
O artigo discorre sobre a poética de Antonio Caro, aprofundando-se na análise de um de seus trabalhos mais icônicos: Colombia Coca-Coca (1976). Para tanto, apresenta convergências e divergências da obra do artista bogotano em relação a outras produções de artistas latino-americanos que, igualmente, empregam símbolos da cultura de massa. São eles: Cildo Meireles, Gascón Ugalde, León Ferrari, Minerva Cuevas e Nelson Leirner. Por fim, considera Colombia Coca-Coca uma manifestação visual do conceito de ‘antropofagia zumbi’ teorizado por Suely Rolnik.
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