The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Central and Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for Kinetic and Op Art. As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.

In this first comprehensive presentation of art from the 1990s in Argentina, "Recovering Beauty" places the Centro Cultural Rojas (CCR) at the core of this creative period. The CCR, or "El Rojas" as it was later known, opened in 1989 as a venue for emerging artists. The "El Rojas" artists epitomized a collective will to move beyond a grim recent past by creating introspective narratives that looked towards the ordinary as a source of inspiration. Artists such as Feliciano Centurion, Sebastian Gordin, Jorge Gumier Mier, Miguel Harte, Graciela Hasper, Benito Laren, Marcelo Pombo, Cristina Schiavi and Omar Schiliro espoused conceptions of beauty, color and fantasy, and the projection of psychology as artistic expression. "Recovering Beauty" is the first sustained examination of this fascinating moment in Argentine culture, which chimes with trends towards the fantastical and the decorative in American art of the late 1990s and 2000s.