*Identify a research interest within collected research from Research Porfolio #1 (part 1)
*Integrate sources found from research, writing a 5-6 page paper
Upload a 5-6 page research paper, that makes use of their
research materials gathered in the first part of the assignment.
1. Check your research folder by 5pm on Sept. 18th, to see if Andy has uploaded an extra source to
your folder (if so: read it!).
2. Begin by identifying what your research interest within your topic is. Some examples, to use the
course example of Marta Minujín, might be:
*Marta Minujín’s work in Argentina v. New York (how does she as an artist respond to her
changing cultural and political contexts)
*Marta Minujín’s exchange of corn with Warhol and Thatcher (this would be examining MM’s
relation to various power structures)
*The Pantheon of books in its original context and its restaging
Write this down somewhere (you won’t have to turn this in, but it can be handy).
3. Identify, based on your research gathered thusfar, what more research you may have to do. Are
there still unanswered questions that you can find out about? Can you seek out multiple
opinions on the same thing?
4. Continue your research process, attempt to answering any of your unanswered questions from
above.
2
5. If Andy dropped a text in your folder, read this, and think of ways it might be incorporated into
your paper.
6. Before writing or outlining your paper, articulate a thesis: this is not the same as your ‘research
interest’ from step 2.
* Marta Minujín’s work in New York, away from the dictatorship of Juan Carlos Onganía, was
largely an extension of her practice in Buenos Aires, but from her distant vantage point she
could comment directly on the political crises facing her home country—a luxury not afforded
under Onganía’s authoritarian regime.
*Marta Minujín’s used corn as a racialized emblem, correcting asymmetrical colonial power
exchanges by symbolically trading with heads of state (Thatcher) and culture (Warhol).
*In its two installations, separated by decades, the Pantheon of Books takes on different, and
somewhat contradictory meanings; in its first installation the large-scale public work might be
understood as an overt celebration of knowledge (and access to it). It’s second installation, in
the context of Documenta, might be an overt
