Records in this series document Ojeda's professional relationships with museums, galleries, and civic and international organizations, as well as specific solo exhibitions and group exhibitions in which Ojeda participated.
Records include correspondence with individuals and organizations relating to arrangements for exhibiting, selling, or taking Ojeda's work on commission, as well as records of sales and exhibition-specific material such as price lists, contracts and legal records, printed matter, and scattered photographs.
Ojeda's relationship with Franz Bader, whose Franz Bader Gallery represented the artist for almost twenty years, is documented through files including detailed balance sheets, inventories, price lists, and receipts documenting sales and consignments of Ojeda's work, as well as records of four exhibitions and correspondence and memoranda documenting Ojeda's relationship with the gallery through location and management changes spanning over a decade. Also found is a video recording of an interview broadcast on television, probably related to the 1995 Inter-American Development Bank exhibition In Honor of Franz Bader.
Other galleries, museums, and organizations represented include several in Washington D. C., including The Phillips Collection; the Smithsonian's National Museum of American Art, which purchased prints by Ojeda for it's permanent collection; the Smithsonian's Resident Associate Program Tour, in which Ojeda participated; and the Gala Hispanic Theater, for whom Ojeda designed sets and produced posters for many years. The Gala Hispanic Theater records include documentation of Ojeda's protest over a GSA sponsored exhibition. Ojeda protested when eight panels with photos and texts describing present day Chile, Argentina, and Uruguay were pulled from the show, by removing his fourteen woodblock prints from the exhibition.
Also represented are international galleries and organizations, including embassies, and other cultural and municipal organizations in Colombia, Greece, Nicaragua, Puerto Rico, and Uruguay; U Galeria de Arte in Montevido, where Ojeda had exhibitions in the 1960s; Galerie les Lumières in Paris where Cristina Pareja organized exhibitions for Ojeda in the 1990s; and the International Monetary Fund Art Society.
Records are arranged alphabetically by name of individual, business, organization, or name of exhibition.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.