Abstract
Drawing on archival correspondence, this paper analyzes the relationship between Luis González Robles, Franco’s curator responsible for international displays of Spanish art, and Arturo Profili, the general secretary of the first five editions of the São Paulo Biennial until the late 1950s. Exploring this micro-history of rapprochement, the paper shows how these figures influenced the turbulent scene of cultural negotiations during the first decades of the Cold War, and it lays bare the political bias underpinning the decision of the prizes of the São Paulo and Venice Biennials. This study explores the balance that was achieved through the triangulation of three territories—Latin America, Europe, and the US—reified at the biennials of São Paulo and Venice, and the Spanish art exhibitions held in the United States.
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