On July 21, 2026, Eduardo Montes-Bradley delivers a lecture at the Consulate General of Argentina in Barcelona marking the 110th anniversary of the first crossing of the Andes by hydrogen balloon, achieved in 1916 by Eduardo Bradley and Ángel María Zuloaga.

A drive down the Mediterranean coast to Cullera, and a meeting with Cecilia Rodrigo, daughter of Joaquín Rodrigo — the blind composer who wrote every note of his life's work in Braille. A house of seven-step staircases, a family workshop, and the foundation that gathered a scattered archive under one roof.

Nanjing accumulated its past, layer upon layer. Valencia did something stranger — it kept some layers and erased others. Reading a city through what remains, and what was made to disappear.

A flood nearly killed a city. What grew from the wound is a lesson in what citizens can demand from the places they live.

Eduardo Montes-Bradley's documentary The Piccirilli Factor: Italian Sculptors and the City Beautiful Movement will have its European premiere on August 4, 2026, in the gardens of Villa Rinchiostra in Massa, Italy — birthplace of the Piccirilli brothers, the carvers behind the Lincoln Memorial and America's most iconic monuments. Organized by the Comune di Massa and the Biblioteca Civica Stefano Giampaoli.

El correo como sistema puede explicarse con organigramas, flujos, ventanillas, camiones, carteros, sellos, horarios y reglamentos. Pero una carta tiene otra cosa: tiene alguien que la escribe, alguien que la espera, una demora, una pérdida posible, una ansiedad, una llegada. Tiene mundo. Tiene alma. Tiene vida.

The Untold Story of Louis Comfort Tiffany's Global Artistic Empire and How America's Master of Light Became the World's First Global Design Ambassador

I recently rewatched Chronicle of a Summer, Jean Rouch and Edgar Morin's 1961 film, for the first time in nearly fifty years. I must have first seen it as a young teenager. The strange thing this time around was the math: this film was shot in the summer of 1960 — basically the moment I was born. Watching it again, I found myself looking less at "subjects" in a sociological experiment and more at my own parents' generation, caught on camera at exactly the age they would have

Notes on "Papá Iván," a film by María Inés Roqué. México, 2000. Argentina's Dirty Little War This morning I spent the better part of an hour on the phone with a woman I had never met, talking about things I have carried for fifty years. Her name is María Inés Roqué. She makes documentary films; so do I. She left Argentina around the time I did. Somewhere in that hour we discovered we have many friends in common. It should not have surprised either of us: the country we left

While preparing a lecture in Barcelona on the 1916 crossing of the Andes by hydrogen balloon, I reopened the research archive my father left behind for his book Más liviano que el aire. Among the papers was an incomplete collection of the 1969 La Nación comic series Bradley y Zuloaga, published during the days surrounding the Apollo 11 Moon landing.

Pilar Roca Escalante visita o ateliê de Marcelo Soares em Timbaúba e traça o retrato do xilogravurista e cordelista de Olinda, herdeiro do "poeta-repórter" José Soares. Entre rendeiras, violeiros, o pavão misterioso e as vestes do cangaço, suas gravuras transpõem em imagem a música e a alma do Nordeste.

In the Jim Crow South, Black men and women paid to step into the photographer’s studio and be seen as they chose. The Holsinger Studio Collection holds the record of that quiet defiance.

A modernist bronze of a woman — commissioned by Colonel Frank "Brandy" Brandstetter, founder of Las Brisas — leads back to a Carrara dynasty, to Rodin, and to the one building where Ponzanelli's marble met Tiffany's glass.

The Fine Arts Film Festival, now in its 13th edition, is genuinely about art — how it's made, how artists survive, what drives them. That's not marketing copy; it's what their selection reflects. Ninety films from 31 countries, and the overwhelming majority made by women and people of color. The Piccirilli Brothers were immigrant stone carvers who shaped some of the most iconic monuments in America and were largely forgotten. This feels like the right room for their story.

Por primera vez, Miriam Gómez —viuda de Guillermo Cabrera Infante— responde a un artículo sobre la amistad entre Cabrera Infante y Alberto Korda: La Habana, las mujeres y el fin del espejismo revolucionario.

A reflective essay by Eduardo Montes-Bradley examining how Cuban-American painter Humberto Calzada transformed order into an act of resistance. Through the architecture of his home, the precision of his studio, and his paintings of Havana, Calzada preserved memory, identity, and sovereignty in exile.

I suspected my father's days were numbered. Not that he would care to discuss the matter. Despite my best efforts, we never talked about it. A few months earlier I gave him a copy of Seneca's Letters on How to Die, hoping it would trigger a conversation. It didn't.

Jewish women partisans fought, sabotaged, and survived the Holocaust as soldiers, not victims. A reflection on "Every Day the Impossible," narrated by Tovah Feldshuh.