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xi Acknowledgments This volume has been informed by new research directions arising from individual and group initiatives and vigorous discussions of issues among colleagues in public and private. The conversations and critiques arising from these formal and informal scholarly gatherings led to a more nuanced appreciation of the complex relationship between buen gusto and classicism in Latin America, which has benefited this project immensely. We would, therefore, like to single out the Association for Latin American Art, the College Art Association, and the Meadows Museum in Dallas, Texas, for special recognition in this regard. Various institutions and foundations provided generous funding in support of our investigation of this topic, including the Meadows Museum, the University of North Texas, the Samuel H. Kress Foundation, Wells Fargo, Humanities Texas, the Charn Uswachoke International Development Fund at the University of North Texas, and the Program for Cultural Cooperation Between Spain’s Ministry of Culture and United States’ Universities. The editors would also like to thank John Byram of the University of New Mexico Press as well as the external readers whose critical suggestions have helped to shape and better cohere this book. Other individuals who have contributed insights and/or support to this project include Tom Cummins of Harvard University, Denise Baxter of the University of North Texas, and Eusebio Leal Spengler of Havana, Cuba. ...

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