Iliana Cepero, Ph.D. (2013, Stanford University) is Assistant Professor of Art History and Visual Studies at The New School, New York. She has published essays on Cuban and Argentinian art and photography, including “Martín Fierro, Argentine Nationalism and the Return to Order” (MODERNISM/modernity, January 2019), and “Luc Chessex, Robert Frank, and the Representation of Labour in the Magazine Cuba/Cuba Internacional, 1968 and 1971,” (Art History, November 2018).

• AcknowledgementsList of FiguresIntroduction1 Awkward Pastiches or Intentional Citations?2 Resignification, Hybridization, and Anthropophagy3 Inverted Exoticism4 Internal Colonialism5 Summary of the Chapters1 Progress, Immigration, Nationality. Cultural Debates in Argentina from 1837 to 19391 The Generation of ’37: We Are Children of France2 The Myth of a White Argentina3 The Generation of 1880: Order and Progress4 The Positivist Sociologists: Nationality Is Patriotism and Hard Work5 The Centennial Generation: We Are Essentially Spaniards6 The Payador, Melodrama, Popular Culture, and Mass Media7 Martinfierristas and Boedistas in the 1920s: Redefining Cultural Nationalism8 The Generation of the 1930s: Hispanism and National-Catholicism9 Cosmopolitanism and New Hispanism in Sur10 Affordable Literature for the Working Class11 Perón’s Hispanism2 Abstraction Arrives in Buenos Aires1 Arturo and the Beginning of a New Era2 Legibility of Argentinian and Latin American Art in Today’s Art Circuits3 An Alternative Model of Interpretation4 International Constructivism in the 1930s and the Parisian Art Scene3 Intentional Citations. Abstract-Concretists and Peronism1 The Cutout Frame2 The Stained-Glass Grid3 The Coplanar4 The Return to Painting-as-Object5 Choosing Between Cold and Hot Abstraction6 Old Debates Resurface7 Perón Institutionalizes Culture and Promotes High and Popular Culture8 A Turning Point in the Perón and Abstract-Concretists Relationship4 Indoctrinating the Masses1 The Undersecretariat for Information and Press2 Justicialismo: a Third Way3 Folklore4 The Gaucho and Tellurism5 The First Five-Year Plan6 The Second Five-Year Plan7 Religious and Moral Values8 Transforming the Common Individual into a Bourgeois9 Rewriting National History10 A Straightforward Style for a Political Religion5 Photographing the Ruling Couple1 The Tango Star and the Descamisado: Quintessentially Argentinian2 The Regal Perón3 The Politician, the Actress, and the Queen4 The Humanitarian and the Spectacle of Welfare5 The Spiritual Leader of the Nation6 Clarity and Emotion in Photographs7 The Sword and the CrossConclusionBibliographyIndex

Iliana Cepero, Ph.D. (2013, Stanford University) is Assistant Professor of Art History and Visual Studies at The New School, New York. She has published essays on Cuban and Argentinian art and photography, including “Martín Fierro, Argentine Nationalism and the Return to Order” (MODERNISM/modernity, January 2019), and “Luc Chessex, Robert Frank, and the Representation of Labour in the Magazine Cuba/Cuba Internacional, 1968 and 1971,” (Art History, November 2018).

• AcknowledgementsList of FiguresIntroduction1 Awkward Pastiches or Intentional Citations?2 Resignification, Hybridization, and Anthropophagy3 Inverted Exoticism4 Internal Colonialism5 Summary of the Chapters1 Progress, Immigration, Nationality. Cultural Debates in Argentina from 1837 to 19391 The Generation of ’37: We Are Children of France2 The Myth of a White Argentina3 The Generation of 1880: Order and Progress4 The Positivist Sociologists: Nationality Is Patriotism and Hard Work5 The Centennial Generation: We Are Essentially Spaniards6 The Payador, Melodrama, Popular Culture, and Mass Media7 Martinfierristas and Boedistas in the 1920s: Redefining Cultural Nationalism8 The Generation of the 1930s: Hispanism and National-Catholicism9 Cosmopolitanism and New Hispanism in Sur10 Affordable Literature for the Working Class11 Perón’s Hispanism2 Abstraction Arrives in Buenos Aires1 Arturo and the Beginning of a New Era2 Legibility of Argentinian and Latin American Art in Today’s Art Circuits3 An Alternative Model of Interpretation4 International Constructivism in the 1930s and the Parisian Art Scene3 Intentional Citations. Abstract-Concretists and Peronism1 The Cutout Frame2 The Stained-Glass Grid3 The Coplanar4 The Return to Painting-as-Object5 Choosing Between Cold and Hot Abstraction6 Old Debates Resurface7 Perón Institutionalizes Culture and Promotes High and Popular Culture8 A Turning Point in the Perón and Abstract-Concretists Relationship4 Indoctrinating the Masses1 The Undersecretariat for Information and Press2 Justicialismo: a Third Way3 Folklore4 The Gaucho and Tellurism5 The First Five-Year Plan6 The Second Five-Year Plan7 Religious and Moral Values8 Transforming the Common Individual into a Bourgeois9 Rewriting National History10 A Straightforward Style for a Political Religion5 Photographing the Ruling Couple1 The Tango Star and the Descamisado: Quintessentially Argentinian2 The Regal Perón3 The Politician, the Actress, and the Queen4 The Humanitarian and the Spectacle of Welfare5 The Spiritual Leader of the Nation6 Clarity and Emotion in Photographs7 The Sword and the CrossConclusionBibliographyIndex

Iliana Cepero, Ph.D. (2013, Stanford University) is Assistant Professor of Art History and Visual Studies at The New School, New York. She has published essays on Cuban and Argentinian art and photography, including “Martín Fierro, Argentine Nationalism and the Return to Order” (MODERNISM/modernity, January 2019), and “Luc Chessex, Robert Frank, and the Representation of Labour in the Magazine Cuba/Cuba Internacional, 1968 and 1971,” (Art History, November 2018).

• AcknowledgementsList of FiguresIntroduction1 Awkward Pastiches or Intentional Citations?2 Resignification, Hybridization, and Anthropophagy3 Inverted Exoticism4 Internal Colonialism5 Summary of the Chapters1 Progress, Immigration, Nationality. Cultural Debates in Argentina from 1837 to 19391 The Generation of ’37: We Are Children of France2 The Myth of a White Argentina3 The Generation of 1880: Order and Progress4 The Positivist Sociologists: Nationality Is Patriotism and Hard Work5 The Centennial Generation: We Are Essentially Spaniards6 The Payador, Melodrama, Popular Culture, and Mass Media7 Martinfierristas and Boedistas in the 1920s: Redefining Cultural Nationalism8 The Generation of the 1930s: Hispanism and National-Catholicism9 Cosmopolitanism and New Hispanism in Sur10 Affordable Literature for the Working Class11 Perón’s Hispanism2 Abstraction Arrives in Buenos Aires1 Arturo and the Beginning of a New Era2 Legibility of Argentinian and Latin American Art in Today’s Art Circuits3 An Alternative Model of Interpretation4 International Constructivism in the 1930s and the Parisian Art Scene3 Intentional Citations. Abstract-Concretists and Peronism1 The Cutout Frame2 The Stained-Glass Grid3 The Coplanar4 The Return to Painting-as-Object5 Choosing Between Cold and Hot Abstraction6 Old Debates Resurface7 Perón Institutionalizes Culture and Promotes High and Popular Culture8 A Turning Point in the Perón and Abstract-Concretists Relationship4 Indoctrinating the Masses1 The Undersecretariat for Information and Press2 Justicialismo: a Third Way3 Folklore4 The Gaucho and Tellurism5 The First Five-Year Plan6 The Second Five-Year Plan7 Religious and Moral Values8 Transforming the Common Individual into a Bourgeois9 Rewriting National History10 A Straightforward Style for a Political Religion5 Photographing the Ruling Couple1 The Tango Star and the Descamisado: Quintessentially Argentinian2 The Regal Perón3 The Politician, the Actress, and the Queen4 The Humanitarian and the Spectacle of Welfare5 The Spiritual Leader of the Nation6 Clarity and Emotion in Photographs7 The Sword and the CrossConclusionBibliographyIndex