On Curating: Displacement

  • Installation view, Embodied Absence: Chilean Art of the 1970s Now, Carpenter Center for the Visual Arts, Sert Gallery

  • Mary Schneider Enriquez. Photo: Stephanie Mitchell/Harvard Gazette Staff Photographer

  • Liz Munsell. Photo by Sun Park.


  1. Dec 13, 2016, 1 – 2:30 pm
Harvard Art Museums, 32 Quincy St, Calderwood Courtyard + Carpenter Center, 24 Quincy St, Level 3, Sert Gallery

Mary Schneider Enriquez on Doris Salcedo: The Materiality of Mourning
Liz Munsell on Embodied Absence: Chilean Art of the 1970s Now

Contending with issues of ephemerality and loss within the geopolitical sphere of late-20th century South America, the artworks on view in Embodied Absence: Chilean Art of the 1970s Now find deep resonance in the groundbreaking display next door at the Harvard Art Museums’ exhibition Doris Salcedo: The Materiality of Mourning. Curators Mary Schneider Enriquez and Liz Munsell will tour the two exhibitions in tandem, discussing issues of endurance, temporality, and the political power of the artist within Latin America then and now.

The tour and discussion will begin at the Harvard Art Museums in the Calderwood Courtyard and continue on to the Carpenter Center’s Level 3 Sert Gallery. Space is limited, please RSVP here.

Mary Schneider Enriquez

Mary Schneider Enriquez is the Houghton Associate Curator of Modern and Contemporary Art at the Harvard Art Museums. She is curator of the exhibition Doris Salcedo: The Materiality of Mourning, on view November 4, 2016–April 9, 2017 at the Harvard Art Museums. She recently curated the 2014–15 exhibition Mark Rothko’s Harvard Murals, as well as the modern and contemporary collections galleries in the Renzo Piano Workshop-renovated Harvard Art Museums, which opened in November 2014. She also directed the commission and installation of a public sculpture, Triangle Constellation, by artist Carlos Amorales, currently on display in the museums’ central courtyard. Among other exhibitions, Schneider Enriquez co-curated Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection in 2001 at Harvard’s Fogg Museum, and in 2004 she curated an exhibition of Chilean artist Robert Matta’s work at the McMullen Museum at Boston College. Over the last two decades she has contributed essays to numerous exhibition catalogues, and written extensively on contemporary art for ARTnews and ArtNexus magazines. She received her PhD in the Department of History of Art and Architecture at Harvard writing her dissertation on the work of Colombian artist Doris Salcedo.

Liz Munsell

Liz Munsell is Assistant Curator of Contemporary Art & Special Initiatives at the Museum of Fine Arts, Boston, and a visiting curator at Harvard University’s David Rockefeller Center for Latin American Studies. Since 2012, she has worked to establish the MFA Boston as one of the first encyclopedic museums in the United States to fully integrate performance art into its exhibitions, programs, and permanent collection. A Fulbright Scholar to Chile in 2006, Munsell holds a BA in International Letters and Visual Studies from Tufts University, minor in Latin American Studies, and a Masters in Cultural Studies from the Universidad de Chile.