Proposing a differentiated art history, offering an autochthonous point of view, Malasartes's editors challenged the traditional view of the artwork as an isolated, commodified object, inserted in larger art movements through the stultifying imposition of stylistic categories on the artist. Revealing, in particular, the manner in which this generation of artists criticized the incipient art market in Brazil, then seen as synonymous with the larger art system. Revisiting theses debates permits a deeper understanding of Meireles's view of art and politics. These shaped the theoretical ideas that would inform the Brazilian art scene in the 1970s. This groundbreaking magazine, founded by Meireles and eight others in 1975, published texts crucial to Brazilian art history and translated international articles. I argue that the artist builds his notions of conceptual and political art based on socio-artistic theories propagated in the short-lived but highly influential publication, Malasartes. I use his rejection of these terms to reconsider conventional categories of the political in Latin American conceptualism as these have been historicized in the late 1990s and early 2000s. This article examines Cildo Meireles's refusal to describe Red Shift, his 1984 installation, as conceptual, political art.
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