Alex Da Corte is a Venezuelan-American artist living and working in Philadelphia, Pennsylvania. His work explores the nuances of contemporary life in videos, installations, paintings, and sculptures, which are often united together in richly-hued, dreamlike environments. Touching upon notions of identity, intimacy, and taste, Da Corte’s work reimagines the familiar in wholly unexpected ways. Da Corte is currently completing a new work based on The Party, 1965-66, Marisol’s sculptural magnum opus. Da Corte has painstakingly constructed one-third-scale replicas of all fifteen sculptures in The Party and has spent several years using stop-motion techniques to animate them into performing a new three-act opera. Da Corte’s The Party is as much a love letter to Marisol and her work as it is a continuation and expansion of Da Corte’s celebrated video works, which have premiered at the 2022 Whitney Biennial, the 2018 Carnegie International and the 2019 Venice Biennale, among many others. The video installation of Da Corte’s The Party will open at the Buffalo AKG on April 25, 2025.

In her research, art historian Delia Solomons explores intersections between exhibition practices, transnational exchange, politics, and visual culture across the United States and Latin America in the 20th and 21st centuries. Her book, Cold War in the White Cube: U.S. Exhibitions of Latin American Art (1959–68) (Penn State University Press, 2023), narrates the sudden surge of exhibitions on Latin American art organized by U.S. institutions amid escalating Cold War inter-American tensions in the 1960s. The project studies art’s role in constructing panamerican, Latin American, and U.S. imaginaries on U.S. soil in the years surrounding the Cuban Revolution and Alliance for Progress. Solomons is currently developing a monograph devoted to Marisol’s sculpture. Solomons has previously published three essays on Marisol. Her article in The Art Bulletin examines how Marisol’s The Generals (1961-62) unleashed a surprising critique of monuments, nationalism, bellicose masculinity, the lavender scare, and Cold War propaganda about hemispheric unity. Her essay for Marisol: A Retrospective (Buffalo AKG Museum, 2023) explored Marisol’s images of monstrous motherhood in relation to science fiction films, nuclear anxiety, the baby boom, and Solomons’s own conflicted positionality as a mother. In an essay for MoMA’s post: notes on art in a global context, Solomons considers the layered, poignant relationship between Marisol’s sculpture Love (1962) and the artist’s friend Frank O’Hara’s poem “Having a Coke With You” (1960).