The Other Trans-Atlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Eastern European and Latin American art scenes converged in a shared enthusiasm for kinetic and Op art. As the established axis of Paris, London, and New York became increasingly dominated by a succession of ideological monocultures--such as the master concepts of gesture and expressionism, Pop, or minimalism--another web of ideas was being spun, linking the hubs of Warsaw, Moscow, and Zagreb with Buenos Aires, Caracas, and Saõ Paulo. These artistic practices were dedicated to a different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.