Home - signaling a dwelling, residence or place of origin - embodies one of the most basic concepts for understanding an individual or group within a larger physical and social environment. Yet home has been a little noted, although prevalent, feature in art since the 1950s, a period in which artists challenged the traditional "object" of the visual arts through the use of material and media culture, new forms, and performative actions and processes. This volume explores works by diverse U.S. Latino and Latin American artists whose engagement with the concept of "home" provides the basis for an alternative narrative of post-war art. Their work brings together an impressive array of formal languages, conceptual strategies, and art historical references with the varied social concerns characterizing both the postwar period in the Americas and an emerging global economy impacting day-to-day life. The artists featured in this volume engage home as both concept and artifact. This can be seen in the use of building fragments or excisions (Gordon Matta-Clark, Gabriel de la Mora, and Leyla Cardenas), household furniture (Raphael Montanez Ortiz, Beatriz Gonzalez, Doris Salcedo, Amalia Mesa-Bains, Guillermo Kuitca), and personal possessions (Carmen Argote, Maria Teresa Hincapie, Camilo Ontiveros), and also in the use of coca leaves as a material base of the American Dream and its economic exchange with Colombia (Miguel Angel Rojas). Within more representational work, home is the re-creation of fraught domiciles (Abraham Cruzvillegas, Pepon Osorio, Daniel J. Martinez), a collage of spaces, styles, and materials (Antonio Berni, Andres Asturias, Jorge Pedro Nunez, Miguel Angel Rios, Juan Sanchez), and a juxtaposition of bodies and place (Laura Aguilar, Myrna Baez, Johanna Calle, Perla de Leon, Ramiro Gomez, Jessica Kaire, Vincent Valdez). In more conceptual work, home is all these things reduced to form-a floor plan (Luis Camnitzer, Leon Ferrari, Maria Elena Gonzalez, Guillermo Kuitca), a catalog of objects (Antonio Martorell, Hincapie), or a housing development plan (Livia Corona Benjamin, Martinez). In the end, home is a journey without arrival (Allora y Calzadilla, Luis Cruz Azaceta, Christina Fernandez, Felix Gonzalez-Torres, Julio Cesar Morales, Teresa Serrano). Home-So Different, So Appealing reveals the departures and confluences that continue to shape US Latino and Latin American art and expands our appreciation of these artists and their work.

This winter, Aperture magazine presents an issue that celebrates the dynamic visions of Latinx photography across the United States. Guest edited by Pilar Tompkins Rivas, chief curator at the Lucas Museum of Narrative Art in Los Angeles, “Latinx” spans a century of image making, connecting historical and contemporary photography, and covering the themes of political resistance, family and community, fashion and culture, and the complexity of identity in American life. In “Latinx,” Carribean Fragoza traces Laura Aguilar’s influence on queer artmaking. Joiri Minaya remixes postcards from the Dominican Republic to unveil the fantasy of tourism. Christina Catherine Martinez profiles Reynaldo Rivera, who chronicled 1990s-era Los Angeles nightlife. Yxta Maya Murry considers three Latina curators and writers influencing how photography canons are made today. “Collectively, their images cast a greater net for the multiple ways of seeing Latinx people,” Tompkins Rivas notes of the issue’s photographers, “creating a visual archive whose edges are yet to be defined.”