2. While Moses’s “urban renewal” projects involved the expansion of parks, pools, and cultural institutions, they also led to sweeping displacement of long-rooted communities, the inequitable building of public facilities, and the segregation of low-income minorities in poorly managed housing blocks. For more about Robert Moses and the politics of displacement, strategic neglect, and autocratic design, see Robert Caro, The Power Broker: Robert Moses and the Fall of New York (New York: Alfred A. Knopf, 1974) as well as Marshall Berman, All That Is Solid Melts into Air: The Experience of Modernity (New York: Penguin Books, 1988), 287–348. For an account of urban renewal in New York City and its relationship to Cold War era city planning, see Samuel Zipp, Manhattan Projects: The Rise and Fall of Urban Renewal in Cold War New York (Oxford: Oxford University Press, 2012). The recent exhibition and book catalog, Robert Moses and the Modern City: The Transformation of New York, casts Moses in a more sympathetic light, looking at his public works projects in relation to post-WWII trends in urbanism. Hilary Ballon and Kenneth T. Jackson, eds., Robert Moses and the Modern City: The Transformation of New York (New York: W.W. Norton & Company, 2007).
3. Nils Gilman, Mandarins of the Future: Modernization Theory in Cold War America (Baltimore: Johns Hopkins University Press, 2003).
4. Dolores Hayden, The Power of Place: Urban Landscapes as Public History (MIT Press: Cambridge, 1995), 1–13.
5. For more on the history of post-WWII Queens, see, for example, Robert A.M. Stern et. al., New York 1960: Architecture and Urbanism Between the Second World War and the Bicentennial (New York: The Monacelli Press, 1995), 986–1025; Claudia Gryvatz Copquin, Neighborhoods of Queens (New Haven: Yale University Press, 2009); Warren Lehrer and Judith Sloan, Crossing the Boulevard: Strangers, Neighbors, Aliens in a New America (New York: W.W. Norton, 2003).
6. Seth Fein, “Culture across Borders in the Americas,” History Compass 1:1 (2003). For more articles by Fein, see Seth Fein, “Myths of Cultural Imperialism and Nationalism in Golden Age Mexican Cinema,” in Fragments of a Golden Age: The Politics of Culture in Mexico Since 1940, eds. Gilbert Joseph, Anne Rubenstein, and Eric Zolov (Durham: Duke University Press, 2001), 159-98; Seth Fein, “Everyday Forms of Transnational Collaboration: U.S. Film Propaganda in Cold War Mexico,” in Close Encounters of Empire: Writing the Cultural History of U.S.-Latin American Relations, eds. Gilbert Joseph, Catherine LeGrand, Ricardo Salvatore (Durham: Duke University Press, 1998), 400–50; Seth Fein, “Producing the Cold War in Mexico: The Public Limits of Covert Communications,” in In From the Cold: Latin America’s New Encounter with the Cold War, eds. Gilbert M. Joseph and Daniela Spenser (Durham: Duke University Press, 2008), 171–213; Seth Fein, “From Collaboration to Containment: Hollywood and the International Political Economy of Mexican Cinema after the Second World War,” in Mexico’s Cinema: A Century of Film and Filmmakers, eds. Joanne Hershfield and David Maciel (Wilmington: Scholarly Resources, 1999), 123–64; Seth Fein, “Transcultured Anticommunism: Cold War Hollywood in Postwar Mexico,” in Visible Nations: Latin American Cinema and Video, ed. Chon A. Noriega (Minneapolis: University of Minnesota Press, 2000), 82–111; Seth Fein, Review of The Fog of War (Errol Morris, dir., Sony Pictures Classics, 2003), American Historical Review 109.5 (October 2004): 1260–61; Seth Fein, Review of Frida (Julie Taymor, dir., Miramax, 2002) and Frida: Naturaleza Viva (Paul Leduc, dir., Clasa, 1984), American Historical Review 108.5 (October 2003): 1261–63.
7. See, for example, the program for Social Documentation at UC Santa Cruz; the Center for Documentary Studies at Duke; The Documentary Center at George Washington University; the Open Documentary Lab at MIT; the Jonathan B. Murray Center for Documentary Journalism at the University of Missouri; the Documentary/Public Humanities program at Yale. Also, the Media Arts + Practice Division at USC and the Sensory Ethnography Lab at Harvard embrace new forms of socially engaged nonfiction.
1. The generous intellectual and institutional interventions of Matt Jacobson and other scholar/artists have contributed invaluably to Between Neighborhoods' development. Matt brought his own expertise about U.S. imperialism and immigration as well as the practice of documentary art to a Queens College symposium about Between Neighborhoods that opened its gallery installation there sponsored by the Kupferberg Center for the Arts and moderated by Julia del Palacio, a historian of Mexico who is also a performing NYC artist, leader of Radio Jarocho, which has supported my work with its own. Matt also brought me and Between Neighborhoods to Yale, for its exhibition in Public Humanities there.
My former Yale colleague Gil Joseph arranged for Between Neighborhoods' early installation and exhibition in conjunction with the semicentennial meeting Latin American Studies Association (LASA), over which Gil presided, in NYC in May 2016. That collaboration directly emerged from our long-term association in making the transnational and cultural turns in interamerican history, expressed in print. LASA’s symposium at CUNY's Graduate Center—moderated by the event’s co-organizer, historian Amy Chazkel (CUNY)—proved vitally encouraging for the project’s ongoing evolution. The panel included: Laura Wexler (Yale) whose comments historicized Between Neighborhoods’ visual poetics in ways vitally encouraging andthat I would not have otherwise seen; Peter L'Official (Bard), theorized Between Neighborhoods’ connections to NYC literature and politics; Mary Louise Pratt, whose scholarship about empire has long influenced my own, positioned Unisphere in the global history of imperial iconography; and Freddy Castiblanco (Roosevelt Avenue Community Alliance), a Colombian-US transnational immigrant-rights-and-neighborhood-sovereignty activist as well as Queens cultural entrepreneur, commented on Between Neighborhoods' links to immigrant rights in NYC at both its Queens College and CUNY Grad Center symposia; he also hosted my artdoc’s earliest iteration, Outerspace Innerborough, at Terraza 7, the incomparable transamerican music venue he owns and operates on the Jackson Heights-Elmhurst border marked by the Seven train in the heart of global Queens.