Abstract
This article analyzes the notion of “popular art” as it emerges from the critical work of Josefina Pla, Ticio Escobar, and Osvaldo Salerno through a reading of nineteenth-century Paraguayan illustrated newspapers Cabichui and El centinela during the Paraguayan War. This work investigates the tensions surrounding “popular art expressions” in order to read art history practices and discourses as spaces for political opposition in modern Paraguay. Following Escobar’s work, it argues that a history of popular art is one of an “interrupted vision of history” that organizes a new reading and understanding of the relations between art and politics in the country.
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