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By A. Schneider

This ebook makes a tremendous contribution to the present debate on globalization, and extra accurately to the query of the way the "traffic in tradition" is practiced, rationalized and skilled by means of visible artists. The publication makes a speciality of inventive practices within the appropriation of indigenous cultures, and the development of latest Latin American identities. Appropriation is the elemental theoretical thought built to appreciate those techniques.

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Works of art are not the work of the single genius, but always entail the cooperation of others in the artistic process, ranging from rather few, in some visual arts, to large numbers of people, for instance, in opera and cinema production.

Appadurai 1996 and Thomas 1991). As mentioned before, appropriation in its formal sense means a taking out of one context and putting into another, yet the extended meaning I have been advocating sees it as a hermeneutic procedure that, consequently, implies not only that cultural elements are invested with new signification but also that those who appropriate are transformed, and ultimately construct and assume new identities. As Thomas commented wryly on the early asymmetrical exchanges between Europeans and indigenous peoples in the Pacific: “To say that black bottles were given does not tell us what was received” (Thomas 1991: 108).

Here, the state has cared for this topic rather little, in contrast with Peru and Mexico, where these initiatives represent an important source for generating money. The archaeology of PreColumbian art, for its important museums, and for its important archaeological sites, was promoted by the state because it is an important source for tourism. In Argentina, it was not perceived from this point of view. The topic is less than secondary, it was tertiary for all the different governments we had here.

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