James E. Austin; Ezequiel Reficco; Gabriel Berger; Rosa Maria Fischer; Roberto Gutierrez; Mladen Koljatic; Gerardo Lozano Harvard University, The David Rockefeller Center for Latin American Studies (2004) Pehmeäkantinen kirja
Jorge I. Dominguez; Omar Everleny Perez Villanueva; Lorena Barberia Harvard University, The David Rockefeller Center for Latin American Studies (2005) Pehmeäkantinen kirja
David Maybury-Lewis; Theodore Macdonald; Biorn Maybury-Lewis Harvard University, The David Rockefeller Center for Latin American Studies (2009) Pehmeäkantinen kirja
Patricia Márquez; Ezequiel Reficco; Gabriel Berger Harvard University, The David Rockefeller Center for Latin American Studies (2010) Pehmeäkantinen kirja
Ricardo D. Salvatore; John H. Coatsworth; Amílcar E. Challú Harvard University, The David Rockefeller Center for Latin American Studies (2011) Pehmeäkantinen kirja
Jorge I. Domínguez; Omar Everleny Pérez Villanueva; Mayra Espina Prieto; Lorena Barberia Harvard University, The David Rockefeller Center for Latin American Studies (2012) Pehmeäkantinen kirja
James E. Austin; Roberto Gutierrez; Enrique Ogliastri; Ezequiel Reficco Harvard University, The David Rockefeller Center for Latin American Studies (2006) Pehmeäkantinen kirja
Antoni Estevadeordal; Dani Rodrik; Alan M. Taylor; Andres Velasco Harvard University, The David Rockefeller Center for Latin American Studies (2004) Pehmeäkantinen kirja
Otto T. Solbrig; Robert Paarlberg; Francesco Di Castri Harvard University, The David Rockefeller Center for Latin American Studies (2001) Pehmeäkantinen kirja
For more than a decade the Mexico City–based artist, architect, and cultural agent Pedro Reyes has been turning existing social problems into opportunities for effecting tangible change through collective imagination. By breaking open failed models and retooling them with space to project alternatives, Reyes’s art enables productive diversions of otherwise destructive forces. Ad Usum: To Be Used is the second volume in the series Focus on Latin American Art and Agency, which is dedicated to contemporary cultural agents, a term that is perhaps best understood through the words of Reyes himself: “changing our individual habits has no degree of effectiveness” as “progress is only significant if you start to multiply by 10, by 100, by 1,000.” Rather than merely illustrate his work, this collection of images, interviews, and critical essays is intended as an apparatus for multiplying the possibilities when art becomes a resource for the common good.
This full-color illustrated survey of Reyes’s projects includes critical essays by José Luis Falconi, Robin Greeley, Johan Hartle, Adam Kleinman, and Doris Sommer, as well as interviews between the artist and such seminal thinkers as Lauren Berlant, Michael Hardt, Alejandro Jodorowsky, and Antanas Mockus.
