Publications & Bibliography

Comprehensive book documenting Diego Barboza's groundbreaking performance art pieces in London during 1970-1971. Chronicles his "Poetic Actions" including "30 muchachas con redes" (March 7, 1970), "Con redes y sombreros en mercados y restaurantes" (October-December 1970), "El ciempiés" (May 20, 1971), and "Expresiones en una lavandería automática" (May 20, 1972). Features extensive photographic documentation by José Calabrese and Diego Barboza, first-hand participant testimonials, biography, chronology of 1960s-1970s events, and detailed accounts of each performance's execution and public reception in London's streets, markets, and public spaces.

A scholarly examination of Diego Barboza's participatory art as educational action, exploring his groundbreaking 1968 trip to London and the development of his participatory "Expresiones" (Expressions). Analyzes iconic works including "30 muchachas con redes" and "Put a net and come along," examining Barboza's revolutionary philosophy of "Arte como gente/gente como arte" (Art as people/people as art).

From "El erotismo en el Arte Contemporaneo Venezolano." Analyzes how Barboza's work interprets carnal love in its ultimate form: brutal, without concessions, snatched and snatching. Explores how Barboza transforms the kiss into a bite, caresses into grips, and bodies into receptacles of savage caresses that border on sadism.

From "Doce Indagaciones en el Arte." A deeply personal essay recounting Sjöstrand's experience studying with Diego Barboza at Liceo "Pedro Emilio Coll." Reveals Barboza's unconventional teaching methods and philosophy that domestic objects were an inexhaustible source of inspiration.

Comprehensive retrospective examining Diego Barboza's artistic evolution from his groundbreaking conceptual art period in London (1968-1973) to his return to painting in the 1980s. Traces his revolutionary work introducing performance art and happenings to Venezuelan art, documenting iconic pieces and his participatory methodology.

English-language critical essay examining Diego Barboza's contributions to Latin American neo-figurative painting. Argues that "Diego Barboza opened a new chapter in Latin American Neo Figurative painting. Beyond the surreal or the magical realism of the modern Latin American Master, he obsessively looked to create a new language of dislocation and transgression."

Diego Barboza is featured in numerous surveys of Venezuelan contemporary art, recognizing his role as a pioneer of conceptual art and his contributions to both performance art and neo-figurative painting in Venezuela.

Barboza's work is increasingly included in international publications documenting the history of conceptual art in Latin America, particularly focusing on his London period (1968-1973) and his role in introducing participatory art practices to Venezuela.

Barboza's "Art Mail / Buzón" project is documented in histories of the international mail art movement, recognized as one of Latin America's earliest and most extensive mail art networks spanning five continents.

Museum de la Tertulia de Cali, Colombia. Exhibition catalog featuring four of Barboza's mail art drawings, documenting his contribution to the international mail art movement.

Museum of Modern Art, Bogotá, Colombia and Museum de Arte Contemporânea da Universidade de São Paulo, Brazil. Group exhibition catalog featuring Barboza's mail art and drawing works.

Museum of Contemporary Art of Zulia (MACZUL), 1991. Exhibition catalog documenting the 8-day boat expedition along Lake Maracaibo's coast and resulting artworks, including Barboza's "El Lago soy yo."

Academic articles documenting Barboza's role as the introducer of performance art and happenings to Venezuela, analyzing his London period works and their impact on Venezuelan contemporary art practice.

Contemporary art journals examining Barboza's philosophy of "Art as people/people as art" and its relevance to modern social practice art and relational aesthetics.

For proper citation of Diego Barboza's artworks and biographical information, please refer to the catalog numbers (BARB.XXXX) provided in our gallery and contact the Diego Barboza Estate for verification and additional documentation.

Scholars, publishers, and educators seeking to reproduce Diego Barboza's artworks or quote extensively from estate-held materials should contact the estate for permissions and licensing information.

Researchers interested in accessing archival materials, correspondence, sketches, and documentation related to Diego Barboza's work should visit our Research & Archives page for information about access procedures.