Marta Minujín also spent the 1960s ensconced by the burgeoning Pop art movement, where she occasionally collaborated with Warhol. Minujín’s work, however, was nothing like the slick, mass-produced paintings of her silver-haired male counterpart. Instead, her plush sculptures, environments strung with glowing neons, and public performances invited active participation and physical contact.
In the 1960s, Minujín began transforming multicolored mattresses into bulging forms that referenced the human body, sex, and rest. They became central elements of environments like La chambre d’amour (1963) and ¡Revuelquese y Viva! (1964), in which Minujín encouraged participants to leave their inhibitions at the door and roll around in a sea of cushions.
Minujín’s work has also addressed political issues like the ills of totalitarian rule and oppression. For the ongoing series “La caída de los mitos universals,” she erected replicas of famous monuments like the Parthenon using fraught objects, such as books banned by the former Argentine dictatorship. Once a given structure is dismantled, its individual components are distributed to the public.