(fish claustrophobic claustrofobica) (imagen fez #2 8 writte n tha t th e self-and-socially-consciou...
TRANSCRIPT
18
Fez
#2 (
Imag
en
Cla
ustr
ofob
ica)
(Fi
sh
#2:
Cla
ustr
opho
bic
linag
e),
1984
20
Los
Am
ante
s (T
he
Love
rs),
1984
Los
Inso
mne
s D
orm
itant
es (
insp
irad
o en
Cam
pesi
nos
dum
nte
la S
iest
a de
Pic
asso
)(T
he S
leep
ing
Inso
mni
acs—
insp
ired
by
Pic
asso
's T
he S
leep
ing
Peas
ants
), 19
83
10
"Art
and
poe
try,
an
d th
eir
disc
ours
es,
if th
ey a
re fo
r re
al,
are
alw
ays
criti
cal
of P
ower
: th
eir
poli
tics
is
to t
rans
form
re
ality
and
not
to
mer
ely
ideo
logi
ze i
t. W
e sh
ould
no
t pr
eten
d to
pos
sess
tru
th o
r to
hav
e th
eon
ly,
uniq
ue t
ruth
. B
ut
an a
rtis
t or
a p
oet
wit
h a
cri
tical
con
scio
usne
ss i
s al
way
s un
com
prom
isin
g w
ith
Pow
er i
n re
latio
n to
tru
th,
in o
rder
to
be fo
r re
volu
tion
and
real
dem
ocra
cy."
(con
tinue
d Jw
m p
. 8)
stro
nger
tha
n he
was
, an
d ad
ds:
"Thi
s ha
s no
sen
seat
all,
but
tha
t's t
he w
ay it
is
som
e of
the
tim
e if
not
alw
ays
wit
h so
me
kind
of
pain
ting
and
som
epa
inte
rs" —
of w
hich
he
is c
lear
ly o
ne.)
The
ro
iling
curv
es a
nd l
ines
of
Las
One
iras
(The
One
s W
hoC
ome
from
Dre
ams)
(p.
13)
, fo
r in
stan
ce,
sugg
est
ava
st s
pace
uns
een
in i
ts e
ntir
ety,
rat
her
than
adi
ssol
ving
spa
ce.
It i
s as
tho
ugh
the
arti
st h
as a
cces
sto
a p
erpe
tual
ly r
efor
min
g un
iver
se w
hich
is
reve
aled
to
him
onl
y in
fra
gmen
ts.
In t
he p
aint
ing
Los
Sepu
lture
ros
(The
Gra
vedi
gger
s) (
p. 2
1), E
scob
ar m
ight
be
illu
stra
ting
one
of h
is t
heor
ies.
He
has
wri
tten
tha
t th
e se
lf-a
nd-
soci
ally
-con
scio
us a
rtis
t "w
ould
ass
ume
not t
he r
ole
of t
he U
nder
take
r (t
he p
rese
rver
of
ideo
logy
, th
eSt
ate'
s C
hef)
, bu
t th
e G
rave
digg
er,
who
, ev
enre
cogn
izin
g th
e di
ffic
ulty
of
bein
g a-
ideo
logi
cal,
prop
oses
to
be t
he a
nti-
ideo
logu
e, a
nd t
he t
rue
'mor
tal
of m
orta
ls.'
" T
hus
the
thre
e fi
gure
s in
the
pain
ting
wie
ld n
ot s
hove
ls,
but
guit
ars.
In h
is e
ffor
t to
be
an a
nti-
ideo
logu
e, a
nd t
otr
ansc
end
both
"fo
lklo
re"
and
"pri
mit
ivis
m"
as s
ole
refe
renc
e po
ints
for
a L
atin
art
, E
liza
m E
scob
ar h
asde
velo
ped
an i
nter
esti
ng,
if s
till
evol
ving
, co
ncep
t of
mul
ticu
ltur
alis
m:
In t
he s
ame
way
tha
t E
urop
ean
art
at a
cer
tain
mom
ent
soug
ht e
lem
ents
tha
t w
ere
not
part
of
thei
row
n cu
ltur
al-h
isto
rica
l ex
peri
ence
(A
rabi
c,Ja
pane
se,
Afr
ican
, In
do-A
mer
ican
ele
men
ts),
sim
ilar
ly t
oday
Lat
in A
mer
ican
art
is
bein
gno
uris
hed
by t
hese
Eur
opea
n di
gest
ions
and
oth
erel
emen
ts.
Thi
s is
not
to
the
sam
e pu
rpos
e or
in
the
sam
e w
ay,
but
rath
er t
hrou
gh t
he l
ens
or s
peci
fic
cond
itio
ns o
f L
atin
Am
eric
a, a
nd w
ithi
n th
e sp
ecif
iccu
ltur
es a
nd i
ndiv
idua
l or
soci
al s
itua
tion
s, su
ch a
sth
e co
loni
al s
itua
tion
of
Pue
rto
Ric
o.
He
then
cite
s th
e "n
eces
sity
of
the
indi
vidu
al t
ous
e hi
s la
ngua
ge (
like
colo
r) i
n sp
ite o
f, as
par
t of
,hi
s cr
eativ
e en
deav
our
agai
nst
the
slav
ery
ofex
tern
al c
ondi
tion
s an
d as
a f
ulfi
llmen
t of
his
will
to
tran
sfor
m r
eali
ty."
The
re i
s no
que
stio
n th
at s
ome
kind
of
new
ecle
ctic
and
dia
lect
ical
ene
rgy
is b
ubbl
ing
up i
nL
atin
Am
eric
a as
a r
esul
t of
com
bine
d re
pres
sion
and
revo
luti
on.
Its
root
s in
vis
ual
art
are
inde
edm
ulti
ple,
and
the
pot
enti
al r
esul
t of
thi
s ri
chm
ixtu
re o
f so
urce
s is
inc
reas
ingl
y im
port
ant
to
Eur
o-A
mer
ican
cul
ture
as
wel
l, of
feri
ng a
nee
ded
shot
in
the
arm
to
a hi
gh a
rt t
hat
has
been
pal
ely
narr
owed
to
the
tast
e of
a s
ingl
e cl
ass.
In P
erfil
es e
n un
Alb
um (
Prof
iles
in a
n A
lbum
)(p
.ll)
, E
scob
ar s
eem
s to
be
wor
king
aro
und
this
issu
e. T
wo
pow
erfu
l hea
ds c
onfr
ont
each
oth
erac
ross
the
cen
ter
of a
loo
sele
af n
oteb
ook.
Bot
hhe
ads
are
com
posi
tes,
giv
ing
the
impr
essi
on t
hat
the
skin
, or
the
ven
eer,
has
been
str
ippe
d aw
ay t
o sh
owth
e m
uscl
e, o
r th
e co
mpo
nent
s of
hum
anit
y (o
r th
ear
tist
); s
ome
elem
ents
are
"bo
und"
as
thou
gh h
eld
toge
ther
wit
h th
ongs
. O
n th
e le
ft, a
whi
te h
ead
wit
hw
ide
blue
lid
less
eye
s st
ares
in
surp
rise
or
amaz
emen
t or
fea
r at
the
red
hea
d on
the
rig
ht,
who
se e
yes
are
clos
ed b
ut w
hose
mou
th s
eem
s op
ento
spe
ak.
A f
ine
line
ar b
ranc
h is
dra
wn
befo
re t
hedr
eam
ing
red
head
.
Such
an
inte
nsit
y of
lon
ging
and
com
mun
icat
ion
perv
ades
thi
s pa
inti
ng t
hat
I ha
veto
see
it
as t
he a
rtis
t co
nfro
ntin
g hi
mse
lf,
his
drea
ms,
his
pas
t, ac
ross
the
pag
es o
f hi
sno
tebo
ok/c
anva
s —
his
prim
ary
tool
of
esca
pe.
Tog
ethe
r th
e tw
o he
ads
mig
ht a
lso
be s
een
as a
nim
age
of C
arib
bean
mes
tizaj
e—th
e "c
ivili
zed"
and
colo
nize
d w
hite
hea
d dr
awin
g kn
owle
dge
and
ener
gy f
rom
its
Ind
ian
coun
terp
art
as i
f ill
ustr
atin
gJo
se M
arti
's c
once
pt o
f "N
uestr
a Am
eric
a."
Wha
teve
rth
e m
eani
ng (
and
Ber
tha
Hus
band
has
sug
gest
edth
at E
scob
ar d
oesn
't of
fer
inte
rpre
tati
ons
beca
use
hew
ants
the
wor
k to
cre
ate
its
own
dial
ogue
wit
h th
evi
ewer
), th
is i
s a
com
pell
ing
pain
ting
tha
t fo
rces
us
to e
nter
it.
Esc
obar
's w
ork
wou
ld b
e sh
own
and
resp
ecte
d(c
ontin
ued
on p
. 14)
Perfi
les
en u
n A
lbum
(Pr
ofile
s in
an
Alb
um),
198
3
11
1 Su
eno
en l
a C
ara
(Mas
ked
Dre
am),
1983
12
2 La
s M
asca
ras
dent
ro d
e la
s C
aret
as (
Mas
ks
insi
de M
asks
),
1983
40
Las
One
iras
(Th
e O
nes
Who
Com
e fro
m D
ream
s),
1985
"Tod
ay,
nean
ng t
he e
nd o
f th
e '8
0's,
exp
erie
nce
tells
us
that
rea
lm
arxi
sm a
nd r
eal
mar
xist
s ha
ve a
nd s
usta
in m
ulti
ple
and
dive
rse
inte
rpre
tatio
ns
on t
he r
elat
ion
betw
een
art
and
poli
tics
. N
ever
thel
ess,
ev
enw
ithi
n th
ese
inte
rpre
tativ
e co
nflic
ts,
the
mar
xist
met
hod,
di
alec
tical
mat
eria
lism
, co
ntin
ues
to b
e, i
n m
y vi
ew,
the
mos
t ef
fect
ive
met
hod
tode
epen
and
bri
ng l
ight
on
the
prob
lem
s th
at c
ompr
ise
the
rela
tions
betw
een
art
and
poli
tics
."S
ince
the
lat
e '6
0's,
th
is t
opic
lite
rally
has
per
mea
ted
my
part
icip
atio
n in
the
pro
duct
ion
of i
mag
es:
draw
ings
, ca
rica
ture
s,gr
aphi
cs,
and
pain
ting
. Th
roug
h th
e ye
ars
this
has
bee
n bo
th h
ealth
y an
da
lim
itat
ion.
T
hus,
th
is i
nter
nal
stru
ggle
of
the f
orce
s th
at d
ebat
e w
ithi
n
me
has
been
acc
ompa
nied
by
a k
ind
of '
ideo
logi
cal j
udge
' or
'de
mon
' w
hoha
s be
en i
n ch
arge
of
the
unpl
easa
nt
wor
k of
hav
ing
to ju
stify
th
ese
imag
es. "T
hen,
in
the
lat
e 70
's,
this
str
uggl
e se
emed
to
take
a
diffe
rent
dire
ctio
n. M
y ow
n op
inio
ns
beca
me
less
im
port
ant
than
, le
t's s
ay,
the
use
.of
col
or,
text
ure,
or
the
free
r in
clus
ion
of o
neir
ic i
mag
es.
Toda
y,
I ha
vebe
tter
unde
rsto
od t
hat
in o
rder
to
say
or s
how
som
ethi
ng
sign
ifica
nt
inar
t, fir
st o
ne h
as t
o co
nstr
uct
and
deve
lop
one'
s ow
n la
ngua
ge."
13
(con
tinue
d fr
om p
. 11)
whe
ther
he
was
in
or o
ut o
f pr
ison
(th
ough
not
nece
ssar
ily i
n th
e m
ains
trea
m).
But
the
fac
t th
at h
eis
mak
ing
this
kin
d of
am
biti
ous
and
visi
onar
y w
ork
in t
hat
kind
of
plac
e of
fers
a m
odel
for
cul
tura
lre
sist
ance
. Pr
ison
poe
try
has
long
bee
n re
aliz
ed a
s a
sign
ific
ant
genr
e. V
isua
l ar
t ha
s no
t of
ten
reac
hed
thes
e he
ight
s, p
erha
ps b
ecau
se t
he s
pace
and
equi
pmen
t re
quir
emen
ts a
re h
arde
r to
mee
t w
ithi
nth
e w
alls
of
a ce
ll. D
epri
ved
of d
irec
t act
ion,
Esc
obar
has
bro
ught
to
bear
on
his
imag
inat
ion
the
shar
pnes
s of
his
pol
itica
l th
inki
ng a
nd h
isw
illin
gnes
s to
tak
e ri
sks.
Pol
itic
al p
ract
ice
is n
owne
cess
arily
cha
nnel
ed i
nto
theo
ry a
nd a
rt.
In t
hew
ords
of
Kar
l M
arx:
"Th
e do
min
ion
of t
heob
ject
ive
bein
g in
me,
the
sen
suou
s ou
tbur
st o
f m
yes
sent
ial
acti
vity
is e
mot
ion,
whi
ch t
hus
beco
mes
here
the
act
ivit
y of
my
bein
g."
Esc
obar
is
impa
tien
t w
ith
the
ideo
logi
cal
rest
rict
ions
lai
d on
art
by
thos
e of
us
who
try
to
conq
uer
alie
nati
on b
y in
tegr
atin
g ou
r ar
t an
d ou
rop
posi
tion
al a
ctiv
ism
, bu
t he
is
also
aw
are
that
all
the
com
bina
tion
s of
art
and
pol
itics
are
val
id;
hekn
ows
that
soc
ial
tran
sfor
mat
ion
(and
all
tran
sfor
mat
ion
is c
ultu
ral
by d
efin
itio
n) w
ill n
otco
me
from
a s
ingl
e di
rect
ion,
tha
t "p
rogr
ess"
is
not
a go
al o
f ar
t (e
ven
prog
ress
ive
art)
and
tha
t "t
here
al i
s th
e in
fini
te c
ontr
adic
tion
in
infi
nite
mov
emen
t." T
his
know
ledg
e is
im
part
ed i
n hi
spa
inti
ng.
Forc
ibly
sep
arat
ed f
rom
dir
ect
polit
ical
acti
vity
"ou
tsid
e,"
he s
eem
s to
be
able
to
see
the
role
of a
rt v
ery
clea
rly,
con
fron
ting
it a
s he
is,
fro
m"i
nsid
e"—
not
onl
y in
side
the
wal
ls o
f O
xfor
d Pr
ison
,bu
t in
side
the
wal
l-le
ss h
ome
of h
is o
wn
cons
ciou
snes
s an
d ex
peri
ence
.In
pai
ntin
gs l
ike
Fez
#2 (
Fish
#2)
(p.
9),
a fi
gure
swad
dled
/tra
pped
ins
ide
a fi
sh,
or L
a M
aga
y el
Vejig
ante
(The
Fem
ale
Mag
icia
n an
d th
e V
ejig
ante
)(c
over
), on
e ca
n al
mos
t fe
el t
he d
iale
ctic
s at
wor
k,un
anch
ored
fro
m p
olit
ical
spe
cifi
city
but
exp
ress
ing
none
thel
ess
the
stru
ggle
bet
wee
n de
sire
and
nece
ssity
, op
pres
sion
and
fre
edom
— a
stru
ggle
to
the
deat
h. N
ow a
nd t
hen,
how
ever
, the
joy
ofst
rugg
le a
nd t
he d
ream
of
self
-det
erm
inat
ion
brea
ksth
roug
h, a
nd E
scob
ar p
rodu
ces
a w
ork
like
Vejig
ante
Aleg
re (
Joyf
ul V
ejig
ante
) (b
ack
cove
r) i
n w
hich
the
14
man
y-ho
rned
mas
k (w
ith
a cu
riou
s re
sem
blan
ce t
oth
e S
tatu
e of
Lib
erty
's c
row
n) s
eem
s to
be
burn
ing
up w
ith
"a p
assi
on o
f th
e co
ncep
t."
At
the
sam
eti
me,
thi
s ri
tual
ized
fig
ure
is s
mil
ing
wit
h a
very
hum
an l
ook
— no
t m
ad j
oy,
or a
n ev
il jo
y, b
ut j
oyde
spite
eve
ryth
ing.
Nev
erth
eles
s, i
t is
a m
ask.
Eli
zam
Esc
obar
the
man
liv
es b
enea
th t
he c
ultu
ral m
ask
as t
he p
riso
ner
lives
wit
hin
the
dign
ity
he h
as f
orge
d fo
r hi
mse
lf a
sa
crea
tor.
Bur
ied
som
ewhe
re i
n th
ese
pain
ting
sm
ust
be i
mag
es o
f lif
e ou
tsid
e as
wel
l as
ins
ide
—a
life
dedi
cate
d to
art
and
lib
erat
ion.
Esc
obar
has
been
a u
nive
rsit
y st
uden
t, a
garb
age
swee
per,
a si
gnpa
inte
r, a
com
mun
ity
art
teac
her,
a m
ural
ist,
ajo
urna
list
, a
cart
ooni
st,
and
a fr
eedo
m f
ight
er (
are
al o
ne,
not
the
Rea
gan
imit
atio
n). T
he b
read
th o
fhi
s es
thet
ic a
ccom
plis
hmen
t is
und
oubt
edly
due
in
part
to
the
brea
dth
and
cour
age
of h
is e
xper
ienc
e of
real
ity.
His
str
uggl
es i
n th
e w
orld
are
ref
lect
ed in
the
intr
icac
y of
his
art
. A
nd t
hey
in t
urn
refl
ect
the
triu
mph
of
the
indi
vidu
al s
piri
t —in
its
elf
anal
lego
ry f
or t
he e
vent
ual
triu
mph
of
the
peop
le. D
21
Van
aaon
a M
inot
auro
maq
um (
Var
iati
on o
n P
icas
so's
Min
otau
rom
aqui
a),
1984
I
"An
artis
t is
not
an
indi
vidu
al
who
cre
ates
and
prod
uces
his
/her
wor
k in
depe
nden
t of
ever
ythi
ng e
lse:
natu
re,
soci
ety,
th
ings
. Su
ch a
phen
omen
on c
an n
ot h
appe
n. H
owev
er,
we
oppo
sean
y ty
pe o
f de
term
inis
m t
hat
deni
es th
e ca
paci
ty
ofth
e in
divi
dual
to
tra
nsfo
rm
his
real
ity o
r tra
nsce
ndth
e lim
its t
hat
exte
rnal
con
ditio
ns i
mpo
se,
inre
latio
n to
his
wor
k."A
rt is
a p
roce
ss t
hat
cann
ot b
e re
duce
d to
such
det
erm
inin
g ca
uses
in
spac
e no
r to
one
trad
ition
or
spec
ific
expe
rien
ce t
hrou
gh t
ime.
Th
isis
the
per
spec
tive
from
w
hich
we
see
the
indi
vidu
alPu
erto
Ric
an a
rtis
t (e
ither
in
Pue
rto
Ric
o or
in
exile
), in
rel
atio
n to
his
tim
es a
nd h
is p
robl
emat
ic.
We
also
und
erst
and
that
art
can
not
just
be
seen
from
th
e po
int
of v
iew
of
the
indi
vidu
al
who
prod
uces
it,
but
rath
er i
n re
latio
n to
its
cla
ss,
grou
p or
frac
tion
of a
soc
ial c
lass
, its
his
tori
cal
epoc
h, a
nd fr
om
the
base
of
its '
univ
ersa
lity.
' O
nefa
ctor
dia
lect
ical
ly a
ffects
an
othe
r. I
n th
e sa
me
way
tha
t on
e fac
tor
can
be d
omin
ant,
also
a s
tyle
or v
ario
us s
tyle
s w
ill
dom
inat
e fo
r a
spec
ific
peri
od.
In r
elat
ion
to t
he i
ndiv
idua
l, w
e ha
ve to
add
that
he/
she
can
not
be r
educ
ed t
o a
styl
e, b
utra
ther
in
his/
her
proc
ess o
f pro
duct
ion
and
form
atio
n,
he/s
he c
an e
ither
mas
ter
a st
yle,
or
can
deve
lop
or a
dopt
var
ious
sty
les
eith
er su
cces
sive
lyor
sim
ulta
neou
sly.
"One
of
the
pro
blem
s th
at e
mer
ges
in t
hedi
alec
tical
-mat
eria
list
anal
ysis
of
art
is t
hat
man
ytim
es t
he p
ositi
on i
s pu
t fo
rwar
d th
at e
xter
nal
fact
ors
(soc
ial
clas
s/na
tion/
epoc
h, e
tc.)
are
the
only
ones
tha
t de
term
ine
the f
orm
atio
n of
the
indi
vidu
al,
of h
is s
tyle
or
wor
ld v
iew
. If
we
reco
gniz
e th
e ca
paci
ty
of t
he i
ndiv
idua
l to
tran
sfor
m
the
'real
ity'
of m
an a
s an
his
tori
cal
bein
g (o
f m
an a
s th
e pr
otag
onis
t of
his
tory
), th
enth
ere
is n
o ba
sis
to r
educ
e hi
m
to a
'sp
ecifi
cin
heri
tanc
e,' a
sin
gle
trad
ition
, a
sing
le s
tyle
,ce
rtai
n ae
sthe
tic n
orm
s, e
tc.
"The
co
ncep
t of
'th
e tr
ue a
rt' o
nly
appl
ies
toth
e el
abor
atio
n of
art
istic
pro
duct
ion
thro
ugh
the
hone
sty
of t
he i
ndiv
idua
l in
his
/her
pos
sibi
lity
ofm
akin
g ou
t of
his
/her
mat
eria
l an
art
istic
lang
uage
in
spite
of
wha
t is
acc
epte
d by
one
trad
ition
and
des
pite
wha
t is
sup
pose
d to
be
'det
erm
inan
t.' I
t is
a l
angu
age
in s
pite
of
the
mor
alva
lues
of
the
mom
ent,
cultu
ral,
ideo
logi
cal a
ndpo
litic
al l
imits
, et
c. T
he l
angu
age
is n
ot o
nly
wha
t ha
s be
en d
one
up t
o th
e m
omen
t, bu
t al
soth
e po
ssib
ility
of
this
lan
guag
e tr
ansf
orm
ing
itself
to e
xpre
ss (
amon
g ot
her
thin
gs)
wha
t th
e pr
evio
usla
ngua
ge c
an n
o lo
nger
exp
ress
effe
ctive
ly.
Her
e,w
e w
ant
to q
uote
Jose
Car
los
Mar
idte
gui
from
hi
sar
ticle
ent
itled
Rei
nvin
dica
cion
de
Jorg
eM
anri
qu
e,
1927
:
Bec
ause
tra
ditio
n is
con
trar
y to
wha
t tr
aditi
onal
ists
desi
re,
livi
ng a
nd m
ovin
g.
Thos
e w
ho n
egat
e it,
cre
ate
it to
ren
ew i
t an
d en
rich
it.
Thos
e w
ho w
ant
it de
adan
d im
mob
ile,
kil
l it,
to
prol
ong
the
past
in
a pr
esen
tw
itho
ut s
tren
gth,
to
inc
orpo
rate
the
ir s
piri
t in
it
and
to p
our
thei
r bl
ood
into
it.
49
La
Inde
cisi
on (
Inde
cisi
on),
19
85
15
51
El
Em
ayo
(The
Reh
ears
al),
1986
"Art
is
nour
ishe
d by
all
elem
ents
, in
teri
or a
nd e
xter
ior.
It
is u
p to
the
ind
ivid
ual
to c
hoos
e am
ong
them
tho
se h
e co
nsid
ers
mos
t si
gnifi
cant
for
hi
s cr
eativ
e la
bor.
But
w
e do
not
see
the
crea
tive
act
only
as
ach
oice
or
sele
ctio
n of
raw
mat
eria
l. It
is
als
o ac
com
pani
ed b
y in
vent
ion,
th
e im
ages
of
drea
ms,
sy
mbo
licim
ages
, et
c."M
ore
curr
ents
, m
ovem
ents
and
sty
les
have
em
erge
d si
nce
the
birt
h of
pos
t-im
pres
sion
ism
th
an i
n al
lpr
evio
us e
poch
s co
mbi
ned.
U
nder
stan
ding
th
e ri
chne
ss i
n th
e va
riet
y of
sty
les
and
man
ifest
atio
ns
and
the
com
plex
ity
of o
ur w
orld
, w
e co
ntin
ue i
n th
e gr
eat
adve
ntur
e of
art
. To
red
uce
art
is t
o im
pove
rish
art
, an
din
the
end
hum
an e
xper
ienc
e an
d pr
ogre
ss."
16
54
El
Sucr
lo d
e la
Par
tcra
(Th
e M
idw
ife's
D
ream
), 19
86
"We
quot
e M
arid
tegu
i ag
ain:
'T
he a
rtis
t w
ho d
oes
not f
eel
the
agita
tion,
th
e w
orri
es a
nd t
hean
xiet
ies
of h
is p
eopl
e an
d th
eir
times
is
an a
rtis
t of
med
iocr
e se
nsib
ility
, an
emic
in
unde
rsta
ndin
g.'
His
/her
id
eolo
gy
'can
not
emer
ge fr
om
the
salo
ns o
f ae
sthe
tes;
it m
ust
be a
n id
eolo
gy f
ull
of l
ife,
of e
mot
ion,
of h
uman
ity
and
trut
h,
not
an a
rtifi
cial
, lit
erar
y, a
nd fa
lse
conc
epti
on.'T
he
Art
ist
and
the
Tim
es,
1959
." "Nor
do
we
dem
and
that
eve
ry p
oet
shou
ld w
rite
in
a w
ay t
hat
he b
elie
ves
is i
n co
mpl
ianc
e w
ith
his
patr
iotic
and
rev
olut
iona
ry d
uty
by m
akin
g ev
ery
poem
int
o w
hat
Ani
bal
Ponc
e ca
lled
'to l
aunc
h on
to h
ispa
tien
t pu
blic
an
awkw
ard
folly
w
ith
a cl
osed
fist
.'" J
uan
Ant
onio
Cor
retje
r, P
oet
ry a
nd
Rev
olut
ion,
1981
.
17
A D
EE
P S
EA
DIV
ER
IN
TH
E P
HA
NT
OM
(LY
) C
OU
NT
RY
Ber
tha
Hus
band
The
fun
dam
enta
l kno
wle
dge
of t
heon
enes
s of
eve
ryth
ing
exis
tent
, th
e co
ncep
tion
of i
ndiv
idua
tion
as
the
prim
al c
ause
of e
vil,
and
of a
rt a
s th
e jo
yous
hop
e th
at t
he s
pell
ofin
divi
duat
ion
may
be
brok
en i
n au
gury
of
are
stor
ed
onen
ess.
— N
ietz
sche
But
ide
olog
y tr
ies
to s
educ
e us
thr
ough
its i
llus
ion
of u
nive
rsal
ity.
— I
van
Silc
n
Peac
e w
ith
the
fore
igne
r w
ould
be
the
trea
son
to t
he p
eace
whi
ch w
e ar
e. T
o ha
vefa
ith i
n yo
ur n
on-v
iole
nce
(tha
t on
e th
atde
stro
ys o
ur l
angu
age.
..tha
t on
e th
at t
urns
us
into
fol
klor
e, t
hat
stea
ls f
rom
us.
..)—
Iva
n Si
len
All
art
that
asp
ires
to,
or
achi
eves
, uni
vers
alit
y,is
als
o ro
oted
in
a pa
rtic
ular
exp
erie
nce.
Bea
ring
this
in
min
d, t
here
are
cer
tain
fac
ts a
bout
Eliz
arn
Esc
obar
whi
ch s
houl
d be
not
ed:
1. H
e is
fro
m P
uert
o R
ico,
a c
olon
ized
cou
ntry
.
2. H
e ha
s ch
osen
to
dedi
cate
his
lif
e to
art
.
3. H
e ha
s al
so c
hose
n to
ded
icat
e hi
s lif
e to
the
libe
rati
on o
f hi
s co
untr
y fo
r w
hich
he
is n
owin
carc
erat
ed i
n a
U.S
. pr
ison
.
It is
ver
y ra
re i
n th
is c
ultu
re t
hat
the
arti
st a
ndth
e re
volu
tion
ary
com
bine
in
one
hum
an b
eing
.A
ltho
ugh
hum
an l
iber
atio
n is
the
goa
l of
bot
h ar
tan
d re
volu
tion
ary
polit
ics,
the
pra
xis
and
the
lang
uage
are
dif
fere
nt f
or e
ach,
cre
atin
g in
the
revo
luti
onar
y ar
tist
a t
ensi
on b
orn
of c
erta
inco
ntra
dict
ions
. C
hoos
ing
to e
xpre
ss t
he i
nner
life
,ho
wev
er n
on-c
onfo
rmis
t to
the
ide
al i
t m
ay a
ppea
r,ca
n of
ten
cast
the
rev
olut
iona
ry a
rtis
t in
the
posi
tion
of
the
"def
ecto
r" to
dec
aden
ce,
the
apol
ogis
tfo
r th
e cu
lt of
the
ind
ivid
ual a
s ag
ains
t th
ede
velo
pmen
t of
a c
onsc
ious
ness
sui
ted
to t
he n
ew
Ber
tha
Hu
sban
d is
a B
riti
sh a
rtis
t an
d a
mem
ber
of A
xeSt
reet
Are
na,
a co
llec
tive
ly-r
un a
rt s
pace
in
Chi
cago
.
soci
ety.
His
ow
n cl
oses
t co
mpa
nion
s in
the
str
uggl
eof
ten
do n
ot a
ppro
ve o
f th
e di
rect
ion
in w
hich
art
take
s hi
m,
pref
erri
ng to
see
all
cult
ural
for
ms
dedi
cate
d to
the
ser
vice
of
the
revo
luti
on,
forg
etti
ngth
at f
or a
rt t
ruly
to b
e an
im
port
ant
part
of
the
futu
re,
it m
ust
allo
w u
s to
vie
w w
itho
ut t
repi
dati
onth
e w
orki
ngs
of t
he d
eepe
st p
art
of o
ur
imag
inat
ion,
not
as a
kin
d of
the
rapy
, bu
t so
tha
t de
sire
can
be
free
d fr
om a
ppro
pria
tion
fo
r co
mm
erci
al
purp
oses
and
set
upon
its
ine
luct
able
pat
h.
But
in
the
traj
ecto
ry o
f a
sing
le l
ife t
here
may
be t
imes
for
dif
fere
nt t
hing
s. I
f w
e be
lieve
tha
t th
eev
ent
follo
ws
us u
ntil
we
mak
e it
happ
en,
we
can
see
that
the
re m
ay b
e hi
stor
ical
con
diti
ons
whi
chre
quir
e th
e ar
tist
/rev
olut
iona
ry to
aba
ndon
the
brus
hstr
oke
in f
avor
of
the
sure
-aim
. A
t th
ose
cert
ain
mom
ents
it
beco
mes
ver
y di
ffic
ult
to j
usti
fyth
e lif
e de
vote
d to
ind
ivid
ual d
evel
opm
ent
in t
hefa
ce o
f a
mou
ntin
g ne
ed f
or s
ocia
l ac
tion.
T
hech
oice
the
n be
com
es o
ne o
f co
mm
itti
ng o
ne's
arti
stic
ski
lls t
otal
ly t
o th
e ne
eds
and
uses
of
prop
agan
da,
or b
ecom
ing
anot
her
kind
of f
ight
er.
Face
d w
ith
this
cho
ice,
Esc
obar
has
cho
sen
to k
eep
his
art
sepa
rate
fro
m p
ropa
gand
a,
free
of
the
dict
ates
of
all
ideo
logy
, in
the
bel
ief
that
"ar
t fo
r ar
t'ssa
ke"
is n
ot a
ter
m t
hat
can
be a
ppli
ed a
s an
epi
thet
to t
he w
ork
of a
com
mit
ted
revo
luti
onar
y ar
tist
, bu
ton
ly t
o th
at o
f a
"lib
eral
" or
vag
uely
hum
anit
aria
non
e, w
hose
cho
ice
of a
n ar
tist
ic v
ocat
ion
was
no
doub
t m
ade
for
the
sam
e re
ason
s an
y vo
catio
nw
ould
hav
e be
en c
hose
n: p
ract
ical
con
side
rati
onco
mbi
ned
wit
h th
e in
tere
st i
n ce
rtai
n sk
ills
and
the
attr
acti
on f
or t
he p
arti
cula
r so
cial
sta
tus
acqu
ired
whe
n su
cces
s is
ach
ieve
d. F
or t
his
kind
of
arti
st,
fash
ion
will
rul
e an
d ex
pedi
ency
will
dec
ide
whi
chid
eolo
gy t
he a
rt p
rodu
ced
will
ref
lect
. O
nly
for
the
true
rev
olut
iona
ry i
s th
ere
no n
eed
to f
aint
at
the
sigh
t of
con
trad
icti
on o
r to
fea
r th
e em
erge
nce
ofth
at w
hich
may
not
be
imm
edia
tely
acc
essi
ble
and
ther
efor
e us
eful
. "I
n a
clas
s so
ciet
y,"
Esc
obar
say
s,"y
ou c
anno
t es
cape
fro
m i
deol
ogy,
but
you
hav
e tw
ode
fini
te o
ptio
ns i
n ar
t. E
ithe
r yo
u re
duce
art
to
ideo
logy
or
you
redu
ce t
he i
deol
ogic
al e
lem
ent
thro
ugh
a pr
axis
of l
iber
atio
n."
To
ente
r an
Esc
obar
pai
ntin
g is
to
desc
end
into
a w
orld
tha
t ap
pear
s to
be
unde
rwat
er.
To
have
grow
n up
on
an i
slan
d as
sm
all
as P
uert
o R
ico
will
mea
n th
e oc
ean
is a
sig
nifi
cant
im
age.
It
is w
hat
nour
ishe
s yo
u an
d m
ay d
efen
d yo
u fr
om t
hein
trud
er —
or b
ring
him
to
your
sho
res.
The
sou
ndan
d th
e sm
ell
of i
t is
nev
er v
ery
far
away
. T
hevi
ewer
fee
ls i
t in
the
use
of
deep
blu
es,
gree
ns,
blue
/gre
ens
and
crim
son/
viol
et.
Out
side
of
the
gree
n an
d oc
casi
onal
och
re,
ther
e is
a c
ompl
ete
46
Muj
er
Vejig
anta
(V
ejig
anta
W
oman
), 19
85
18
abse
nce
of y
ello
w, s
o m
uch
the
colo
ur o
f la
ndsc
ape,
the
play
of
sun
on t
rees
and
gra
sses
. T
he l
ight
whi
ch s
eem
s to
pen
etra
te t
his
wor
ld i
s th
etr
ansp
aren
t li
ght
com
ing
from
the
sur
face
dow
nwar
ds.
It i
s a
pale
blu
e/gr
een
ligh
t wit
h sm
all
area
s of
whi
te a
nd a
pin
k lik
e cr
ushe
d ra
spbe
rrie
s.T
he f
orm
s —an
d th
is i
s pa
rtic
ular
ly t
rue
of t
he l
arge
pain
ting
s, L
os S
epul
ture
ros
(p.
21),
Las
One
iras
(p.
13),
La V
ejiga
nta
Dor
mid
a (p
. 6)
— fi
ll th
e pa
inti
ng a
nd
are
clos
e to
the
pai
ntin
g su
rfac
e, a
s if
they
hav
e fl
oate
dup
to
the
view
er's
deep
sea
div
ing
mas
k. T
he s
pace
is d
isin
tegr
ated
, ou
t of
foc
us,
but
the
sim
ilar
pai
nttr
eatm
ent
of t
he f
igur
es m
akes
the
for
ms
diss
olve
into
the
sur
roun
ding
spa
ce w
hich
, in
tur
n, c
omes
forw
ard
to t
he p
ictu
re s
urfa
ce.
The
vie
wer
sel
ects
the
figu
res
and
guit
ars
from
thi
s di
sint
egra
ted,
flu
idw
orld
and
, in
con
stru
ctin
g th
em,
focu
ses
on t
hem
.T
he v
iew
er a
s de
ep s
ea d
iver
is
floa
ting
in a
wor
ldth
at i
s co
nsta
ntly
cha
ngin
g, d
isso
lvin
g, r
e-fo
rmin
g.
For
Esc
obar
, th
e pr
oces
s is
as
impo
rtan
t as
the
fini
shed
pro
duct
; th
e jo
urne
y an
d it
s di
scov
erie
s ar
eeq
ual
to t
he a
rriv
al a
t th
e de
stin
atio
n. E
very
thin
g in
his
pain
ting
pro
cess
is
conf
ined
to
man
ipul
atin
gac
rylic
pai
nt w
ith
brus
h or
kni
fe o
n ca
nvas
. In
thi
s,w
e ar
e in
the
pre
senc
e of
"re
al"
pain
ting
, pa
inti
ng i
nw
hich
the
dec
isio
ns a
re m
ade
as t
he w
ork
is c
arri
edon
wit
hin
the
viol
ence
of
the
proc
ess.
In
desc
ribi
ngho
w h
e w
orks
, E
scob
ar h
as q
uote
d th
e pa
inte
rFr
anci
s B
acon
: "T
he b
rush
stro
ke c
reat
es t
he f
orm
and
does
not
mer
ely
fill
it in
. C
onse
quen
tly,
eve
rym
ovem
ent
of t
he b
rush
on
the
canv
as a
lters
the
shap
e an
d im
plic
atio
ns o
f th
e im
age.
Tha
t is
why
real
pai
ntin
g is
a m
yste
riou
s an
d co
ntin
uous
stru
ggle
wit
h ch
ance
." W
here
Esc
obar
dif
fers
fro
mB
acon
is
on t
he q
uest
ion
of r
epea
ting
acc
iden
ts.
Bac
on b
elie
ves
an a
ccid
ent
cann
ot b
e us
ed a
gain
, as
it w
ould
cea
se t
o be
an
acci
dent
. E
scob
ar "
recr
eate
sth
e es
senc
e of
an
acci
dent
." "
But
the
n, a
fter
I h
ave
so m
any
acci
dent
s tu
rned
int
o te
chni
que,
oth
erac
cide
nts
arri
ve a
nd s
o fo
rth.
" It
is
the
crea
tive
proc
ess
that
is
bein
g tr
ansm
itte
d to
us
whe
n w
eco
nfro
nt t
hese
pai
ntin
gs. T
his
flui
d an
d se
nsua
lun
derw
ater
wor
ld,
cons
tant
ly d
estr
oyin
g an
dre
crea
ting
, is
lik
e th
e pr
oces
s of
its
cre
atio
n w
hich
in t
urn
mir
rors
the
rev
olut
iona
ry p
roce
ss m
ade
upoi
pla
ns a
nd c
hanc
e, c
ause
s an
d ac
cide
nt, t
ensi
on,
risk
, st
rugg
le,
love
and
vio
lenc
e.
"Bef
ore,
I u
sed
to d
o so
me
pain
ting
s wit
hout
any
prev
ious
ide
a or
im
age
at a
ll. E
very
thin
g w
asde
cide
d in
the
pro
cess
—a
kind
of
auto
mat
ism
. N
otno
w.
Tod
ay I
hav
e an
'exc
ess'
of i
dea
imag
es t
hat
Iw
ant
to d
evel
op o
r si
mpl
y do
var
iati
ons
from
, an
dfr
om t
hem
oth
er i
deas
spr
out.
" W
e ca
n se
e fr
om t
hepa
inti
ngs
in t
his
exhi
biti
on th
at t
he "
idea
im
ages
"th
at r
ecur
are
the
vej
igan
te,
the
guit
ar,
the
fish
, th
eba
ndag
ed f
ish,
the
dis
sect
ed f
ish
and
the
diss
ecte
dhu
man
bei
ng.
Esc
obar
ref
uses
, ho
wev
er,
to b
epi
nned
dow
n to
giv
ing
any
expl
anat
ion
as t
o th
esp
ecif
ic m
eani
ng o
f an
y of
the
se i
mag
es i
n th
eaw
aren
ess
that
wha
t he
doe
s an
d w
hat
he t
hink
s he
does
are
not
nec
essa
rily
the
sam
e. T
he i
mag
es h
ere
are
not
sym
bols
wit
h a
refe
rent
; th
ey a
re f
orm
s he
allo
ws
to b
e ch
osen
. H
e lik
es t
hem
. T
he v
iew
er's
inte
rpre
tati
ons
com
e fr
om t
he d
ialo
gue
betw
een
the
view
er a
nd t
he p
aint
ing.
If
the
imag
es a
nd t
hem
esof
an
indi
vidu
al v
isio
n ar
e dr
awn
from
our
ear
liest
year
s, t
hose
im
pres
sion
able
tim
es w
hen
our
sens
esan
d ou
r im
agin
atio
n ar
e no
t tr
appe
d by
the
use
s of
form
al l
ogic
and
pra
ctic
al n
eed,
the
n th
ese
imag
esca
n be
see
n to
hav
e fl
oate
d up
to
the
surf
ace
ofE
scob
ar's
con
scio
us l
ife f
rom
his
chi
ldho
od i
nPo
nce,
Pue
rto
Ric
o. T
he c
onst
ant
crea
tion
ofva
riat
ions
of
thes
e im
ages
may
be
seen
as
an a
ct o
ffr
eein
g hi
mse
lf f
rom
a d
oubl
e in
carc
erat
ion
—no
ton
ly i
s he
im
pris
oned
by
the
U.S
. go
vern
men
t, bu
the
is
in e
xile
fro
m h
is o
wn
impr
ison
ed c
ount
ry.
Whe
n sp
eaki
ng o
f th
e ve
jigan
te i
mag
e, h
e sa
ys h
eus
es i
t be
caus
e "I
wan
t to
bre
ak s
omet
hing
tha
t is
min
e in
to p
iece
s, l
ike
an a
utop
sy.
I w
ant
to d
estr
oy
(con
tinue
d on
p. 2
2)
17
Fez
§1 (
Imag
en
Vis
iona
ria)
(F
ish
§1:
Vis
iona
ry I
mag
e),
1984
19
30
Los
Ciu
dada
nos
del
Pai
s Fa
nti
•itom
(ly)
Cou
ntry
#3)
, 19
8533
Lo
s C
iuda
dano
s de
l P
ais
Fan
tasm
a #6
(C
itize
ns
of a
Pha
ntom
(ly)
C
ount
ry #
6),
1985
"Sci
ence
see
ms
to b
e for
m
any
the
supr
eme
god,
th
e ne
w A
bsol
ute.
And
ar
t, po
etry
, et
c.,
have
bec
ome
mor
e an
d m
ore ju
st a
n in
stru
men
t at
the
serv
ice
of i
deol
ogie
s,
bure
aucr
acie
s, p
olit
ics,
or
stup
idit
y.
Is t
hat
wha
tw
e w
ant?
Is
that
the
rol
e of
art
? Sh
ould
art
ists
be
only
m
outh
piec
es?
Shou
ld w
e th
row
out
all
the
poe
ts f
rom
th
e R
epub
lic
(Pla
to,
Stal
in,
Hit
ler)
un
less
the
y be
com
e ob
edie
nt t
o id
eolo
gy o
r to
the
Sta
te?"
29
Los
Ciu
dada
nos
del
Pai
s F
anta
sma
#2 (
Citi
zens
of
a P
hant
om(l
y)
Cou
ntry
#2)
, 19
85
20
"Fro
m a
bir
d's
eye
view
, w
e ca
n ob
serv
e a
new
cha
os i
n th
e ar
tw
orld
; a
grea
t co
nfus
ion
in t
he a
rtis
tic v
alue
s an
d a
sick
enin
g pi
ctur
e of
the
art
mar
ket.
Art
ists
, de
aler
s, g
alle
ry o
wne
rs,
mus
eum
s,
auct
ion
hous
es,
colle
ctor
s, e
tc.
are
all
danc
ing
to t
he t
une
of b
ig c
apita
l, w
here
art
beco
mes
a p
iece
of
prop
erty
to
be
enjo
yed
not
only
for
its e
sthe
tic o
rem
otio
nal
valu
e, b
ut fo
r its
bor
row
ing
pow
er.'
The
artis
t be
com
es a
serv
ile fa
ctor
y th
at p
rodu
ces
imag
es,
no l
onge
r for
th
e ol
d ill
usio
n of
art
-fo
r-ar
t's-s
ake,
bu
t in
the
spi
rit
ofar
t-fo
r-m
oney
's-s
ake.
.."T
he a
vant
-gar
de i
s de
ad.
The
mar
ket
mad
e it
harm
less
and
usel
ess.
And
w
e, w
ho m
ay s
till
hav
e so
met
hing
of
the
avan
t-ga
rdis
t in
us,
wou
ld l
ike
to m
ake
of o
ur w
orks
som
ethi
ng u
sele
ss to
tha
t sa
me
mar
ket.
We
wou
ld l
ike
that
our
wor
k w
ould
hav
e so
met
hing
whi
ch t
hey
coul
dn't
use.
May
be
that
som
ethi
ng w
ould
be
US,
be
caus
e w
e kn
ow t
hat
the
old
fox
has
been
abl
e to
con
vert
eve
ryth
ing
into
a c
omm
odity
.B
ecau
se,
perh
aps,
th
ere
is s
till
a g
reat
wor
k of
art
to
real
ize:
the
dest
ruct
ion
of t
hat
mar
ket.
"So,
eith
er w
e co
oper
ate
wit
h th
e sy
stem
, or
we
stru
ggle
aga
inst
it.
Eit
her
we
beco
me
wha
t w
e sa
y w
e ar
e, o
r si
mpl
y ac
cept
the
rol
e of
mer
cena
ry p
eddl
ers
and
usef
ul
fool
s."I
t's t
rue,
our
pre
tens
ions
may
see
m fa
ntas
tic
and
unre
al,
but
our
cent
ury
has
prov
ed t
hat
real
ity i
s m
uch
mor
e fan
tast
ic t
han
our
imag
inat
ion.
Th
at
the
imag
inat
ion
is a
lso
a po
liti
cal
wea
pon.
A
nd
that
the
stru
ggle
is
also
bet
wee
n on
e fic
tion
and
ano
ther
fict
ion.
Le
t's t
hen
beda
ring
, as
our
son
gs a
re d
arin
g, a
s ou
r po
ems,
as
our
im
ages
. Le
t's w
alk
too
besi
de t
he g
rave
digg
ers
for
the
wel
lbem
g of
art
and
hu
man
ity."
/T2-
KT
-
Los
Sep
ultu
rero
s (T
he
Gra
vedi
gger
s),
198;
")
21
Hu
sban
d(c
ontin
ued
from
p. 1
9)
som
ethi
ng t
hat
belo
ngs
to m
e."
The
veji
gant
e is
one
of t
he t
radi
tion
al m
aske
d ch
arac
ters
fro
m t
hePu
erto
Ric
an f
iest
a of
San
tiag
o A
post
ol —
horn
edan
d gr
otes
que.
But
Esc
obar
doe
s no
t be
lieve
it
is h
issi
mpl
y be
caus
e he
is
a Pu
erto
Ric
an,
but
also
beca
use
as a
chi
ld h
e m
ade
vejig
ante
mas
ks f
rom
papi
er m
ache
usi
ng h
is o
wn
face
as
a m
old.
The
band
aged
fac
e, t
he d
isse
ctio
n, th
e ve
jigan
te m
ask —
the
mas
k w
hich
als
o un
mas
ks.
In t
his
sens
e th
eve
jigan
te ca
n be
see
n as
a m
etap
hor
for
an a
rt w
hich
has
as i
ts p
urpo
se t
he u
nvei
ling
of
the
proh
ibit
ed,
the
was
hing
ash
ore
of a
mys
teri
ous
relic
.
The
seri
es o
f sm
all
pain
ting
s, C
iuda
dano
s de
lP
ah F
anla
sma
(Cit
i/en
s fr
om a
Pha
ntom
(ly)
Cou
ntry
), d
oes
not
appe
ar t
o be
flo
atin
g in
the
sam
e un
derw
ater
spa
ce a
s th
e la
rger
pie
ces.
The
yin
habi
t an
othe
r w
orld
tha
t se
ems
also
sub
terr
anea
nbu
t bo
und
to t
he e
arth
, ca
velik
e. S
ome
of t
hem
appe
ar t
o be
sna
psho
ts o
f Fi
esta
cha
ract
ers
in f
ront
of a
bac
kdro
p. T
he s
tars
are
out
, fi
sh s
wim
by
and
larg
e sh
adow
s ov
erlo
ok t
hem
as
they
pos
e on
a s
tage
wit
h th
eir
fles
h-lik
e, b
ent,
fat-
fing
ered
gui
tars
hang
ing
from
the
ir a
rms.
The
y ar
e pa
rt o
f an
ongo
ing
seri
es o
f sm
all
grou
p co
mpo
siti
ons
that
Esc
obar
has
bee
n do
ing
sinc
e he
was
a c
hild
. "In
them
, I
recr
eate
a p
erso
nal/
priv
ate
wor
ld i
n w
hich
I
can
satis
fy m
ore
the
nece
ssiti
es a
nd u
rges
of
my
imag
inat
ion
than
I c
an i
n th
e la
rger
pai
ntin
gs."
The
y ha
ve c
onsi
sten
tly
rem
aine
d in
the
ir s
ame
wor
ld,
but
from
tim
e to
tim
e th
e ch
arac
ters
cha
nge
in a
ppea
ranc
e.
One
of
thes
e, N
o. 6
in
the
curr
ent
seri
es (
p. 2
0),
has
haun
ted
me
sinc
e I
first
saw
it.
The
thr
ee c
hara
cter
s do
not
see
m t
o liv
e in
the
sam
e he
rmet
ic s
pace
as
the
othe
rs.
The
y ar
e lik
eda
ncin
g sh
adow
s ca
st i
n a
land
scap
e co
min
g as
hore
on a
moo
nlit
nigh
t an
d ha
ve t
he q
uali
ty o
f a
perf
ect
acci
dent
. E
scob
ar h
as a
lso
said
of
the
"Citi
zens
": "
Inpa
rtic
ular
, th
ey h
ave
som
ethi
ng o
f th
e ab
surd
ity
ofou
r co
loni
al s
itua
tion
; in
gene
ral,
som
ethi
ng o
f th
ehu
man
com
edy/
trag
edy.
I a
m a
frai
d th
at e
ven
11
Ale
gori
a de
l A
bsur
do (
Alle
gory
of
the
Abs
urd)
, 19
84
22
"...i
n pr
ison
, I
have
foun
d ti
me,
in
a w
ay.
Mos
t pr
ison
ers
look
at
tim
e as
the
ir e
nem
y.
They
wan
t an
d th
ey d
o ki
ll t
ime.
In
my
case
, it'
s th
ere
vers
e: I
nev
er h
ave
enou
gh t
ime.
T
his
may
soun
d lik
e a
dram
atic
sta
tem
ent
to s
cand
aliz
eot
hers
. B
ut
tim
e ha
s no
mer
cy fo
r th
ose
who
nee
dT
ime
nor
for
thos
e w
ho w
ill
pref
er
to '
kill
it'
inor
der
to e
scap
e fro
m
it."
thro
ugh
dist
ortio
ns,
satir
e an
d iro
ny,
I st
ill e
xpre
sssy
mpa
thy
for
them
." T
heir
im
med
iate
app
eal
nodo
ubt
lies
in h
is a
ffec
tion
for
them
. T
he
"Citi
zens
"ar
e al
so i
nflu
ence
d by
the
wor
k of
ano
ther
Pu
erto
Ric
an p
aint
er,
Car
los
Raq
uel
Riv
era,
an
arti
st f
rom
the
mos
t in
flue
ntia
l ge
nera
tion
of
Puer
to R
ican
pain
ters
who
em
erge
d in
the
195
0's.
Riv
era'
spa
inti
ngs
are
smal
l an
d co
mbi
ne s
urre
alis
t el
emen
tsw
ith
"a v
ery
arbi
trar
y so
cial
-rea
lism
and
mag
ic-
real
ism
tha
t pr
oduc
e so
me
very
'abs
urd'
wor
lds.
"E
scob
ar r
ecal
ls t
hat
he f
irst
saw
a R
iver
a pa
inti
ngat
the
hom
e of
Juan
Ant
onio
Cor
retje
r, th
e la
tePu
erto
Ric
an I
ndep
ende
ntis
ta a
nd p
oet,
and
that
this
wor
k, w
hich
he
retu
rned
to
view
man
y ti
mes
,
incr
ease
d hi
s in
tere
st i
n pa
inti
ng.
To
be a
n ar
tist
fro
m P
uert
o R
ico
is t
o in
heri
tth
e ex
clus
ion
from
the
off
icia
l hi
stor
y of
art
of
all
colo
nize
d pe
ople
, al
ong
wit
h m
ost
wom
en,
who
are
also
nev
er p
art
of th
e do
min
ant
ideo
logy
. The
irw
ork
beco
mes
sti
gmat
ized
as
"fol
klor
ic,"
"pr
imiti
ve,"
or s
peci
al i
n so
me
way
, rat
her
than
the
em
bodi
men
tof
ano
ther
asp
ect
of t
he h
uman
spe
ctru
m.
But
to
beex
clud
ed f
rom
the
mai
nstr
eam
can
als
o be
vie
wed
as f
reed
om f
rom
the
con
stra
ints
of
a ru
ling
ide
olog
yon
the
dec
line.
And
to
be e
xclu
ded
from
"of
ficia
l"hi
stor
y is
, aft
er a
ll, n
ot t
he s
ame
as b
eing
exc
lude
dfr
om l
ivin
g hi
stor
y, th
e ar
ena
chos
en f
or o
urst
rugg
le t
o re
ach
a hi
gher
lev
el o
f so
cial
deve
lopm
ent
and
hum
an d
isco
urse
. A
rt c
anno
t be
eate
n or
use
d to
clo
the.
It
cann
ot b
uild
sch
ools
or
tear
dow
n pa
lace
s. I
t ca
nnot
era
dica
te d
isea
se o
red
ucat
e. I
n th
is p
ract
ical
sen
se,
Esc
obar
's ar
t, lik
eal
l ar
t, is
ind
eed
usel
ess.
But
for
tho
se o
f us
who
know
tha
t th
e dr
eam
is
dang
erou
s an
d cr
eatio
n is
alw
ays
subv
ersi
ve, t
hese
pai
ntin
gs s
how
tha
t an
unco
mpr
omis
ing
sear
ch f
or a
tru
th t
hat
spri
ngs
from
the
con
trad
icti
ons
of th
e m
ater
ial
wor
ld,
from
"dre
am,
expe
rien
ce, m
yste
ry, t
he c
omm
on a
nd t
hepr
ohib
ited"
, is
a v
icto
ry o
ver
the
ideo
logi
cal
polic
eman
we
harb
or w
ithin
us,
nou
rish
ed b
y an
oppr
essi
ve s
tate
app
arat
us.
It i
s in
thi
s se
nse
that
Esc
obar
's ar
t co
nsti
tute
s a
pow
erfu
l ac
t of
libe
rati
on.D
"...a
n ar
tist
may
bec
ome
a cr
itic
orth
eore
ticia
n,
but
to b
ecom
e a
prop
agan
dist
an
did
eolo
gue
is t
o ba
rk u
p th
e w
rong
tre
e, t
o be
com
e a
bird
wit
hout
win
gs,
wit
hout
im
agin
atio
n."
^-—
.
10
Esp
emnd
o a
God
ot §
2 (
Wai
tingf
or
God
ot #
2),
1984
23
12
Ent
revi
sta
a M
i M
ism
o (e
n in
vier
no)
(Int
ervi
ew w
ith
Mys
elJ-
in
win
ter)
, 198
4
24
"Dog
mat
ic s
tyle
is
the
inge
nuou
s or
per
vers
e de
sire
to
mak
e on
e st
yle
into
'th
e st
yle.
' O
r, i
n m
ore
gene
ral
term
s, i
t is
clu
tchi
ng t
he c
onse
rvat
ive
aspe
ct o
f for
m;
form
re
fuse
d to
giv
e in
to
new
con
tent
, to
new
th
emat
ic.
It w
ould
no
t be
irr
elev
ant
to a
dd t
hat f
orm
by
its
nat
ure
tend
s to
cons
erve
, an
d co
nten
t or
the
mat
ic t
ends
to
free
the
form
. (F
rom
thi
spe
rspe
ctiv
e w
e ca
n un
ders
tand
the
phe
nom
enon
of
the
offic
ialit
y of
a s
tyle
in m
any
of t
he s
ocia
list
coun
trie
s, a
ddin
g th
e na
me
'soci
alis
t' to
'aca
dem
ic-r
ealis
t st
yle'
to
pack
age
the
new
the
mat
ic i
n th
e ol
d fo
rm
and
conv
ert
it in
to '
revo
lutio
nary
art
.' H
owev
er,
the
prob
lem
is
not
that
the
best
of
'real
ist
styl
e' i
s ta
ken
to e
xpre
ss n
ew p
robl
ems,
etc
., bu
t ra
ther
that
one
styl
e is
dog
mat
ized
as
the
only
acc
epta
ble.
) Th
e 'd
ogm
atic
-ant
i-do
gma'
wan
ts t
o re
vers
e th
e ro
les,
to m
ake
diss
iden
ce i
nto
the
new
un
ique
met
hod.
It
is t
here
fore
ne
cess
ary
to g
uard
aga
inst
ant
i-do
gma
as a
fash
ion
or a
hid
den
dogm
a. O
ne
has
to
appr
oach
ea
ch
nove
lty
wit
h a
host
ile
calm
...
"The
refo
re,
to s
ay t
hat
colo
r is
det
erm
ined
exc
lusi
vely
by
geog
raph
y(w
hich
m
any
'Eur
ophi
les
and
Yank
eeph
iles
of M
oder
n A
rt' d
ecla
re,
who
look
at
the
art
and
the
artis
ts o
f th
e Th
ird
Wor
ld o
nly
as 'f
olkl
ore'
or
'pic
ture
sque
pri
mit
ivis
m')
, is
to
sim
plify
no
t on
ly h
isto
ry,
but
also
the
capa
city
an
d th
e ne
cess
ity o
f th
e in
divi
dual
to
use
his
lang
uage
(lik
eco
lor)
in
spite
of,
as p
art
of,
his
crea
tive
ende
avor
aga
inst
the
sla
very
of
exte
rnal
con
ditio
ns a
nd a
s a
fulfi
llmen
t of
his
wil
l to
tra
nsfo
rm
real
ity."
I.