Artist, critic, educator, and theorist Luis Camnitzer was born Germany in 1937 grew-up in Uruguay and moved to New York in 1964 where he co-founded The New York Graphic Workshop, along with fellow artists, Argentine Liliana Porter and Venezuelan Guillermo Castillo. For six years until the end of the workshop in 1970, they examined the conceptual meaning behind printmaking, and sought to test and expand the definition of the medium.

During the late 1960s and early 1970s, Camnitzer developed a body of work that explored language as primary medium, shifting from printing text on paper or walls. As his interest in language unfolded, so did his aim to identify socio-political problems through his art. Camnitzer responded in great part to the growing wave of Latin American military regimes taking root in the late '60s, but his work also points to the dynamic political landscape of his adopted country, the United States.

Luis Camnitzer's strong interest in Simón Rodríguez is both educational and political. Whilst willingly referring to European artists such as Magritte or Mallarmé, Camnitzer insists on the importance of Simón Rodríguez as a tutelary figure in the historicisation of conceptualism in Latin America.

His work has been shown in noted exhibitions and institutions since the 1960s, including El Museo de la Memoria y los Derechos Humanos, Santiago, Chile (2013); Museo Blanes, Montevideo, Uruguay (1996); El Museo del Barrio, New York, NY (1995 ? 2011); Museo Carrillo Gil, Mexico City, Mexico (1993); Kunsthalle Kiel, Germany (2003); Dia Foundation, New York, NY (1988); Bienal de la Havana, Cuba; Whitney Biennial, and Documenta 11, Kassel. Camnitzer's work is in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, Whitney Museum of American Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; TATE, London, UK; and Museo de Arte Latinoamericano de Buenos Aires, Argentina (MALBA); Daros Latinamerica Collection, Zurich; among others.

A highly regarded critic and curator, Camnitzer is a frequent contributor to contemporary art magazines. He has authored the publications New Art of Cuba (University of Texas Press: 1994, 2003), Conceptualism in Latin American Art: Didactics of Liberation (University of Texas Press: 2007), and Didáctica de la liberación: Arte conceptualista latinoamericano (Fundación Gilberto Álzate Avedaío, IDARTES: 2012). He taught at the State University of New York, College at Old Westbury since 1969, and he continues to serve as professor emeritus.

Luis Camnitzer
Born in 1937 in Germany
Lives and works in Great Neck, NY, Etats Unis


EDUCATION
School of Fine Arts, Universidad de la República, Uruguay
Universidad de la República, Montevideo, Uruguay
Akademie der Bildenden Künste, Munich, Germany


SOLO SHOWS

2016 - 2017
Luis Camnitzer - Dibujos, Parra & Romero, Madrid

2015
Luis Camnitzer, with Dierk Schmidt, Galerie Ursula Walbröl, Dusseldorf
Luis Camnitzer, Alexander Gray Associates, New York

2014
Luis Camnitzer, Maïs, courge et carotte : jeu sur les rapports arbitraires du langage, curated by Florencia Chernajovski, Galerie Thomas Bernard ? Cortex Athletico, Paris ? exhibition views HERE

2013
El museo es una escuela, Nuevo Museo Energía de Arte Contemporáneo, Buenos Aires
Seven, Project Wall, Artspace, Kansas City Art Institute, Kansas City
Luis Camnitzer, El Museo de la Memoria y los Derechos Humanos, Santiago
Amanaplanacanalpanama, Galería Diablo Rosso, Panama
Luis Camnitzer, retrospective, curated by Hans-Michael Herzog and Katrin Steffen
Museo de Arte Moderno de Buenos Aires, Buenos Aires
Museo de Arte Contemporáneo, Santiago
Centro de Artes Visuales / Museo del Barro, Asunción

2012
Last Words, Marfa Book Company, Marfa
Luis Camnitzer, Alexander Gray Associates, New York
Luis Camnitzer, retrospective, curated by Hans-Michael Herzog and Katrin Steffen
Museo Nacional de Artes Visuales, Montevideo
Museo de Arte Moderno de Medellín, Medellín
Museo de Arte de la Universidad Nacional de Colombia, Bogotá
Art in Response, Museo de Art de Ponce, Ponce

2011
Luis Camnitzer, Aanant & Zoo, Berlin
Reflejos y Reflexiones, Parra & Romero, Madrid
The Assignment Book, curated by Christiane Paul and Trebor Scholz, Parsons The New School for Design, New York
Luis Camnitzer, retrospective, curated by Hans-Michael Herzog and Katrin Steffen, Museo de Arte de Zapopan, Jalisco
Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver
El Museo del Barrio, New York
...Luis Camnitzer, tranzitdisplay, curated by Silvina Arismendi with the collaboration of Galería Parásito, Prague
Memorial, Museo de la Memoria, Montevideo
Sitio de Memoria Campo de La Ribera, Cordoba
El Archivo Provincial de la Memoria, Cordoba
Espacio de Memoria, La Perla
Museum Wiesbaden, Wiesbaden
Parque de la Memoria, Buenos Aires
Luis Camnitzer: Forewords and Last Words, Kemper Art Museum, St. Louis

2010
Modelos para Armar, Pensar Latinoamérica desde la Colección MUSAC, Museo de Arte Contemporáneo, León
Objetos para un rato de inercia, Galería Elba Benitez, Madrid
Luis Camnitzer, Memorial, Alexander Gray Associates, New York
Luis Camnitzer, retrospective, curated by Hans-Michael Herzog and Katrin Steffen, Daros-Latinamerica, Zürich
Luis Camnitzer, Last Words, Galerie Ursula Walbröl, Düsseldorf

2009
Ideas para instalar, Centro de Formación de la Cooperación Española, Antigua

2008
Last Words, Alexander Gray Associates, Art Nova, Art Basel Miami Beach
Luis Camnitzer, Alexander Gray Associates, New York

2007
Luis Camnitzer. Muestra Antológica, Museo de Arte y Diseño Contemporáneo, San José
La Vitrina: Lugar a Dudas, Museo de Arte de Banco de la República, Cali

2006
Galería Metropolitana, Santiago

2005
Luis Camnitzer, Galería Ruth Benzacar, Buenos Aires

2004
Six Feet Under, Week Nine: Luis Camnitzer, White Box, New York
This is Public Art, Art in General, New York
Agent Orange, Galerie Ursula Walbröl, Düsseldorf

2003
Luis Camnitzer: Works from 1966 to 2003, Kunsthalle Kiel, Kiel

2002
Patentanmeldung, Zeppelin Museum, Friedrichshafen
Dialoge, Galerie Basta, with Alfredo Jaar, Hamburg

2001
The Office, Anthony Giordano Gallery, Islip Museum at Dowling College, Oakdale
The Kitchen, New York

2000
The Tire Shop, Raleigh
Blue Star Gallery, San Antonio
Arte y Ensenanza: La ética del poder, Casa de América, Madrid

1997
Patentanmeldung, Galerie Basta, Hamburg
Zeppelin Museum, Friedrichshafen

1996
Luis Camnitzer, Carla Stellweg Gallery, New York
Tratado del Paisaje, Museo Blanes, Montevideo

1995
Book of walls, Carla Stellweg Gallery, New York
AMANAPLANACANALAPANAMA, El Museo del Barrio, New York
Zanoobia, Galerie Basta, Hamburg

1994
Museo de Arte Moderno La Tertulia, Cali
Galería Tovar y Tovar, Bogotá

1993
City Gallery of Contemporary Art, Raleigh
El libro de los muros, Salón Municipal de Exposiciones, Montevideo
Los San Patricios, Museo Carrillo Gil, Mexico City

1992
ICI, Buenos Aires
Retrospective Exhibition 1966?1990, Cleveland State University Art Gallery, Cleveland

1991
Parque Lussich, with Mario Sagradini, Punta del Este
Instituto de Cooperación Iberoamericana, Buenos Aires
Retrospective Exhibition 1966?1990, Lehman College Art Gallery, Bronx
M.I.T. List Visual Arts Center, Cambridge
Nexus Contemporary Art Center, Atlanta
Galleria Il Bisonte, Florence
Museo Blanes, Montevideo
IV Biennial of Havana

1990
Carla Stellweg Gallery, with David Lamelas, New York

1989
Museo de Arte de la Universidad Nacional, Bogotá

1988
Centro Municipal Miraflores, Lima
Museo Histórico, Santa Clara
Pavilion of Uruguay, 43 Biennale di Venezia, Venice
Messages to the Public, Time Square Spectacolor lightboard, Public Art Fund, New York

1987
Fototeca, Havana
Museo Histórico, Santa Clara
Fundación San Telmo, Buenos Aires
Galerie Stampa, Basel
Artworks, Berlin

1986
Museo Nacional de Artes Plásticas, Montevideo
Centro Municipal Miraflores, Lima
Massachusetts College of Art and Design, Boston
The Graphic Eye Gallery, Port Washington
Artworks, Berlin

1985
Permanent Installation, Horton Memorial Hospital, Middletown

1984
Isis Gallery, Notre Dame University, South Bend
Galerie Stampa, Basel
From the Uruguayan Torture Series, The Alternative Museum, New York

1983
Gaderra Latinoamericana, Casa de las Américas, Havana
Grabados recientes, Museo Rayo Dibujo y Grabado Latinoamericano, Roldanillo

1982
Galería Partes, Medellín
Galería San Diego, Bogotá
Galeria Cinemateca, Montevideo

1980
Galerie 31, Strasbourg
The Archeology of the Spell, Galerie Stampa, Basel
Museum Wiesbaden, Wiesbaden

1979
Galería La Oficina, Medellín
Sala de Arte Cámara de Comercio, Medellín
Galería San Diego, Bogotá

1978
Parts of a Dictionary and Other Parts, Marian Goodman Gallery, New York
C-Space Gallery, New York
Museo de Arte Moderno La Tertulia, Cali

1977
Gallery for New Concepts, University of Iowa, Iowa City
Commune di Adro, Brescia
Museo de Arte Moderno, Cartagena
Museo de Arte Moderno, Bogotá

1976
Galleria Ariete Grafica, Milan
Galerie Space, Wiesbaden
Villa Schifanoia, Florence
Galerie Stampa, Basel

1975
Stadtbibliothek, Mainz

1974
Galerie Stampa, Basel

1973
Galleria Conz, Venice
Investigaciones, Galería Colibrí, San Juan
Galleria Banco, Brescia

1972
Galleria Diagramma, Milan
Libreria Einaudi, Milan
Prints, Printshop Piet Clement, Amsterdam

1971
C.L.I.P. Documents, Paula Cooper Gallery, New York

1970
Bienville Gallery, New Orleans
Paula Cooper Gallery, New York

1969
Arte Correo, Instituto Torcuato Di Tella, Buenos Aires
Liliana Porter, Luis Camnitzer, Museo de Bellas Artes, Santiago
Associated American Artists, New York
Museo de Bellas Artes, Caracas

1967
Mail Art Exhibition, New York Graphic Workshop, New York

1966
Amigos del Arte, Montevideo
Galería Lirolay, Buenos Aires

1964
Prints and Drawings, Van Bovenkamp Gallery, New York

1963
Semanario Marcha, Montevideo
Galería Sudamericana, New York

1962
Galería Galatea, Buenos Aires

1960
Centro de Artes y Letras, Montevideo


GROUP SHOWS
2017
First Day of Good Weather - Latin American Art, Sies + Höke, Dusseldorf

2016-2017
The Present Order, Galerie für Zeitgenössische Kunst, Leipzig

2016
ConTexto. Palabra, escritura y narración en el arte contemporáneo
Museo de Antioquia, Medellín
ARCOmadrid, Madrid
Educação como matéria-prima, Museu de Arte Moderna de São Paulo, São Paulo

2015
4Th San Juan Poly/graphic Triennial: Latin America And The Caribbean
Trienal Poli/Grafica de San Juan, San Juan Puerto Rico
Resistance Performed ? Aesthetic Strategies under Repressive Systems in Latin America, Migros Museum für Gegenwartskunst, Zurich
Transmissions: Art in Eastern Europe and Latin America, 1960?1980, MoMA, New York
Messages From a New America, 10th Mercosul biennial, Porto Alegre
Dark Mirror: Lateinamerikanische Kunst seit 1968, Kunstmuseum Wolfsburg, Wolfsburg
Waiting Room, Galerie Ursula Walbröl, Dusseldorf
America is Hard to See, Whitney Museum of American Art, New York
O Museu a Haver, Fórum Eugénio de Almeida, Évora
Fire and Forget. On Violence, KW Institute for Contemporary Art, Berlin
Scenes for a New Heritage: Contemporary Art from the Collection, permanent collection, MoMA, New York
Choices, Ecole des Beaux-Arts de Paris, Paris
In/visible, Ikob, Museum für Zeitgenössische Kunst, Eupen
Múltiple. Poligrafa Obra Gráfica, Espacio Monitor, Caracas
Shifters : Signalements en Amérique latine et en Europe de l'Est, curated by Florencia Chernajovsky, Galerie gb agency, Paris
Trienal Poli/gráfica de San Juan : América Latina y el Caribe, Antiguo Arsenal de la Marina Española, San Juan
Under the Same Sun: Art from Latin America Today, curated by Pablo Leon de la Barra, Museu de Arte Moderna de São Paulo
The Translator's Voice, 49 Nord 6 Est, Fonds Régional d'Art Contemporain Lorraine, Metz
Museo de Arte Contemporáneo, Vigo
Sogn og Fjordane Kunstmuseum, Førd

2014
From Revolt to Postmodernity (1962?1982), Museo Nacional Cendro de Arte Reina Sofia, Madrid
Creativity Exercises, Galerie für Zeitgenössische Kunst / Museum of Contemporary Art, Leipzig
Rumors of the Meteor, Fonds Régional d'Art Contemporain de Lorraine, Metz
Illusões / Ilusiones / Illusions, Casa Daros, Rio de Janeiro
C-32 Sucursal. La Ene en Malba, Museo de Arte Latinoamericano de Buenos Aires
Trienal Poli/Gráfica de San Juan: América Latina y el Caribe, Antiguo Arsenal de la Marina Española, San Juan
Realidades en Conflicto, Espacio ArtNexus, Bogotá
Unsettled Landscapes, "SITElines: New Perspectives on Art of the Americas", SITE Santa Fe
artevida política [politics], curated by Adriano Pedrosa, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro
Slow Future, curated by Jota Castro, Centre for Contemporary Art, Ujazdowski Castle, Warsaw
Colonia Apócrifa, Imágenes de la colonialidad en España, Museo de Arte Contemporáneo de Castilla y León
Under the Same Sun: Art from Latin America Today, curated by Pablo Leon de la Barra, Solomon R. Guggenheim Museum, New York
¿Cuándo empieza el arte contemporáneo? Intervenciones desde América latina, curated by Andrea Giunta, arteBA 2014, Buenos Aires
Copied, curated by Andrew Roth and Claire Lehman, Andrew Roth Gallery, New York
EVA International Biennial, Limerick City
Kongress der Artikulation (Congress of Articulation), Kunstraum Kreuzberg, Berlin
El día en que nos hicimos contemporáneos, curated by Rosina Cazali, Museo de Arte y Diseño
Yo, nosotros, el arte, curated by Laura Malosetti Costa, Espacio de Arte, Fundación OSDE, Buenos Aires
Perduti nel Paesaggio, curated by Gerardo Mosquera, MART Museum, Rovereto
Report on the Construction of a Spaceship Module, organized by tranzit.cz, New Museum of Contemporary Art, New York

2013
Colby College Museum of Art, Waterville
Season 4, Beirut, Caire
Trait papier, un essai sur la dessin contemporain, Centre d'art contemporain, Yverdon-les-Bains
Kunsthalle Palazzo, Liestal
Interruption: The 30th Biennial of Graphic Arts, Ljubljana
América Latina 1960-2013, Fondation Cartier, Paris
Museo Amparo, Puebla
Cosas de antes junto a cosas de despues alrededor de cosas del momento, Parra & Romero, Ibiza
Jew York, UNTITLED, New York
Postscript: Writing After Conceptual Art, co-curated by Nora Burnett Abrams and Andrea Anderson, The Power Plant Contemporary Art Gallery, Toronto
A Group of Six Artists, Aanant & Zoo, Berlin
Broken Spaces: Cut, Mark, and Gesture, Alexander Gray Associates, New York
Open Work in Latin America and Beyond: Conceptualism Reconsidered, 1967?1978, Hunter College Art Galleries, New York
Two Parallel Lines: Hassan Sharif and Luis Camnitzer, Satellite, Dubai
Passing Time, Massachusetts College of Art and Design, Boston
Now There is also Nowhere, Henry Art Gallery, Seattle
More Love: Art, Politics, and Sharing Since the 1990s, Ackland Art Museum, University of North Carolina, Chapel Hill
A House of Leaves. Third Movement, David Roberts Art Foundation, London
Una posibilidad de escape. Para asaltar el estudio de la realidad y volver a grabar el universo. Colección MUSAC, Espai d'art contemporani de Castelló, Castellón de la Plana
Utopie Beginnt Im Kleinen, Triennale Kleinplastik Fellbach
Speaking and Thinking, Nordenhake Gallery, Stockholm

2012
Les Prairies, Biennale D'Art Contemporain, Les Ateliers de Rennes
The Mirror of Narcissus. From Mythological Demigod, Galerie im Taxispalais, Innsbruck
Amateurism, Heidelberger Kunstverein, Heidelberg
Now Here is also Nowhere: Part I, curated by Luis Croquer, Henry Art Gallery, University of Washington, Seattle
Materializing "Six Years": Lucy R. Lippard and the Emergence of Conceptual Art, curated by Catherine Morris, Brooklyn Museum, Brooklyn
Postscript: Writing After Conceptual Art, co-curated by Nora Burnett Abrams and Andrea Anderson, Museum of Contemporary Art Denver
EVERY EXIT IS AN ENTRANCE: 30 Years of Exit Art, Exit Art, New York
When it Stops Dripping from the Ceiling (An Exhibition That Thinks About Edification), curated by Bassam El Baroni, Kadist Art Foundation, Paris
Luis Camnitzer, Rosy Keyser, Robert Kinmont, and Linda Matalon, Simone Subal Gallery, New York
Passing Time, Salina Art Center, Salina
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown
Richard E. Peeler Art Center, DePauw University
Trait papier, un essai sur la dessin contemporain, Museum of Fine Arts, La Chaux-de-Fonds
A House of Leaves. Second Movement, David Roberts Art Foundation, London
Der Spiegel des Narziss, Galerie am Taxispalais, Innsbruck
From Matisse to Bourgeois, The Museum of Modern Art, New York
From the Age of the Poets, Aanant & Zoo, Berlin
Salvajes Digesting Europe, Piece by Piece, Trane Udstillongen, Gentofte Hovedbibliotek, Hellerup

2011
Mapping the Horizon, Upstream Gallery, Amsterdam
Frames and Documents: Conceptualist Practices. Selections from the Ella Fontanals-Cisneros Collection, Cisneros Fontanals Art Foundation, Miami
Mundo Nómades, Obras de la Colección del Frac Lorraine y artistas invitados, Museo Nacional de Artes Visuales, Montevideo
September 11, MoMA PS1, New York
Rituals of the Art World, Ludlow 38/ Goethe-Institut, New York
Barely There, curated by Luis Croquer, Museum of Contemporary Art Detroit, Detroit
Words Such as Painting and Sculpture, Annex14, Berne
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, The Museum of Modern Art, New York
All Things Equal, Hedreen Gallery, Seattle University, Seattle
Crisiss, América Latina: arte y confrontación, 1910?2010, Museo del Palacio de Bellas Artes, Mexico City
Ya Sé Leer, Centro Wifredo Lam, Havana

2010
On Line: Drawing Through the Twentieth Century, The Museum of Modern Art, New York
Les Vigiles, les menteurs, les rêveurs, Le Plateau, Paris
Belkin Art Gallery, University of British Columbia, Vancouver
Human, Musée d'art moderne et d'art contemporain, Nice
Substitute Teacher, Atlanta Contemporary Art Center, Atlanta
Mythologies in Modern Times, The Museum of Modern Art, New York
Modelos para armar, Museo de Arte Contemporáneo, León
Objetos para un rato de inercia, curated by Mario García Torres, Galería Elba Benítez, Madrid

2009
Tainted Love, curated by Steven Lam, La MaMa La Galleria, New York
The End: Analyzing Art in Troubled Times, The Andy Warhol Museum, Pittsburgh
Everything Has a Name, or the Potential to be Named, Gasworks, London
X Bienal de la Habana, Havana
PINTA, The Modern & Contemporary Latin American Art Fair, New York
DLA Piper Series: This is Sculpture, Tate Liverpool
1968. The Great Innocents, Kunsthalle Bielefeld
The Human Stain, Centro Galego de Arte Contemporánea, Santiago de Compostela

2008
Power Structure, Andrew Roth Gallery, New York
Perverted by Theater, Apexart, New York
Face to Face, Part II, Daros Museum, Zurich
See History, Kunsthalle Kiel, Kiel
Heavy Metal, Kunsthalle Kiel, Kiel
41 Salón Nacional de Artistas, Cali
The Question is Known: (W)here is Latin American/Latino Art?, Mission Cultural Center for Latino Arts, San Francisco
It is Not Neutral, Centro de Cultura Contemporánea Tabakalera, San Sebastien
The New York Graphic Workshop, Blanton Museum, The University of Texas, Austin
Luis Camnitzer, Selby Hickey, Caribbean Museum Center, Fredericksted

2007
Plastic, Musee d'art et d'histoire, Geneva
The Disappeared, El Museo del Barrio, New York
True Romance, Kunsthalle Wien, Vienna
Villa Stuck, Munich
Kunsthalle Kiel, Kiel
Face to Face, Part I, Daros Museum, Zurich

2006
Living History, Tate Modern, London
Bienal de Pontevedra
50 Years Documenta, Kassel
Inverting The Map, Tate Liverpool

2005
The Disappeared, North Dakota Museum of Art, Grand Forks

2004
Beyond Geometry: Experiments in Form, Los Angeles County Museum of Art, Los Angeles
Dando Vuelta al Poder, with León Ferrari and Francois Bucher, Centro Cultural Recoleta, Buenos Aires
III Liverpool Biennial of International Contemporary Art, Liverpool
Inverted Utopias, Museum of Fine Arts, Houston
El final del eclipse. El arte de América Latina en la transición al Siglo XXI, curated by José Jiménez, Fundación Telefónica, Santiago

2003
M_ars, Neue Galerie, Graz
El final del eclipse. El arte de América Latina en la transición al Siglo XXI, curated by José Jiménez, Museo de arte Moderno, Mexico City
Museo de Arte Contemporáneo de Monterrey, Monterrey
Museo Blanes, Montevideo

2002
Documenta 11, Kassel
Time/Frame, curated by Annette di Meo Carlozzi, Blanton Museum of Art, Austin
Dialoge, Galerie Basta, Hamburg
Rayuela/Hopscotch, University of Scranton

2001
La estetyka del sueño, Palacio Velázquez, Madrid
Shopping, Generali Foundation, Vienna
El final del eclipse. El arte de América Latina en la transición al Siglo XXI, curated by José Jiménez, Fundación Telefónica, Madrid

2000
Versiones del Sur: 5 propuestas en torno al arte en Latinoamérica, Museo Nacional Centro de Arte Reina Sofía, Madrid
Whitney Biennial, Whitney Museum, New York
Worthless, Museum of Modern Art, Ljubljana
Vivencias/ Lebenserfahrung/ Life Experience, Generali Foundation, Vienna

1999
Trace: Liverpool Biennial of International Contemporary Art, Liverpool
Millenium Manhole Project for Con Edison, Municipal Arts Society, New York

1998
Mouse: An American Icon, The Alternative Museum, New York
XII Bienal de San Juan del Grabado Latinoamericano, San Juan

1997
II Biennial of Gwangju
I Bienal do Mercosul, Porto Alegre
ARCO '97, Carla Stellweg Gallery, Madrid
Art Cologne '97, Galerie Basta, Cologne

1996
Face à l'histoire, Centre Georges Pompidou, Paris
23rd Bienal Internacional de São Paulo
Art Cologne '96, Galerie Basta, Cologne

1995
Intervenciones en el espacio, Museo de Bellas Artes, Caracas
Art Cologne '95, Galerie Basta, Cologne
Tricksters, Tailors and Fools: Yiddish Tales Through Artists' Eyes, The Jewish Museum, New York
Point Counter Point: Two Views of 20th Century Latin American Art, Santa Barbara Museum of Art, Santa Barbara
Reconsidering the Object of Art: 1965?1975, The Museum of Contemporary Art, Los Angeles

1994
Reclaiming History, Museo del Barrio, New York
Pequeño Formato Latinoamericano, Luigi Marrozzini Gallery, San Juan
Working with Tradition: The Academic Artist, New York State Museum, Albany

1993
Working with Tradition: The Academic Artist, Burchfield Art Center, State University of New York, Buffalo
Home Away from Home, State University of New York, Stony Brook
IV Bienal Poesía Visual/Experimental, Mexico City
Pa'lante: Political Works from the Collection of El Museo del Barrio, Lehman College Art Gallery, Bronx
Latin American Artists of the Twentieth Century, The Museum of Modern Art, New York
Kunsthalle, Cologne
The Return of the Exquisite Corpse, The Drawing Center, New York
L'Autre A Montevideo, Museo de Artes Visuales, Montevideo
Carla Stellweg Gallery, New York

1992
500 años de represión, Centro Cultural Recoleta, Buenos Aires
Uncommon Ground, College Art Gallery, State University of New York, New Paltz
X Mostra da Gravura (special guest), Museu da Gravura, Curitiba
Encounters/Displacements: Camnitzer, Jaar, Meireles, Archer Huntington Gallery, University of Texas, Austin
China, June 4, Mexic-Arte, Austin
Disorientations, 494 Gallery, New York
Ver América (The Bride of the Sun), Museum of Fine Arts, Antwerp
Disorient, Gallery 400, University of Illinois, Chicago
Américas, Monastery of Santa Clara, Moguer
Latin American Artists of the Twentieth Century, Hôtel des Arts, Paris
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Estación Plaza de Armas, Sevilla
Ante America, curated by Gerardo Mosquera, Rachel Weiss, and Carolina Ponce de León, Biblioteca Luis-Ángel Arango, Bogotá
Museo de Bellas Artes, Caracas
Queens Museum of Art, New York
Centro Cultural de la Raza, San Diego
Center for the Arts, San Francisco
Spencer Museum, University of Kansas, Lawrence
Museo de Arte y Diseño Contemporáneo, San José

1991
El paisaje en el arte uruguayo, Museo de Bellas Artes, Santiago
Museo de Artes Plásticas, Montevideo
IV Bienal de la Habana, Havana
The Hybrid State, Exit Art Gallery, New York
Artists of Conscience, The Alternative Museum, New York
Art of Resistance, Galería El Bohío, New York
Denonciation, Usine Lucien Fromage Darnetal, Rouen

1990
Carla Stellweg Gallery, New York
Signs of the Self: Changing Perceptions, Woodstock Artists Association, Woodstock
China, June 4, P.S.1 Contemporary Art Center, Long Island City
The Power of Words: An Aspect of Recent Documentary Photography, P.P.O.W. Gallery, New York

1989
Abstraccion-Figuracion, Figurative-Abstract: Selections from the Latin American Collection, Huntington Art Gallery, The University of Texas, Austin
Out of Bounds: Contemporary Long Island Photographers, Guild Hall Museum, East Hampton
Different War, Whatcom Museum, Bellingham
Unknown Secrets: Art and the Rosenberg Era, Palmer Museum of Art, Pennsylvania State University, State College

1988
Estampes et livres d'artistes du XXe siecle: Enrichissiments du Cabinet des Estampes 1978-1986, Bibliothèque Nationale, Paris
Committed to Print, The Museum of Modern Art, New York
The Debt, Exit Art Gallery, New York
The Rosenberg Era, Hillwood Art Gallery, Long Island University, Greenvale
Group Material: Project Democracy (Politics and Elections), Dia Foundation, New York
Project Democracy (Culture and Participation), Dia Foundation, New York
The Jewish Museum Collects, Jewish Museum, New York
The Latin American Spirit, The Bronx Museum, Bronx
Affinities, with Alfredo Jaar, Mel Edwards, Willie Birch, Carmen Lomas and Jenny Lee, Jamaica Art Center, Jamaica

1987
Latin American Artists in New York since 1970, Huntington Art Gallery, The University of Texas, Austin
Drawings as Drawings, North Carolina Museum of Art, Raleigh

1986
Biennial of the Museum of Contemporary Hispanic Art, New York
Imagining Antarctica, Museum of Linz
Smithsonian Institute, Washington
Intergrafik, Berlin
II Bienal de la Habana, Havana
V Bienal de Arte Gráfico Americano, Cali
VII Bienal de San Juan del Grabado Latinoamericano, San Juan

1985
Aquí, Fisher Gallery, University of Southern California, Los Angeles
Disinformation, The Alternative Museum, New York
The Writing on the Wall, Islip Museum, East Islip

1984
The Verbally Charged Image, Queens Museum of Art, Queens
I Bienal de la Habana, Havana
Latin American Visual Thinking, Art Awareness Gallery, Lexington

1983
VI Bienal de San Juan del Grabado Latinoamericano, San Juan
Intergrafik, Berlin
IV World Print, San Francisco

1982
Documenta Urbana, Kassel
Norwegian International Print Biennial, Fredrikstad

1981
IV Bienal de Arte, Medellín
Further Furniture, Marian Goodman Gallery, New York
CAPS, The State Museum, Albany
VII Bienal de Arte Gráfico Americano, Cali
V Bienal de San Juan del Grabado Latinoamericano, San Juan

1980
Buch Objekte, University of Freiburg
Third-World Biennial of Graphic Art, Baghdad
International Biennal of Graphic Arts, Biella

1979
Group Show with a Smile, Marian Goodman Gallery, New York
International Drawing Exhibition, Christ Church
The Altered Photograph, P.S. 1 Contemporary Art Center, Queens
4th British International Print Biennial, Bradford
VIII International Biennial Exhibition of Prints, Tokyo

1978
Objects, Marian Goodman Gallery, New York
VI International Exhibition of Drawings, Rijeka
Bibliothèque Nationale, Paris
Group June, Ljubljana

1977
I Salón Nacional de Grabado, Maracaibo
Galleria Zona, Florence
Museu de Arte Contemporânea, São Paulo
Group June, Ljubljana

1976
IV Norwegian International Print Biennial, Oslo
Printmaking: New Forms, Whitney Museum, New York
V British International Print Biennial, Bradford
Alternative Center for International Arts, New York
V International Exhibition of Drawings, Rijeka
V Bienal de Arte Gráfico Americano, Cali

1975
Yeshiva University, New York
Last International Exhibition of Mail Art, Galería Arte Nuevo, Buenos Aires
XI Biennial of Graphic Arts, Ljubljana

1974
British International Print Biennial, Bradford
IV International Exhibition of Drawings, Rijeka
I Bienal Internacional de Grabado, Segovia
IV Bienal de Arte Gráfico Americano, Cali
IX International Biennial Exhibition of Prints, Tokyo

1973
Latin American Prints from the Collection of the Museum of Modern Art, New York
Museu de Arte Contemporânea, São Paulo
Books by Artists, Tyler College, Philadelphia
X Biennial of Graphic Arts, Ljubljana

1972
Etching, Etc., The Museum of Modern Art, New York
Bibliothèque Nationale, Paris
II Bienal de Arte Gráfico Americano, Cali

1971
Museo de Bellas Artes, Caracas
Graficas, Museo de Arte Moderno La Tertulia, Cali

1970
Information, The Museum of Modern Art, New York
955.000, organized by Lucy Lippard, Vancouver Art Gallery, Vancouver
III International Biennial of Graphics, Cracow
I Bienal de Arte Gráfico Americano, Cali
I Bienal de San Juan del Grabado Latinoamericano y del Caribe, San Juan
L. Camnitzer, J. Castillo, L. Porter, Galería Colibrí, San Juan, Puerto Rico
Art in the Mind, Oberlin College, Oberlin
Exposición Panamericana de Artes Gráficas, Museo de Arte Moderno La Tertulia, Cali
Grabados del New York Graphic Workshop, Museo de Bellas Artes, Caracas

1969
New York Graphic Workshop, Museo de Bellas Artes, Caracas
Printmaking in America, Institute of Contemporary Art, London
557.087, organized by Lucy Lippard, Seattle Art Museum, Seattle
Number 7, Paula Cooper Gallery, New York
Language III, Dwan Gallery, New York
Experiencias 69, Instituto Torcuato Di Tella, Buenos Aires

1968
Art in Editions: New Approaches, Loeb Student Center, New York University, New York
Smithsonian Institute, Washington
III Bienal Americana del Grabado, Santiago

1967
Art of Latin America, Stamford Museum, Stamford
Towards F.A.N.D.S.O., with Liliana Porter and José Guillermo Castillo, Pratt Graphic Art Center, New York
Works for Small Showcases, Loeb Student Center, New York University, New York
Galerie Latour, Geneva

1966
Obras del New York Graphic Workshop, Galería Universitaria Aristos, Mexico City
Exposición de grabados del New York Graphic Workshop, Centro Uruguayo de Promoción Cultural, Montevideo
New York Graphic Workshop, Plástica Galería de Arte, Buenos Aires

1965
Contemporary Erotica, Van Bovenkamp Gallery, New York
Artists from Monocle Magazine, Van Bovenkamp Gallery, New York
6th International Exhibition of Graphic Arts, Ljubljana
II Bienal Americana del Grabado, Santiago

1964
Magnet: New York. A Selection of Paintings by Latin American Artists Living in New York, Galería Bonino, New York
100 Contemporary Prints, The Jewish Museum, New York

1963
5th International Exhibition of Graphic Arts, Ljubljana
I Bienal Americana del Grabado, Santiago

1962
III International Biennial Exhibition of Prints, Tokyo

1958
München, 1869?1958, Aufbruch zur modernen Kunst, VIII Centennial Exhibition, Haus der Kunst, Munich


CURATING
2011
The Last Book, curated by Luis Camnitzer, Aguilar Branch of the New York Public Library, New York

2009
Facing Locality, curated by Luis Camnitzer, Caribbean Museum Center for the Arts, Frederiksted, St. Croix

2007
Fall Selections: Non-Declarative Drawing, curated by Luis Camnitzer, The Drawing Center, New York
Negatec, curated by Luis Camnitzer, Telefonica, Buenos Aires
Arte, deshonra y violencia en el contexto iberoamericano, curated by Luis Camnitzer, Centro Cultural de España, Montevideo
Pedagogical Curator, Bienal do Mercosul, Porto Alegre

2006
Eleanore Mikus: From Shell to Skin, curated by Luis Camnitzer, The Drawing Center, New York

2005
LineAge, curated by Luis Camnitzer, The Drawing Center, New York

2004
León Ferrari: Politiscripts, curated by Luis Camnitzer, The Drawing Center, New York

2003
Internal Excess: Selections Fall 2003, curated by Luis Camnitzer, The Drawing Center, New York

2001
From Sierra Maestra to La Habana: The Drawings of Chago, curated by Luis Camnitzer, The Drawing Center, New York

1999
Global Conceptualism: Points of Origin, 1950-1980, co-curated by Luis Camnitzer, Jane Farver and Rachel Weiss, Queens Museum


SELECTED BIBLIOGRAPHY
2013
Ángeles Alonso Espinosa, Hervé Chandès, Alexis Fabry, Isabelle Gaudefroy, Leanne Sacramone, Ilana Shamoon: "América Latina 1960-2013: Photographs", Verona: Artegrafica, 2013
Vincent Honoré, Manuela Ribadeneira: "Luis Camnitzer", Drawing Room Confessions, Issue #7, 2013

2010
Hans Herzog, Luis Camnitzer: "Luis Camnitzer", Ostfildern: Hatje Cantz, 2010

2009
Ursula Davila-Villa, Gina McDaniel Tarver, Gabriel Pérez-Barreiro: "The New York Graphic Workshop, 1964-1970", Austin: Blanton Museum of Art, The University of Texas at Austin, 2009

2003
Luis Camnitzer, Dirk Luckow: "Luis Camnitzer: Werke von 1966 bis 2003", Kiel: Kunsthalle zu Kiel, 2003

1991
Luis Camnitzer, Jane Farver: "Retrospective Exhibition 1966-1990", Bronx: Lehman College Art Gallery, 1991


WRITINGS (A SELECTION)
2013
Camnitzer, Luis, Arte Estado Y No He Estado, Montevideo, Uruguay, Editorial Hum, 2013

2012
Camnitzer, Luis and Sam Durant, "The Church of Ethical Cynicism: A Conversation between Sam Durant and Luis Camnitzer", Mousse Magazine, February?March 2012, n. 32, 198-203

2009
Camnitzer, Luis, De la Coca-Cola al arte boludo, Santiago, Chile: Editorial Metales Pesados, 2009
Camnitzer, Luis and Rachel Weiss, On Art, Artists, Latin America, and Other Utopias, Austin, TX: The University of Texas Press, 2009

2008
Camnitzer, Luis, Didáctica de la liberación. Arte conceptualista Latinoamericano, Montevideo, Uruguay: Editorial Hum, 2008
Camnitzer, Luis, Hans Herzog, and Alexander Alberro, Face to Face: The Daros Collections, Zürich, Switzerland: Daros, 2008

2007
Camnitzer, Luis, Conceptualism in Latin American Art: Didactics of Liberation, Austin, TX: The University of Texas Press, 2007

2003
Camnitzer, Luis, New Art of Cuba. Austin, TX: The University of Texas Press, 2003

2000
Camnitzer, Luis, Arte y Enseñanza: La ética del poder, Madrid, Spain: Casa de América, 2000


PUBLIC COLLECTIONS
A.R.C.O. Corporation, New York
Biblioteca Communale, Milan
Bibliothèque Nationale, Paris
Blanton Museum, University of Texas, Austin
Cabinet of Drawings and Prints of the Uffizzi, Florence
Casa de las Américas, Havana
Centro Galego de Arte Contemporánea, Santiago de Compostela
Centro Wifredo Lam, Havana
Colby College Museum of Art
Colección Patrica Phelps de Cisneros, Caracas, Venezuela/New York
Daros-Latinaamerica, Zürich
Fonds Régional d'Art Contemporain de Lorraine
Getty Museum, Los Angeles
Israel Museum, Jerusalem
The Jewish Museum, New York
Library of Jerusalem, Jerusalem
Metropolitan Museum of Art, New York
Museo de Arte Contemporáneo de Castilla y León, León
Museo de Arte Latinoamericano de Buenos Aires
Museo de Arte Moderno, Bogotá
Museo de Arte Moderno, Buenos Aires
Museo de Arte Moderno, Cartagena
Museo de Arte y Diseño Contemporáneo, San José
Museo de Artes Plásticas, Montevideo
Museo de Bellas Artes, Caracas, Venezuela
Museo de Gráfica y Dibujo Latinoamericano, Roldanillo
Museo del Grabado, Buenos Aires
Museo El Barrio, New York
Museo La Tertulia, Cali
Museo Nacional de Artes Visuales, Montevideo
Museo Nacional de Bellas Artes, Havana
Museo Nacional de Bellas Artes, Santiago
Museo Universitario de Arte Contemporáneo, Mexico City
Museu de Arte Contemporânea, São Paulo
Museum Lódz, Lódz
Museum of Contemporary Art, Skopje
Museum of Contemporary Graphic Art, Fredrikstad
The Museum of Fine Arts, Houston
Museum of Malmö, Malmö
The Museum of Modern Art, New York
Museum of Trenton, New Jersey
Museum Wiesbaden, Wiesbaden
National Museum of Modern Art, Baghdad
The New York Public Library, New York
Queens Museum, New York
R.C.A. Corporation, New York
Smithsonian American Art Museum, Washington
Snite Museum, Notre Dame University, South Bend
Tate Modern, London
Walker Art Museum, Minneapolis
Whitney Museum, New York
Yeshiva University, New York


AWARDS AND DISTINCTIONS
2014
Premio Anuale de Literature 2014, Ensayo de Arte, Ministry of Education and Culture, Uruguay

2012
United States Artists Ford Fellow, Visual Arts
John Jones Art on Paper Award, Art Dubai
Skowhegan Medal for Conceptual & Interdisciplinary Practices

2011
Frank Jewett Mather Award, College Art Association

2002
Konex Mercosur Award for Uruguay

1998
Latin American Art Critic of the Year Award, Argentine Association of Art Critics

1996
First Prize, ES96, Tijuana Salón Internacional de Estandartes

1991
Art Matters Foundation

1982
Guggenheim Fellowship for Visual Art

1978
Creative Arts Program Services for Sculpture

1974
Prize, British International Print Biennial

1970
Prize, Biennial de San Juan del Grabado Latinoamericano, San Juan, Puerto Rico

1968
Purchase Prize, Museum of Trenton, New Jersey

1965
Memorial Foundation for Jewish Culture

1961
Guggenheim Fellowship for Creative Printmaking

Manifesto by Luis Camnitzer, 1982

I presume to be a revolutionary artist, with a vision for the world and with the mission of implementing it: to eradicate the exploitation of man by man, to implement the equitable distribution of goods and tasks, to achieve a free, just and classless society. In order for my mission to succeed, I have to try to communicate with the highest possible percentage of the public, something only possible with a great amount of production and a good system of distribution for my products.

The production needed to reach the public who might be converted to my ideas cannot be realized through a limited, craftsman approach. I need means of production that are as efficient as possible and assistants who can perform those tasks that do not require my creative effort, but can be executed under my instructions. Having limited funds to acquire equipment, I have to extend my ingenuity to find good buys, to profit from errors by the sellers, to bargain to my advantage; that is, to act with more intelligence than those who would exploit me if I weren't careful.

Having limited funds to employ assistants with the salaries they deserve, I have to try to pay as little as possible, prolong working hours for the same money, try to achieve a maximum of productivity with a minimum of expense. If this operation should leave some money left over, it should be invested in more equipment or in employing more people under the same conditions.

The biggest problem for the distribution of my work is competition. Other artists, sharing as well as opposing my ideas, interfere with my potential contact with the public. The public spends money on works that are not mine, money that would be useful to improve and increase my means of production, works that distract their attention from my revolutionary aims. I have to be able to establish my work over those obstacles.

I cannot physically eliminate the artists competing with me, but I can try to harm their image, spread rumours, create rifts between them and their dealers, and generally, try to sabotage their distribution systems.

With some luck and some manipulation I can then add these distribution networks to mine and ensure my preeminence in the public's view. Thus I will increase my sales which will allow me to acquire more and better means of production. I will be able to consider gaining access to other audiences, an international public. The day when my revolutionary ideals will become a reality therefore could be near.