gence from the implicit frameworks within which scholarship on Latin American modernism written in English (regardless of the author’s origin or native language) is compelled to position itself. This translation, then, does not just offer a compelling narrative of a particular moment in the history of modernism; it also puts pressure on the expectations (of audience, of previous knowledge, of standards of judgment for what counts as significant) within which scholars of Latin American modernism writing in English work, even if they try to push against them. This is all the more significant as Abstract Crossings is the inaugural volume, and the first translation, in a newly launched series, Studies on Latin American Art, at the University of California Press. Led by chief editor Alexander Alberro and funded through a gift from the Institute for Studies on Latin American Art (ISLAA), the series aims to “explore the history, importance, and global and regional influence” of modern and contemporary Latin American art through the publication of new work and the translation of “exceptional studies by Central and South American scholars.” The translation program promises to supplement other recent efforts concentrated on bringing forward key primary texts and scholarly articles (e.g., ARTMargins and the Getty-funded journal, Art in Translation). The announced second and third titles in the series are new English-language books, so we will have to wait for news of further translations. Given the still limited outlets for the translation of recent art historical scholarship from Spanish and Portuguese, such a project is welcome and commendable. We should also recognize its potential to significantly shape the canon of modern and contemporary Latin American art and art history—to decide what topics and sorts of scholarship deserve to be read by a broader audience (to graduate from mere regional interest into the realm of “universal importance,” as the Brazilian art historian Rafael Cardoso has recently discussed1) and what shall remain within the purview of specialists. One can hope, then, that this project will continue to bring in voices that not only contribute to our understanding of twentieth-century Latin American art but also productively disrupt the ways in which we understand the endeavor of writing its history, if not the history of art more generally. Megan A. Sullivan is assistant professor in the Department of Art History and the College at the University of Chicago. Her research focuses on practices of abstraction in twentieth-century art and the relationship between aesthetic modernism and social and economic modernization outside of the North Atlantic. She is the coeditor of the forthcoming Blackwell Companion to Modern and Contemporary Latin American and Latino/a Art and the author of a forthcoming study of practices of modernist abstraction in South America.

中文翻译：

---

档案中的观众

以英语（无论作者的出身或母语）撰写的关于拉丁美洲现代主义的学术研究被迫在其中定位自己的隐含框架。因此，这种翻译不仅提供了对现代主义历史上特定时刻的引人入胜的叙述；它还对拉丁美洲现代主义学者用英语写作的期望（观众、先前知识、判断标准）施加压力，即使他们试图反对他们。这一点尤为重要，因为 Abstract Crossings 是加州大学出版社新推出的系列《拉丁美洲艺术研究》的首卷和第一部译本。该系列由总编辑亚历山大·阿尔贝罗 (Alexander Alberro) 领导并通过拉丁美洲艺术研究所 (ISLAA) 的礼物资助，旨在通过“探索现代和当代拉丁美洲艺术的历史、重要性以及全球和区域影响”新作品的出版和“中南美学者的特殊研究”的翻译。翻译计划有望补充最近集中于提出关键主要文本和学术文章（例如，ARTMargins 和盖蒂资助的期刊“翻译艺术”）的其他努力。该系列中宣布的第二和第三本书是新的英文书，因此我们将不得不等待进一步翻译的消息。鉴于翻译西班牙语和葡萄牙语的近期艺术史奖学金的渠道仍然有限，这样的项目是受欢迎和值得称赞的。我们还应该认识到它在显着塑造现代和当代拉丁美洲艺术和艺术史经典方面的潜力——决定哪些主题和什么样的学术值得更广泛的读者阅读（从纯粹的区域兴趣毕业进入“普遍重要性”，正如巴西艺术史学家拉斐尔·卡多佐 (Rafael Cardoso) 最近所讨论的 1) 以及专家的职权范围内的内容。那么，人们可以希望，这个项目将继续带来声音，不仅有助于我们理解 20 世纪拉丁美洲艺术，而且还富有成效地破坏了我们理解书写其历史的努力的方式，如果不是历史的话更普遍的艺术。梅根 A。沙利文是芝加哥大学艺术史系和学院的助理教授。她的研究重点是 20 世纪艺术中的抽象实践以及审美现代主义与北大西洋以外的社会和经济现代化之间的关系。她是即将出版的 Blackwell Companion to Modern and Contemporary Latin American and Latino/a Art 的共同编辑，也是即将出版的关于南美洲现代主义抽象实践的研究的作者。