The transformative years that established Diego Barboza as a pioneer of conceptual and participatory art
In 1968, Diego Barboza embarked on a journey that would fundamentally transform his artistic practice and establish him as a pioneer of conceptual art in Latin America. Leaving Venezuela for London, England, Barboza arrived at the epicenter of the international counterculture movement, where radical experiments in art, performance, and social engagement were reshaping the boundaries of creative practice.
London in the late 1960s and early 1970s was a crucible of artistic innovation. The city hosted a vibrant community of experimental artists exploring conceptual art, performance, happenings, and participatory practices. This was the era of Fluxus, performance art pioneers like Gustav Metzger, and alternative art spaces that challenged traditional gallery systems.
Barboza immersed himself in this milieu, absorbing influences while developing his unique approach to participatory art. Unlike many of his contemporaries who focused on institutional critique or linguistic conceptualism, Barboza developed a deeply humanistic practice centered on human interaction and collective creativity.
During his London years, Barboza articulated his revolutionary philosophy: "Arte como gente/gente como arte" (Art as people/people as art). This principle fundamentally reoriented the role of the artwork from object to process, from passive contemplation to active participation.
For Barboza, the artwork was not complete until activated by human participation. Audiences were not spectators but co-creators, transforming static materials into living, unpredictable performances. This philosophy anticipated later developments in relational aesthetics and social practice art by decades.
On March 7, 1970, Barboza presented his first major conceptual work: "30 Muchachas con redes" (30 Girls with Nets). This groundbreaking performance marked the beginning of his "Art of Action" period and introduced participatory art to his practice.
Performed on November 4, 1970, at Alexandra Park during the "Celebration of Life" event. Participants entered a large fabric centipede structure, creating a living, moving sculpture. The centipede—a many-legged creature requiring coordination—became a perfect metaphor for collective action and communal creativity.
Debuted at Oval House Gallery in July 1972, this participatory work featured a large poster of King Kong and Fay Wray, with audiences invited to cut out the figure. The warning stated that cutting could bring the ferocious gorilla back to life, creating a playful tension between fear and participation.
When Barboza returned to Venezuela in 1973, he brought with him revolutionary concepts that had never been seen in Venezuelan art. He became the first artist to introduce performance art and happenings to Venezuela, fundamentally expanding the possibilities of contemporary art practice in Latin America.
His London period works continued to influence his practice for the rest of his career. Even when he returned to painting in the 1980s, his work maintained the participatory spirit and conceptual rigor developed during these transformative years.
Barboza's London period established him as a crucial figure in the history of Latin American conceptual art. His participatory works predated many similar practices in Europe and North America, yet remained grounded in his Venezuelan identity and humanitarian values.
Today, these works are recognized as pioneering contributions to performance art, participatory practice, and relational aesthetics. They continue to inspire contemporary artists working in social practice and community-engaged art.
View works created during Barboza's transformative London years
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