Wallach Art Gallery

Free and open to the public Wednesday through Sunday, 12-6 pm.

A short walk from the 125th Street stop on the 1 train, Wallach Art Gallery is located on the 6th floor of the Lenfest Art Center at 615 W 129th Street, New York. NY 10027.

More info at wallach.columbia.edu, or Link in bio.

Final two weeks to see "Lotty Rosenfeld: Disobedient Spaces," curated by Natalia Brizuela and Julia Bryan-Wilson.

The first US retrospective of the acclaimed Chilean artist, which has enjoyed extensive coverage in the art press, will have its last day on Sunday, March 15, 2026.

Vaso de leche, Bogotá (Glass of milk, Bogotá), 1979
Documentary photograph (printed 2025)
Courtesy of Cecilia Vicuña

#CeciliaVicuna #LottyRosenfeld

CECILIA VICUÑA
Hambre (Hunger), 1979
Ink on paper
Both collection of Cecilia Vicuña
the hunger of being human being human is hunger hunger is being human.

Para no morir de hambre en el arte (So as not
to die of hunger in art), 1979 Paid advertisment in HOY magazine
Courtesy of Archivos en Uso

1/2 litro leche (Para no morir) [1/2 litre of milk
(So as not to die)], 1979
Empty milk bag with stamped ink

IMAGES:
CADA (Colectivo Acciones de Arte)
Para no morir de hambre en el arte (So as not
to die of hunger in art), 1979
Seven documentary photographs (printed 2025)
Courtesy of CADA archive at Museo de la Memoria y los Derechos Humanos and
Fundación Lotty Rosenfeld and Diamela Eltit
on behalf of CADA

With blood-red thread and spilled milk, it referred to the cruel dictatorship in her home country and also el crimen lechero (the milk crime), unfolding in Colombia, in which infants were poisoned by contaminated, diluted milk due to corporate greed.

CADA also invited artists outside of Chile to participate in solidarity actions, and Chilean artist/writer Cecilia Vicuña performed Vaso de leche, Bogotá (Glass of milk, Bogotá) in Colombia.

and they published a text that connected an imagined empty page with the lack of milk. While bountiful milk for children had been a campaign promise of socialist Allende, Pinochet's neoliberal policies were causing hunger.

Their symbolic action "Para no morir de hambre en el arte (So as not to die of hunger in art)" had several components: they stenciled packets of powdered milk which were distributed in an impoverished neighborhood of Santiago,

They produced a series of poetic actions that drew attention to the deprivations and censorships of the Pinochet dictatorship without directly naming the authoritarian regime.

In 1979, Rosenfeld, alongside artist Juan Castillo, experimental writers Diamela Eltit and Raúl Zurita, and sociologist Fernando Balcells, formed the dissident group Colectivo Acciones de Arte (Collective of Art Actions), or CADA, which means"every" in Spanish.

#newyorker #jilliansteinhauer #juliabryanwilson #nataliabrizuela #wallachartgallery #teigerfoundation #lottyrosenfeldfoundation #lottyrosenfeld

The first US retrospective of Lotty Rosenfeld was made possible through the generous financial support of Teiger Foundation and the collaboration of Fundación Lotty Rosenfeld.

Free and open to the public from Wednesday through Sunday, between the hours of 12 noon and 6 pm, the exhibition remains on view through March 15, 2026.

With much appreciation for Jillian Steinhauer and The New Yorker for the recommendation and insightful description of the Wallach Art Gallery exhibition "Lotty Rosenfeld: Disobedient Spaces" in the latest issue.

Thank you FRIEZE magazine and Kate Zambreno for the discussion of "Lotty Rosenfeld: Disobedient Spaces" in the March 2026 edition.

Read the full review:

www.frieze.com/article/lott...

#katezambreno #frieze #LottyRosenfeld #lottyrosenfeldfoundation #WallachArtGallery

Installation photo by Olympia Shannon.

#LottyRosenfeld #WallachArtGallery #ColumbiaUniversity

Transnational feminist networks significantly contributed to how Rosenfeld’s art and activism crossed borders; and global solidarity proved crucial in bringing awareness to and denouncing the human rights violations occurring in Chile under the military dictatorship.

These archival documents evidence the circulation of Rosenfeld’s work, not only in Chile but internationally, particularly her experimental videos shown in Canada, Australia, Germany, and the United States.

Made possible through the generous financial support of Teiger Foundation and the collaboration of Fundación Lotty Rosenfeld.

Installation shot by Olympia Shannon.

#lottyrosenfeld #wallachartgallery #columbiauniversity #juliabryanwilson #nataliabrizuela #teigerfoundation #columbiauniversity

LOTTY ROSENFELD
Untitled, 1985
Collage
Collection of Fundación Lotty Rosenfeld

"Lotty Rosenfeld: Disobedient Spaces"— curated by Natalia Brizuela and Julia Bryan-Wilson—remains on view through March 15, 2026.

Wallach Art Gallery is free and open to the public from Wed–Sun, 12noon–6pm.

Rosenfeld's use of torn paper emblemizes a political interest in copies that can be inexpensively multiplied, disseminated, and discarded.

Threaded sutures later reappear in her book designs for Chilean feminist authors.

This early collage reveals many of the motifs and materials Lotty Rosenfeld used in her art-actions and videos, including stitching as feminist labor and as connective tissue between seemingly disparate visual elements or concepts.

#cristoballehyt #juliabryanwilson #wallachartgallery #lottyrosenfeld #nataliabrizuela #lenfestcenterforthearts #teigerfoundation #fundacionlottyrosenfeld

Lotty Rosenfeld: Disobedient Spaces
November 7, 2025–March 15, 2026
Wallach Art Gallery
Lenfest Center for the Arts
615 West 129th Street | 6th Floor
New York, NY 10027

wallach.columbia.edu

Cristóbal Lehyt is associate professor at Cooper Union and a Chilean-born multimedia artist.

Julia Bryan-Wilson is professor of contemporary art and LGBTQ+ studies at Columbia University.

The conversation examined Lotty Rosenfeld’s enduring influence on contemporary Chilean visual arts, and was presented in conjunction with the exhibition "Lotty Rosenfeld: Disobedient Spaces," curated by Julia Bryan-Wilson and Natalia Brizuela, and on view through March 15, 2026.

Many thanks to Cristóbal Lehyt and "Disobedient Spaces" co-curator Julia Bryan-Wilson for spending Saturday afternoon, February 7th, discussing "Art in the Shadow of Authoritarianism" before an attentive crowd.