Zanna Gilbert is a senior research specialist at the Getty Research Institute.Pia Gottschaller is a senior lecturer at the Courtauld Institute of Art.Tom Learner is head of the Getty Conservation Institute's Science Department.Andrew Perchuk is deputy director of the Getty Research Institute.

• AcknowledgementsIntroduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories ofConcrete Art1. New perspectives on the emergence of Concrete art from Argentina and BrazilNiko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from ArgentinaMaria Amalia Garcia (Conicet)Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatenseHeloisa Espada (Instituto Moreira Salles)Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista2. Generative Processes in Concrete ArtIrene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954and 1959: From Concrete Enamel to Giotto's Tempera3. Concretizing ColorIdurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color inArgentine Concrete ArtMari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms inthe work of Alfredo Volpi and Helio OiticicaLuiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx4. Concrete Art on PaperIsabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or DeviceZanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi5. Analyzing Concrete Art: Technical OverviewsLuiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de MinasGerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960sPino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y lainnovacionFernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata6. The Reception of Concrete Art in Museums and AcademiaAleca Le Blanc (University of California, Riverside) A History of the Field7. ChronologiesFlorencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s

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Zanna Gilbert is a senior research specialist at the Getty Research Institute.Pia Gottschaller is a senior lecturer at the Courtauld Institute of Art.Tom Learner is head of the Getty Conservation Institute's Science Department.Andrew Perchuk is deputy director of the Getty Research Institute.

• AcknowledgementsIntroduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories ofConcrete Art1. New perspectives on the emergence of Concrete art from Argentina and BrazilNiko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from ArgentinaMaria Amalia Garcia (Conicet)Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatenseHeloisa Espada (Instituto Moreira Salles)Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista2. Generative Processes in Concrete ArtIrene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954and 1959: From Concrete Enamel to Giotto's Tempera3. Concretizing ColorIdurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color inArgentine Concrete ArtMari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms inthe work of Alfredo Volpi and Helio OiticicaLuiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx4. Concrete Art on PaperIsabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or DeviceZanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi5. Analyzing Concrete Art: Technical OverviewsLuiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de MinasGerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960sPino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y lainnovacionFernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata6. The Reception of Concrete Art in Museums and AcademiaAleca Le Blanc (University of California, Riverside) A History of the Field7. ChronologiesFlorencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s

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Zanna Gilbert is a senior research specialist at the Getty Research Institute.Pia Gottschaller is a senior lecturer at the Courtauld Institute of Art.Tom Learner is head of the Getty Conservation Institute's Science Department.Andrew Perchuk is deputy director of the Getty Research Institute.

• AcknowledgementsIntroduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories ofConcrete Art1. New perspectives on the emergence of Concrete art from Argentina and BrazilNiko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from ArgentinaMaria Amalia Garcia (Conicet)Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatenseHeloisa Espada (Instituto Moreira Salles)Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista2. Generative Processes in Concrete ArtIrene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954and 1959: From Concrete Enamel to Giotto's Tempera3. Concretizing ColorIdurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color inArgentine Concrete ArtMari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms inthe work of Alfredo Volpi and Helio OiticicaLuiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx4. Concrete Art on PaperIsabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or DeviceZanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi5. Analyzing Concrete Art: Technical OverviewsLuiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de MinasGerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960sPino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y lainnovacionFernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata6. The Reception of Concrete Art in Museums and AcademiaAleca Le Blanc (University of California, Riverside) A History of the Field7. ChronologiesFlorencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s

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