Argentina: See No Evil

The Miami Herald Sunday Magazine, April, 1998

Tourists in Buenos Aires don’t take pictures of auto inspection garages in Floresta, a working-class neighborhood, but I was not exactly a tourist and I knew this place as something else.
I had seen it before — if only in photographs more than a decade old. It looked changed.



The Business of Art. Who’s Dissing Romero Britto?


The Miami Herald Sunday Magazine Tropics, August 1998

It’s a late Friday morning at Britto Central on Lincoln Road and a casually elegant couple is being led around the gallery by an attendant, price list in hand. In the small office in the back of the gallery, the phone rings nonstop.




Latin America’s Scheherazade, Chilean Novelist Isabel Allende Weaves Fantastical Tales

The Boston Globe’s Sunday Magazine, April, 1993

After meeting the love of their life, most people send roses, or a love letter. Isabel Allende sent a contract.




 Augusto de Campos, Words in Three Dimensions


Augusto de Campos, Amor Te, 1970

The Miami Herald, October, 1998

The term “concrete poetry” suggests curious paradoxes — something like a weightless granite block or a riveted page of text. In fact, it’s poetry as a sort of three-dimensional art form, in which not only the meaning of the words come into play, but also their sound and visual representation — from typography to the arrangement of the text on the page.



Ruth & Marvin Sackner and the Art of Collecting Words


Ruth and Marvin Sackner with a piece from their art collection, 1998

The Miami Herald, October, 1998
In Ruth and Marvin Sackner’s home, words don’t just wait quietly on their assigned pages. Rather, they whisper and tease from seemingly every wall, every piece of furniture, every corner of the house.



On Becoming a Citizen: Translating Memories, Transposing Dreams


The Miami Herald Sunday Magazine, June, 1997

I filled out the applications, got my picture taken, sent the money order, got a letter
with the appointment date, waited in line, had my name called, did the interview,
went home and forgot about it. Time passed, got a note in the mail, went to the
Knight Center, waited in line, heard the speeches, followed the instructions and left
a citizen.


Evita’s Return.


Miami Herald, October, 1996

Maria Eva Duarte de Peron might have been an actress of  modest talents and unexceptional beauty, but her Evita was a masterpiece.
A woman wielding power — decisive power — disrupted the established order, sparked deep loves and hatreds, aroused mixed desires and profound fears — especially as she came wrapped in layers of myth. Evita transcended the politics of Argentina.
She made Eva Duarte immortal.