What can the walls tell us? Two Books on the aesthetics of resistance and revolution in Latin America

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Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Notes

1. Moore, “Mexican Challenges Terrorists”

2. In her section on audiencing, Bogerts details Stuart Hall’s explanation of hegemony, but it becomes clear throughout the section that she shares Nestor Garcia Canclini’s pessimism that “It is delusive to expect ‘resistant’ art to fulfill the pedagogic expectations … [to] turn the spectators into rebels” (31–2).

3. Mallon, Peasant and Nation, 6.

4. The authors’ decision to use “Ground Zero” to describe Plaza Dignidad as the protest epicenter seemed odd due to past usage of the term as the center of destruction related to the US’s 1945 use of atomic bombs in Hiroshima and Nagasaki and the September 11, 2001, attacks in New York City. I read the landscape of broken windows, smashed sidewalks, and burnt buildings surrounding Plaza Dignidad as “destroying the old to build the new,” which is a popularly used phrase by both communists and anarchists.

5. The act of fare evasion had been a longstanding political action by students and is also performed by the working classes either individually or as a group (especially by soccer hinchas) due to financial necessity or rebellious action.