Artists: Rosenda Álvarez Faro and Grabadores por Grabadores, Carlos Amorales, Francisca Aninat, Rodrigo Arteaga, Myrna Báez, David Beltrán, Hernaín Bravo, Fernando Bryce, Waltercio Caldas, Manuel Calderón, Johanna Calle, Luis Camnitzer, Tania Candiani, Claudia Casarino, Albert Chong, Lourdes Correa-Carlo, Elena Damiani, Annalee Davis, Paula Dittborn, Frances Gallardo, Carlos Garaicoa, Félix González Torres, María Elena González, Karlo Andrei Ibarra, José Iraola, Alfredo Jaar, Voluspa Jarpa, Ivelisse Jiménez, Leandro Katz, Lucia Koch, Irene Kopelman, Ricardo Lanzarini, Nicola López, Claudia Martínez Garay, Vik Muniz, Mônica Nador, Jesús Bubu Negrón, Rivane Neuenschwander, José Ortiz-Pagán, Amalia Pica, Isabel Ramírez, Sandra Ramos, Rosângela Rennó, Verónica Rivera, Nicolás Robbio, Mariana Rondón, Graciela Sacco, Rosemberg Sandoval, Oscar Santillán, Giancarlo Scaglia, the SEMEFO Collective, Daniel Senise, Edra Soto, Adán Vallecillo, and Alicia Villarreal.
Displaced Images / Images in Space
The 4th Poly/Graphic San Juan Triennial: Latin America and the Caribbean
Curators: Gerardo Mosquera (Chief Curator), Vanessa Hernández, Alexia Tala
October 24, 2015 – February 28, 2016
Institute of Puerto Rican Culture
San Juan, Puerto Rico
The Poly/Graphic Triennial of San Juan, Latin America, and the Caribbean represents the transformation of what was, for more than 30 years, one of the most important art events in Latin America and the Caribbean: the San Juan Biennial of Latin American Graphics. Created in 2004, the Triennial promotes experimentation in the graphic arts, stimulating the combination of traditional printmaking and contemporary practices within a different curatorial theme each year.
Under the curatorial team of distinguished art critic Gerardo Mosquera (Cuba) as chief curator and co-curators Alexia Tala Barril (Chile) and Vanessa Hernandez Gracia (Puerto Rico), this 4th edition, titled Displaced Images/Images in Space will examine the shift of the graphic image between fields, supports, habits, and techniques, and especially its projection into three-dimensional spaces.
This edition of the Triennial will feature 55 artists from Puerto Rico, Latin America, and the Caribbean, as well as Latino artists residing in the United States.
This ambitious edition will include exhibitions, an educational program, events and publications throughout Puerto Rico, expanding beyond the capital city of San Juan to include spaces on the periphery and in other municipalities. As well, galleries and alternative spaces across the island will organize exhibitions in salute to the Triennial.
As a fundamental part of this 4th Triennial, an educational program has been designed whose aim is to develop and nurture creative thinking through participatory activities aimed at a variety of audiences and focusing on the exploration and collective recognition of the aesthetic experience. The project will feature activities that go beyond looking at art and entering the classroom as passive and hierarchical experiences.
The highlight of the workshops and lectures will be an international symposium, titled “The Contemporary Image: From Symbolic Space as Hegemony to Symbolic Space as Problematization,” to be held on October 25, 2015 in the theater of the University of Puerto Rico, Río Piedras. Panelists scheduled to take part are Luis Camnitzer, Marta, Gili, Alfredo Jaar, Mari Carmen Ramírez, Cuauhtemoc Medina, and Beatríz Santiago Muñoz. This opening summit will bring together internal and external audiences of the 4th Triennial, and is aimed at promoting a discussion of the contemporary image, and the image in general, as social experience.
Amalia Pica, Venn Diagrams (In the spotlight), 2011, Focos en trípode, sensor de movimiento, gel de iluminación y grafito sobre la pared, Dimensiones variables, Obra: Cortesía de la Colección Patricia Phelps de Cisneros
November 4, 2015 Ivelisse Jiménez https://abstractioninaction.com/artists/ivelisse-jimenez/
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- ivelisse jimenez, “description without place.2”, 2006, Series: description without place, Painting on canvas, collage of plastic and plexiglass partially covered by a screen of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective. , Variable dimensions.
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- ivelisse jimenez, “Ten con Ten 21”, 2003, Series: Ten con Ten, painting on canvas, collage of plastic and plexiglass partially covered by a screen of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective. Variable dimensions.
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- ivelisse jimenez, “goes without saying”, 2014, modules of painting on canvas, collage of plastic and plexiglass partially covered by screens of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective, Variable dimensions.
Selected Biographical Information
Education / Training
- 1997-1999: Master of Fine Arts, New York University, New York, USA.
Prizes / Fellowships
- 2012: Arte Laguna first prize in painting, Arte Laguna , Venice, Italy.
- 2009: Joan Mitchell Award for painters and scul, Joan Mitchell, New York, US.
Links
January 28, 2015 Rossana Martinez https://abstractioninaction.com/artists/rossana-martinez-2/-
- Rossana Martinez, “Tide “, 2014, Rehearsal; Concept: Rossana Martinez Performers: Bibi Calderaro, Julian Jackson, Rossana Martinez Costumes: Black pants and shirts, iridescent copper fabric, bells Documentation: Matthew Deleget, Variable dimensions. Photo credit: Melissa Staiger.
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- Rossana Martinez, “Tide”, 2014, Video Still; Concept: Rossana Martinez Performers: Bibi Calderaro, Julian Jackson, Rossana Martinez Costumes: Black pants and shirts, iridescent copper fabric, bells Documentation: Matthew Deleget, Variable dimensions. Artist. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Body Geometry (Take Me To That Other Place)”, 2014, Series: Body Geometry, One-person performance with mountain; Concept: Rossana Martinez; Performer: Rossana Martinez; Costume: Black dress, Variable dimensions. Artist. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Body Geometry (Triangles)”, 2014, Series: Body Geometry, Two-person performance; Concept: Rossana Martinez; Performers: Bibi Calderaro and Rossana Martinez Costume: Yellow and green skirts; Documentation: Matthew Deleget, Variable dimensions. Artist. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Body Geometry (Triangles)”, 2013, Series: Body Geometry, Sketch; Two-person performance; Concept: Rossana Martinez; Performers: Bibi Calderaro and Rossana Martinez; Costume: Yellow and green skirts; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Courtesy of the artist.
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- Rossana Martinez, “Body Geometry”, 2011, Series: Body Geometry, One-person performance; Concept and Performer: Rossana Martinez; Costume: Blue and hot pink fabric, orange clothing; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Matthew Deleget.
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- Rossana Martinez, “See the World in Orange and Blue”, 2011, One-person performance; Concept and Performer: Rossana Martinez; Orange and blue paint, hands, sketchbook; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Where Soul Meets Body”, 2007, One-person performance and site-specific installation at LMCC; Concept and Performer: Rossana Martinez; Costume: Orange clothing and paint, golden shoes; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Lower Manhattan Cultural Council, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Glow”, 2006, One-person performance and site-specific installation at Hunter College/Times Square Galleries, NY; Concept and Performer: Rossana Martinez; Costume: Black dress and shoes, fluorescent orange spray paint; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Hunter College/Times Square Galleries, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Glow”, 2006, Detail; One-person performance and site-specific installation at Hunter College/Times Square Galleries, NY; Concept and Performer: Rossana Martinez; Costume: Black dress and shoes, fluorescent orange spray paint; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Hunter College/Times Square Galleries, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
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- Rossana Martinez, “Heart on Fire”, 2006, Two-person performance; Concept and Performers: Rossana Martinez & Matthew Deleget; Costumes: Red and orange clothing, running shoes; Documentation: Unknown viewer, Variable dimensions. Site-specific project. Location: Parc de Bruxelles Warande, Brussels, Belgium. Photo credit: Unknown viewer.
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- Rossana Martinez, “Crash into Me”, 2007-2010, Site-specific installation at Pratt Manhattan Gallery; Fluorescent orange and hot pink ribbons, Variable dimensions. Site-specific project. Location: Pratt Manhattan Gallery, New York, NY, USA. Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico. Photo credit: Courtesy of the artist.
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- Rossana Martinez, “Crash into Me”, 2007-2010, Detail; Site-specific installation at Pratt Manhattan Gallery; Fluorescent orange and hot pink ribbons, Variable dimensions. Site-specific project. Location: Pratt Manhattan Gallery, New York, NY, USA. Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico. Photo credit: Courtesy of the artist.
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- Rossana Martinez, “Sweet Like Candy to My Soul”, 2007, Performance and installation at Pratt Manhattan Gallery; Two turquoise folding chairs, Felix Gonzalez-Torres book, Variable dimensions. Photo credit: Courtesy of the artist.
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- Rossana Martinez, “Sweet Like Candy to My Soul”, 2007, Detail; Performance and installation; Two turquoise folding chairs, Felix Gonzalez-Torres book, Variable dimensions. Photo credit: Courtesy of the artist.
I am interested in creating an experience, and a dialogue between the body and common materials. The process and result are raw and unedited. I investigate subtleties of balance and movement, breath and anatomy—based on the connection between a running and yoga practice, and my interest in dance, conceptual abstraction and performance art. My intention is to allow viewers to interpret and question the work according to their expectations about what art is and how it should appear.
Traducido del inglés
Me interesa crear una experiencia, un diálogo entre el cuerpo y los materiales comunes. El proceso y resultado es crudo e íntegro. Investigo las sutilezas del balance y del movimiento, de la respiración y la anatomía, basadas en las conexiones entre la práctica de yoga y correr, así como mi interés en la danza, la abstracción conceptual y el performance. Mi intención es el permitir a los espectadores interpretar y cuestionar la obra de acuerdo a sus expectativas de lo que el arte es y cómo debe verse.
Selected Biographical Information
Education / Training
- 1993-1996: Master of Fine Arts in Sculpture and Printmaking, Pratt Institute, Brooklyn, NY, USA.
- 1987-1991: Bachelor of Arts in Liberal Arts, University of Puerto Rico, Rio Piedras, Puerto Rico.
Prizes / Fellowships
- 2008: Mujeres Destacadas Award, El Diario La Prensa, New York, NY, USA.
- 2008: Nominated for a Rema Hort Mann Foundation Award, Rema Hort Mann Foundation, New York, NY, USA.
- 2006-2007: Workspace Residency, Lower Manhattan Cultural Council, New York, NY, USA.
- 2005: Community Arts Regrant Program, Brooklyn Arts Council, Brooklyn, NY, USA.
- 2004: Community Arts Regrant Program, Brooklyn Arts Council, Brooklyn, NY, USA.
- 2003: Artist in the Marketplace Program (AIM), The Bronx Museum of the Arts, Bronx, NY, USA.
Solo Exhibitions
- 2010: “Present”, The Engine Room, Massey University, Wellington, New Zealand.
- 2009: “Present”, Project Space Spare Room, RMIT University, Melbourne, Australia.
- 2008: “Sequence”, Gallery Sonja Roesch, Houston, TX, USA.
- 2007: “Present”, SNO, Sydney, Australia.
- 2006: “Heart on Fire”, H29, Brussels, Belgium.
- 2006: “Mind Games”, PS, Amsterdam, The Netherlands.
- 2006: “Greetings from Brooklyn”, Hebel_121, Basel, Switzerland.
- 2004: “Home”, David Allen Art & Design Gallery, Brooklyn, NY, USA.
- 2000: “Recent Works”, Wabash College, Crawfordsville, IN, USA.
Group Exhibitions
- 2014: “Making Space”, Gibney Dance, New York, NY, USA.
- 2014: “Triangles”, Ventana 244, Brooklyn, NY, USA.
- 2013: “Material Histories”, Key Projects, Long Island City, NY, USA.
- 2012: “Voces y Visiones: Gran Caribe”, El Museo de Barrio, New York, NY, USA.
- 2011: “Telefone Sem Fio”, EFA Project Space, New York, NY, USA.
- 2011: “The Weight of Jupiter”, Enjoy Public Art Gallery, Wellington, New Zealand.
- 2011: “Fluid”, Center of the Arts Gallery, Towson University, Towson, MD, USA.
- 2011: “Fluid”, Delaware Center for the Contemporary Arts, Wilmington, DE, USA.
- 2010: “Constructed Painting”, Kudos Gallery, Sydney, Australia.
- 2010: “No fue un mal entendido”, Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico.
- 2010: “Informal Relations”, Indianapolis Museum of Contemporary Art, Indianapolis, IN, USA.
- 2010: “M5”, Philip Feldman Gallery, Pacific Northwest College of Art, Portland, OR, USA.
- 2009: “Partners in Love & Art”, Brooklyn Public Library, Brooklyn, NY, USA.
- 2009: “Accrochage”, Gallery Sonja Roesch, Houston, TX, USA.
- 2008: “MINUS SPACE”, MoMA PS1, Long Island City, NY, USA.
- 2007: “All is well that begins well and has no end”, 80WSE Galleries, New York University, New York, NY, USA.
- 2007: “Four Artists: Work by Recent Pratt Alumni”, Pratt Manhattan Gallery, Pratt Institute, New York, NY, USA.
- 2006: “PP III”, Hunter College/Times Square Gallery, New York, NY, USA.
- 2005: “Ideal”, Metaphor Contemporary Art, Brooklyn, NY, USA.
- 2004: “All the Numbers I Know”, The Rotunda Gallery, Brooklyn, NY, USA.
Publications
- Jackie Battenfield, The Artist’s Guide: How to Make a Living Doing What You Love (New York: Da Capo Press).
- Robert Adam and Carol Robertson, Intaglio, The Complete Safety-First System for Creative Printmaking (New York: Thames & Hudson).
- Josep Felip, “Rossana Martínez, una boricua entregada al arte”, MSN Latino, September 2010.
- Jeff Jahn, “Art & Concept interview with Jeff Jahn“, ArC: Art & Concept, August 19, 2010.
- Erin Loechner, “Rossana Martinez“, Design for Mankind, March 1, 2010.
- Phong Bui, “MINUS SPACE: The Art of Reduction”, MoMA PS1 Newspaper, Fall/Winter 2008.
- Grace Glueck, ” Presentational Painting III”, The New York Times, April 7, 2006.
- Stephen Maine, “Painting Presentation”, Artnet Magazine, April 7, 2006.
- Triangles, Ventana244, Brooklyn, NY, 2014; Essays by Melissa Staiger, Nadema Agard, Craig Olson and Stephen Westfall.
All is well that begins well and has no end, 80WSE Galleries, New York University, New York, NY, 2007. - Presentational Painting III. Hunter College/Times Square Gallery, New York, NY, 2006; Essays by Gabriele Evertz, Abbey Ryan and John Cox.
- Artist in the Marketplace (AIM), The Bronx Museum of the Arts, Bronx, NY, 2003; Essays by Amy Rosenblum-Martin and Lydia Yee.
- XIII Bienal de San Juan del Grabado Latinoamericano y del Caribe. Instituto de Cultura Puertorriqueña, San Juan, PR, 2001.
- The S-Files/Selected from the Files, El Museo del Barrio, NY, 2000; Essays by Deborah Cullen and Yasmin Ramírez.
Collections
- El Museo del Barrio, New York, NY, USA.
- Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico.
- UBS , San Juan, Puerto Rico.
- Wabash College Collection of Contemporary Art, Crawfordsville, IN, USA.
Links
January 27, 2015 Marcius Galan: Tight but Loose https://abstractioninaction.com/happenings/marcius-galan-tight-loose/
Tight but loose
Julio Surárez & Marcius Galan
December 12, 2013 – February 2, 2014
Galería Agustina Ferreyra
San Juan, Puerto Rico
Galería Agustina Ferreyra is pleased to announce Tight but Loose, an exhibition by Julio Suárez & Marcius Galan.
Using a minimal aesthetic and through a wide variety of media such as; installation, sculpture, photography and drawing, the work of Marcius Galan (1972), is a series of material experiments that question the limits of space and its metaphorical possibilities, as well as our relation to it and the social and political implications of everyday geometry. His work defies the way we relate to objects, while it plays with our perception and our sense of spatial construction.
Marcius Galan (Indianápolis, USA. 1972) lives and works São Paulo, Brazil. Recent exhibitions include: Diagrama, Espacio NC, Bogotá, Colombia; Geometric Progression, White Cube, Londres, Inglaterra; Imóvel/Instável, Galería Luisa Strina, São Paulo, Brazil, 30 x Bienal – Bienal de São Paulo, Brazil & Dreaming is a form of Planning, Galería Agustina Ferreyra, San Juan, PR.
Click here to view Marcius Galan on Abstraction in Action.
December 10, 2013 Tony Cruz Pabón https://abstractioninaction.com/artists/tony-cruz/Translated from Spanish
Time, the everyday and repetitive actions like filling up, empty out, or repair, are recurring ideas in my work. To me, representing through drawing the distance between my home and the house of my relatives, or the calculation of the times that I take my hand to my mouth when I am smoking—both drawn on pencil over the wall—more than an act of measurement, they are to me a way of shaping everyday experience.
For example, the exercise of walking around the city of San Juan to document a series of constructions, made by the inhabitants of the city with everyday objects, made with the purpose of reserving a parking space. This document resulted in a publication that gathers this form and to which I add a series of drawings that propose the use of these same objects for other purposes or possible sculptures.
Generally, my work ends up becoming drawing, where I utilize a few material and visual resources. I am interested in materials that are easy to obtain, such as Plastiscine for children—which I have used to “repair” cracks on a deteriorated building—or powdered construction pigment, which registers the movement of a ball in a baseball field during a game.
In my most recent projects, I have investigated the visual production that generated from Puerto Rican popular music (Salsa, Bomba, and Plena), during the 60s, 70s and beginning of the 80s. The LP as an object, the graphic design, the typography and the images that are produced through the lyrics, give me the opportunity to make an analysis of the construction of landscape in that specific moment.
El tiempo, lo cotidiano, y las acciones repetitivas, como rellenar, vaciar o reparar son ideas recurrentes en mi trabajo. Representar en dibujo la distancia entre mi residencia y la casa de mis familiares, o bien el cálculo de la cantidad de veces que me llevo la mano a la boca al fumar un cigarrillo (ambos dibujados en lápiz sobre la pared), más que un acto de mensura, son para mi una manera de dar forma a la experiencia cotidiana.
Como es el ejercicio de caminar por la ciudad de San Juan con el fin de documentar una serie de construcciones, hechas por los habitantes de la cuidad con objetos cotidianos, hecho con el propósito de reservar un estacionamiento. Este documento resultó en una publicación que recoge esta forma y en la cual añado una serie de dibujos que proponen el uso de éstos mismos objetos para otras funciones o posibles esculturas.
Generalmente mis trabajos terminan siendo dibujos, donde utilizar pocos recursos materiales y visuales. Me interesan los materiales que me son de fácil acceso, como la plastilina para niños, -que he utilizado para “reparar” grietas en un edificio deteriorado-, o el pigmento de construcción en polvo, con el que queda registrado el movimiento de una bola en un campo de baseball durante un partido.
En mis últimos proyectos me encuentro investigando la producción visual que se generó en la música popular puertorriqueña (salsa, bomba y plena) durante las décadas de los años 60, 70 y principios de los años ochenta. El LP como objeto, el diseño gráfico, la tipografía y las imágenes que se producen en las letras de las canciones, me dan pie a hacer un estudio de la construcción del paisaje en ese momento.
Selected Biographical Information
Education / Training
- Bachillerato (B.A.) en Escultura, Escuela de Artes Plásticas de Puerto Rico.
Prizes / Fellowships
- 2011: Art Maters, Beca de investigación artística.
Solo Exhibitions
- 2011: “Andamios”, Galería Casas Riegner, Bogotá, Colombia.
- 2008: “Project Room”, Galería Luisa Strina, Sao Paulo, Brazil.
- 2005: “Project Room, Diálogos”, Espacio 1414, Colección Berezdivin, San Juan, PR.
Group Exhibitions
- 2012: “III Tirenal Poli/Gráfica de San Juan: América Latina y el Caribe”, San Juan, PR.
- 2011: “The Peripatetic School: Itinerant Drawing from Latin America”, Drawing Room, London, UK.
- 2011: ”En obras, Under Construction Art and Architecture in Coleção Teixeira de Freitas”, Tenerife, Spain.
- 2010: “To draw is to write, to write is to draw”, Casas Riegner Gallery, Bogota, Colombia.
- 2009: “Acciones Disolventes, Videoarte latinoamericano”, Centro de cultural Chacao, Venezuela.
Publications
- 2013: Vitamin D2: New Perspectives in Drawing, Phaidon.
- Art Cities of the Future, 21st-Century Avant-Gardes, Phaidon.
- 2011: Malone, Micah, ‘Future Anterior: an index to contemporary art’s imminent history’, Art Paper, November/December.
- 2011: Barson, Tanya and Kate Macfarlane Ed. ‘The Peripatetic School, Itinerant Drawing from Latin America’, Drawing Room. Ridinghouse.
- 2007: Mosaka, Tumelo Ed. ‘Infinte Island, contemporary caribbean art’, Brooklyn Museum, Philip Wilson Publishers.
Collections
- Berezdivin Collection, San Juan, Puerto Rico.
- Cisneros, NY and Caracas.
- Coleção Teixeira de Freitas, Lisboa.
Links
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- Tony Cruz, “Top view of my house and the objects that occupy – 1574.02 meters square – 0.355:30”, 2008, Pencil on paper, 37” x 30”. Image courtesy of the artist.
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- Tony Cruz, “Distance drawing, San Juan / Middlesbrough, an attempt to draw the distance from San Juan to Middlesbrough (6728.7347 km). Realized only 0.035549 percent (2,392)”, 2011, Pencil on wall, Site specific project. Location: Middlesbrough, UK. Image courtesy of the artist.
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- Tony Cruz, “Distance drawing, San Juan / Bogotá, an attempt to draw the distance from San Juan to Bogotá (1763 km). Realized only 9.132 percent (1610m)”, 2012, Pencil on wall, 2’ x 9’, Site specific. Location: Bogotá Colombia. Image courtesy of the artist.
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- Tony Cruz, “Dibujo distancia, 304m al norte del kiosko del Morazán”, 2006, Pencil on vall, Site specific Project. Location: San José, Costa Rica. Image courtesy of the artist.
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- Tony Cruz, “Colección de objetos. un peso ($1.00) : marzo 26/10 : thachar”, 2010, Mixed media, Variable dimensions. Image courtesy of the artist.
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- Tony Cruz, “Distance drawing, San Juan / London, an attempt to draw the distance from San Juan to London (6,751.2362 km). Realized only 0031890 percent (2,153m)”, 2011, Pencil on wall, approximate 8 x 6 in., Site specific project. Location: London, UK. Photo credit: Drawing Room
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- Tony Cruz, “Top view of my house and the objects that occupy – 1574.02 meters square – 0.355:30”, 2008, Pencil on paper, 37 x 30 in. Image courtesy of the artist.
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- Tony Cruz, “Five discs -LP- (side A and B) of Ismael Rivera, printed in intaglio on paper vinyl album LP:Esto fue lo que trajo el barco 1972, Traigo de todo 1974, Soy Feliz 1975, Feliz Navidad 1975, De todas maneras rosas 1977”; 2012, Intaglio on paper, 73” x 28”. Image courtesy of the artist.
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- Tony Cruz, “Colección de objetos. lápiz-1 : marzo 15/10 : tallar”, 2010, Mixed media, Variable dimensions. Image courtesy of the artist.
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- Tony Cruz, “Drawing on ball park, After de Game, the players draw the ball’s trajectory with powder pigment”, 2005, Construction pigments. Site specific project. Location: Vega Alta, Puerto Rico. Image courtesy of the artist.
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- Tony Cruz, “Colección de objetos. mapa mundi : marzo 21/10 : tacharw, 2010, Mixed media, Variable dimensions. Image courtesy of the artist.
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- Tony Cruz, “Colección de objetos. recibo cigarrillo-3 : marzo 31/10 : tachar”, 2010, Mixed media, Variable dimensions. Image courtesy of the artist.
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- Tony Cruz, “Detalle. Distance drawing, San Juan / Bogotá, an attempt to draw the distance from San Juan to Bogotá (1763 km). Realized only 9.132 percent (1610m)”, 2012, Pencil on wall, 2’ x 9’, Site specific Project. Location: Bogotá Colombia. Image courtesy of the artist.
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- Tony Cruz, “Drawing on ball park, After de Game, the players draw the ball’s trajectory with powder pigment”, 2003, Construction pigment. Site specific project. Location: Santo Domingo. Image courtesy of the artist.
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- Tony Cruz, “Dibujo distancia, San Juan/vega Alta, P.R. (54 Millas)”, 2005, Pencil on wall, Site specific Project. Location: San Juan, PR. Image courtesy of the artist.
