The MoLAA essays

The MoLAA essays During our last visit to the Museum of Latin American Art, we had the chance to explore a brief part of Central and South American Art. As we approached the gate that divided the street from the museum property, we saw a couple of flags indicating the entrance to the lot. When we entered the parking lot, we noticed that, even though the time was definitely not the best for going for a tour in a museum, there were a lot of cars. The building that constituted the museum was very modest and it could be easily confounded with the surrounding ones. When I entered the perimeter of the building, I had four choices: the first was to enter the restaurant, which was actually almost external to the museum; the second to get in the gift-shop, the third to go into the little working place for children, and last, but not least, to enter the actual museum straight ahead through a short and wide corridor. As one gets to the end of the corridor, the entrance is delimitated by a small table which is barely noticeable from the entrance. Behind the table there is a wide room with all the new acquisitions. This presentation itself anticipates the theme through the show of Diego Riveras political paintings. In fact, he has the ability to turn familiar images into Art. On our left, we could get into a room containing the works of George Marà ¬n, a Mexican artist from Urapan. On the right we could enter the actual exhibition. The first series of paintings was from Mexico. In the middle of the corridor, there is a map of Central and South American countries on one side, while on the other, a large doorway gave an overview to the core of the museum. The rest of the museum was arranged very casually, in such a way, though, in which one could understand easily the differences of the different countries. In the special exhibition, the images were very disturbing and unique with a very sad tone. There was definitely a reference to the Carnival, where ...