Discussion| December 18 2020 On Misencounters and Possibilities: Reflections on the Mexican Reception of George Kubler’s Theoretical Writings Karen Cordero Reiman Karen Cordero Reiman Karen Cordero Reiman is an art historian, curator, and writer based in Mexico City. She has published on twentieth- and twenty-first-century Mexican art; the relationship between “fine” and “popular” arts in Mexico; Mexican art historiography; body, gender, and sexual identity in Mexican art; and Mexican museological and curatorial discourses. Search for other works by this author on: This Site PubMed Google Scholar Latin American and Latinx Visual Culture (2020) 2 (4): 67–71. https://doi.org/10.1525/lavc.2020.2.4.67 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Karen Cordero Reiman; On Misencounters and Possibilities: Reflections on the Mexican Reception of George Kubler’s Theoretical Writings. Latin American and Latinx Visual Culture 18 December 2020; 2 (4): 67–71. doi: https://doi.org/10.1525/lavc.2020.2.4.67 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentLatin American and Latinx Visual Culture Search The work of George Kubler (1912–96) is of key importance for the historiography of Mexican art because, in a discipline that almost always refers to the European context for its methodological roots, he advanced theoretical positions founded in large part on his experience studying the pre-Columbian and viceregal art of Mesoamerica. His questions and conceptual observations are based on that research experience, and the ways in which he elaborated their implications led him to continually interrogate the limits of the art historical discipline and its modes of narration. His theoretical and methodological contributions allowed the aesthetic and art historical recognition of works outside the Western canon, and offered insight into how to describe the changing significance of forms and techniques in different political, cultural, and historical contexts. I had the opportunity to study with Kubler during my first year in graduate school at Yale University in 1980. In the course... You do not currently have access to this content.