[1] María Elena Ramos, “The Structures of Reality,” reproduced in Geometric Abstraction in Latin America (Bogotá: ArtNexus, 2013), 133.
[2] Ibid., 126.
[3] Ibid., 127.
[4] Megan Sullivan, “Alejandro Otero’s Polychrome: Color between Nature and Abstraction,” October 152 (Spring 2015): 67.
[5] Alejandro Otero, “Testimonies of Painting (1954),” reproduced in Resonant Space: The Colorhythms of Alejandro Otero, ed. Rina Carvajal, exh. cat. (São Paulo: Instituto de Arte Contemporânea, 2014), 161.
[6] Kaira Cabañas, “Otero’s Doubt,” in Resonant Space: The Colorhythms of Alejandro Otero, ed. Rina Carvajal, exh. cat. (São Paulo: Instituto de Arte Contemporânea, 2014), 64.
[7] Alejandro Otero, Interview, 129.
[8] Otero, “Testimonies of Painting,” 164.
[9] Sullivan, “Alejandro Otero’s Polychrome,” 61.
[10] See the artist’s group exhibitions available on the Otero Pardo Foundation website.
[11] Alejandro Otero, “Horizontal-Vertical Collages and Colorhythms 1951–1960, 1966,” reproduced in Resonant Space: The Colorhythms of Alejandro Otero, ed. Rina Carvajal, exh. cat. (São Paulo: Instituto de Arte Contemporânea, 2014), 176.
[12] Otero, “Testimonies of Painting,” 162.
[13] Chronology in Alejandro Otero, ed. Renzo Zorzi (Milan: Olivetti, 1977), 17.
[14] Mari Carmen Ramirez, “Of Things and Machines: Elsa Gramcko’s Journey to the Void of the Real,” in Contesting Modernity: Informalism in Venezuela 1955–1975, exh. cat. (Houston: Museum of Fine Arts 2015), 128. [15] Otero, Interview, 131.
[16] See the Otero chronology on the Otero Pardo Foundation website.
[17] Otero, Interview, 131.
[18] Alejandro Otero, “The Miracle of a Work in Dialogue with the Universe, 1977,” reproduced in Resonant Space: The Colorhythms of Alejandro Otero, ed. Rina Carvajal, exh. cat. (São Paulo: Instituto de Arte Contemporânea, 2014), 169.
[19] See the artist’s chronology on the Otero Pardo Foundation website.