[2] Ronald Christ, “Constructing Magic,” in Bonevardi: Chasing Shadows—Constructing Art (Austin: University of Texas Press, 2006), 321.
[3] Marcelo Bonevardi, quoted by Ronald Christ, “Constructing Magic,” 321.
[4] Christ, “Constructing Magic,” 322.
[5] Dore Ashton, “The Shadow Chaser,” in Bonevardi: Chasing Shadows—Constructing Art (Austin: University of Texas Press, 2006), 16.
[6] Ibid., 17; For Greenberg’s weariness of the “10th street touch," see James Meyer, Minimalism: Art and Polemics in the Sixties, 84.
[7] Edith Burckhardt, Exhibition Review, Roland Aenlle Gallery, ARTnews, February 1960, 49.
[8] Christ, Marcelo Bonevardi: Constructions and Drawings, np.
[9] Ashton, “The Shadow Chaser,” 23.
[10] Mari Carmen Ramírez, “Re-positioning the South: The Legacy of El Taller Torres-García in Contemporary Latin American Art,” in El Taller Torres-García: The School of the South and Its Legacy, exh. cat. (Austin: The Archer M. Huntington Gallery, 1992), 269.
[11] Letter from Lawrence Alloway, Curator, The Solomon R. Guggenheim Museum, to Juan J. Mathe, 1st Secretary Cultural Director, Argentine Embassy, March 11, 1964, Archives of the Estate of Marcelo Bonevardi, New York.
[12] Estrellita B. Brodsky, “Marcelo Bonevardi: A Metaphysical Absence,” in Marcelo Bonevardi: Magic Made Manifest, exh. cat (Miami: Lowe Art Museum, 2019), 13.
[13] Marisa Lerer, “30,000 Reasons to Remember: Artistic Strategies for Memorializing Argentina’s Disappeared,” PhD diss., (City University of New York, 2012)
[14] Ronald Christ, “Constructing Magic,” 364.