在数量和质量上的增长，其中包括 Anna Indych-López、Tatiana Flores、Mary K. Cofey 和 Nancy 的杰出贡献Defebach，仅举几例。米歇尔·格雷特的《跨大西洋邂逅》和哈珀·蒙哥马利的《现代主义的流动》都是这一新艺术批评浪潮的杰出例子，目前正在重新定义和扩大我们对拉丁美洲前卫艺术的理解。从不同但互补的角度，Greet 和 Montgomery 探讨了拉丁美洲前卫艺术家如何融入 1920 年代和 1930 年代全球艺术生产和发行网络的概念问题，以及他们如何解决现代主义艺术的欧洲中心主义普遍主义与其作为拉丁美洲主体的文化和艺术身份之间的紧张关系。蒙哥马利参与了拉丁美洲艺术实践的兴起，这些实践将前卫艺术视为发展反殖民、原始主义议程的一种手段，努力颠覆该地区相对于欧洲的边缘地位，格瑞特重新评估了两次世界大战期间在巴黎的拉丁美洲艺术家作为反思现代主义地理特征的身体、话语和概念的不断流通的一种手段。两位学者都面临着拉丁美洲艺术在现代主义艺术话语中的不稳定（而且往往是矛盾的）地位，以及发展一种既可以被认为是拉丁美洲又是前卫的视觉语言的斗争。格瑞特和蒙哥马利的书采用了一种打破民族叙事并强调审美现代主义的流动性和跨国性的跨地区方法，成功地有助于重新思考拉丁美洲先锋派在内部的表达方式。