Dr. Taína Caragol delivered a historical talk highlighting the importance of institutions like the Museum of Contemporary Hispanic Art (MoCHA).

On Thursday, April 4, the Hostos Community College Archives celebrated the launch of the new digital repository of the Museum of Contemporary Hispanic Art (MoCHA) Collection with a talk by Taína Caragol, Curator of Painting and Sculpture and Latinx Art and History at the Smithsonian Institution National Portrait Gallery in Washington, DC. 

The archival records and legacy of the MoCHA are securely housed at the College, safeguarding a crucial chapter of Latinx art history for future generations. In the wake of MoCHA's closure in the mid-1990s, its invaluable archives and artifacts faced the threat of dispersal through auction. However, artist Nitza Tufiño, alongside some colleagues, stepped in to rescue these materials, ensuring their preservation at Hostos—a decision that underscores the College’s commitment to making this art accessible and meaningful within a community that deeply values its cultural heritage.

“We are very proud of hosting the MoCHA Collection here. Many pieces are exhibited permanently throughout the College, and we would love to see even more featured. We will continue working with all involved to make more exhibitions happen that highlight the artists and our role in preserving their incredible work,” said Senior Vice President of Administration and Finance Esther Rodríguez-Chardavoyne, who delivered remarks on behalf of Hostos President Daisy Cocco De Filippis. 

 

Senior Vice President of Administration and Finance Esther Rodríguez-Chardavoyne expressed her intention to continue supporting the MoCHA’s legacy, as it is a central part of Latinx art history in NYC.

Rodríguez-Chardavoyne was followed by Provost and Vice President of Academic Affairs Shiang-Kwei Wang, who offered brief remarks, and Hostos Archivist William Casari, who expressed joy in launching this repository. After delivering his welcoming remarks, Casari introduced Assistant Professor and Reference Librarian Jorge Matos-Valldejuli, the event organizer, who then introduced Taína Caragol.

 

Caragol began her presentation by tracing the origins and impact of MoCHA, which was founded in 1985 amidst New York City's multiculturalism boom. She highlighted MoCHA's role as a pioneering SoHo museum focused on amplifying the voices of underrepresented Puerto Rican and Latino artists during the 1980s. Caragol pointed to the museum's brief yet transformative presence in the art world, which propelled numerous artists to prominence. Further, she emphasized MoCHA's importance as more than just an exhibition space; it was a nurturing ground for Latinx artists, providing them with a platform to be celebrated for their distinct contributions - distinct from the general umbrella of Latin American art.

“Latinx art is still largely subsumed under the category of Latin American art, and by putting it under that umbrella, it often suffers from marginalization. Latin American artists have what has been coined by scholar Arlene Dávila as ‘national privilege,’ meaning that their presence in art institutions has more weight than Latinx populations in the United States, especially because Latinx art tends to be lumped up into one overarching category, whereas Latin American art is singled out by country of origin,” said Caragol. 

Exhibit book of “Orisha/Santos” by artist Jorge Luis Rodríguez, 1985. Museum of Contemporary Hispanic Art Collection, Hostos Community College Archives.

After addressing these issues, Caragol discussed several artists who flourished with MoCHA's support, including Jorge Luis Rodríguez and Luis Cruz Azaceta, highlighting the institution's pivotal role in their development as artists. 

“Now we all get to see their works and photos related to their process or exhibits from anywhere in the world like many have not been able to see before,” Caragol added.

Luis Cruz Azaceta, Tough Ride Around the City, 1981. Museum of Contemporary Hispanic Art Collection, Hostos Community College Archives.

Precisely, the MoCHA online gallery represents an effort to make the works of artists who significantly impacted the Latinx narrative more accessible to a wider audience. It now offers open access to a rich assortment of photos, visual art, exhibition catalogs and other primary sources. What was once considered inaccessible is now available to everyone worldwide, democratizing access to a vital piece of Latinx art history.

Latinx art academic Arlene Dávila attended the event and engaged in conversation with Caragol during the Q&A.

Following a highly informative talk about the online repository's contents, the event transitioned to a Q&A session. Attendees engaged in a discussion, which peaked when Tufiño, in attendance, passionately declared that she rescued the entire MoCHA legacy because "this art is about our own struggles and experiences" and affirmed her commitment to do everything in her power to ensure that Hostos retains ownership of the artifacts and legacy, emphasizing, "this is for us; this is for the people."

Nitza Tufiño, who rescued the MoCHA collection, stated her never-ending commitment to ensuring MoCHA remains accessible to the people.