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This article analyzes the role of Grace Morley, director of the San Francisco Museum of Modern Art, during the years of the Good Neighbor policy (1940-1943), and in particular her intervention in the Art Committee of the office of Inter-American Affairs (oIAA) as curator of the exhibition «Contemporary American Painting». In this sense, we analyze the constitution of the exhibition’s corpus and the perspective that this specialist gave to the cultural exchange policy initiated by the North American government.

Construyendo el concepto de arte norteamericano en Sudamérica