When it comes to arts or artists originating in Latin America, critic William Wilson seems stuck in a chauvinist time trap of the 1950s.
Reading his columns, one would never know that civil rights battles of Chicanos and Latinos ever took place. In 1974, Wilson got a "headache" from the Los Four exhibit of Chicano art, and wondered what happened to the museum "as a bastion of cultural excellence." In 1979, he considered Mexico's world famous artist Rufino Tamayo a painter who "ought to be able to paint" and whose work at the Guggenheim Museum "made you think you need a visit to the optometrist."
Now he gets a queasy stomach, and calls an exhibit at the Bowers Museum of pre-Hispanic art from Colombia an "enchilada" and drags in highly irrelevant issues about Colombian cocaine export today as part of an art review ("Discovering Colombia Pre-Columbus," Jan. 11).
Shape up, Mr. Wlson!
What have Mexican enchiladas, or Colombian cocaine (in which U.S. dollars are invested) to do with clay figurines and pottery from before the birth of Christ?