Abstract
Roberto Jacoby is part of a generation of artists who, in a series of important exhibitions at the Instituto Torcuato Di Tella in Buenos Aires in the 1960s, began to combine structuralism and semiology with Marxism. His art projects have been predominantly collaborative, and their very status as “art” has been troubled by their pervasive ephemerality, context specificity, and topicality. To this day, Jacoby's art, research, and writings continue to confound the boundaries of the art institution.
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