Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.

中文翻译：

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从布宜诺斯艾利斯驾驭国际主义：艺术与交流中心

摘要 本文描绘了 1970 年代初期，艺术与通讯中心 (CAYC) 从布宜诺斯艾利斯谈判的复杂社会政治地形。它展示了 CAYC 如何试图继续实现托尔夸托迪特拉学院在 1960 年代所追求的国际化目标，同时也为与阿根廷和其他国家（包括巴西、乌拉圭）的政治条件相关的概念主义的展示和发展提供了空间，智利和哥伦比亚，为此开发了“系统艺术”的框架。CAYC 平衡法案所必需的妥协使该组织，尤其是其主管 Jorge Glusberg 受到文化帝国主义和同谋的指责：几乎从一开始，CAYC 项目就以分歧和分歧为特征。