At least one work “entanglement Alphabets: Leon Ferrari and Mira Schendel at the Museum of Modern Art should raise some Hackler. It’s “Juicio Final” by Mr. Ferrari, Argentinean artist born in 1920 who is still active. It consists of a large reproduction of Michelangelo’s “Juicio Final” fresco in the Sistine Chapel, Mr. Ferrari, who was seated within a cage of pigeons.

The whitish substance that dot most of the image has a beautiful softness reminded of volcanic ash, moisture, growth of gypsum and oil painting little brushing. Mechanical reproduction of the most famous of the world becomes a final order that is full of rotting or luxuriantly worked by hand. Michelangelo May were populated with servants of the devil, but the death appears to be slightly filtered through the walls of the version of Mr Ferrari.

For the first time in 1985, “Juicio Final” perfectly combines Process Art, art and political ownership of provocation. A violation of ready-to-wear (like Duchamp’s mustachioed Mona Lisa), which hangs at the end of the gallery of modern entertainment, a few meters to the opposite: “We still wave probability (Old Testament, I Kings 19 ) by Ms. Schendel (1919-1988), a Brazilian artist.

The simplicity of “Still Waves” in May to raise Hackler. It consists of thousands of lines of nylon thread to hang the floor of the tiny eye-hooks covering a jeweler 12-en-14-foot in the gallery from 18-feet high ceiling. In this figure, the son of a silver, wafting, almost quasi-axis could be visible light or rain. Near the stem, a piece of Plexiglas is printed with a quote from I Kings 19 on the voice of God, which is not in the wind, earthquake or fire, but it is just “a little voice . The question is not as religious as it is embedded in the work of Ferrari, but “still air”, 1969, is one of the first and rather monumental example of post-minimalism.

“Entangled Alphabets” is the most modern in order to explore beyond the narrow modernisms Euro-American version that was made to lock in place. Organized by Luis Perez-Oramas, curator of the Museum of Latin American art, is essential for visualization of all stakeholders in the art of the 20th century, and is often tense Replica aesthetics. But it sometimes feels halfhearted.

The press praised Ms. Schendel and Mr. Ferrari as “two of the most important artists of South America in the 20th century.” But the combination of a retrospective show of refusing to compromise. Timing investigation in two galleries usually occupied by a single step to help you.

However, “Alphabets entangled” makes more work for Ms. and Mr. Schendel that Ferrari was in a museum in North America. A window into a complex regional art history similar to that of the United States in its assimilation of European models, of both abstraction and embrace popular culture and the oscillation between the purity and politics. Expect to find analogies by Abstract Expressionism, Fluxus, the word art, Arte Povera, art and even Neo Geo credit.

Ms. and Mr. Ferrari Schendel, he knew very little, and only once shown in a large group show. They represent, in essence, very different sensibilities. Mr. Ferrari is extrovert, even grandiose, and peripatetic, struck many notes during his career, inevitably, more than a few are the key. Ms. Schendel was more consistent, a purist introverted centered mysticism of Eastern student and a post-minimalist before the fact.

Both emerged in the 1960s, flourished when the progressive ideas in art and politics, but in the clouds of the gathering of military juntas. Align more closely in recent years when both worked with ink and paper, mix in the vocabulary of words, letters, illegible writing and online, as well as aspects of transparency and the automation. In the center of the gallery program, it is sometimes difficult to know who does what.