the country, Venezuela and Brazil. In Bogotá she was invited by Teatro La Candelaria and Corporación Colombiana de Teatro to create stage designs. In 1980, Vicuña moved to New York City and married César Paternosto. In the 80's she exhibited her work at MoMA, the Alternative Museum, and the Center for Inter American Relations in New York. In the 1990s, Vicuña had several solo exhibitions in the United States, such as "Precarious," a solo exhibition at Exit Art, New York (1990); "El Ande Futuro," a solo exhibition at the University Art Museum, Berkeley, California (1992); and "Cloud-Net," a solo travelling exhibition at Hallwalls Contemporary Arts Center, Buffalo, NY (1998), DiverseWorks Artspace, Houston, Texas, and Art in General, New York, NY (1998). She was interviewed for the 2010 film !Women Art Revolution. In 2018, Vicuña became the Princeton University Art Museum's 2018 Sarah Lee Elson International Artist-in-Residence. As part of her residency, Vicuña performed with Colombian pianist Ricardo Gallo. In 2022, The Solomon R. Guggenheim Museum hosted Vicuña's first solo exhibition in a major New York museum. At the age of 74, Cecilia Vicuña presented Spin Spin Triangulene, an exhibition which showcases a wide array of paintings that span the artists career, site-specific quipu installations and films. Performance Cecilia Vicuña Vicuña was the founder of Tribu No and author of the No Manifesto, that created art actions in Santiago de Chile from 1967 to 1972. In 1979, while living in Bogotá, Vicuña performed El Vaso de Leche (The Glass of Milk) in which she gathered an audience and spilled a glass of white paint to protest the deaths of an estimated 1,920 children due to contaminated milk. The company responsible had mixed fillers like paint into the milk to maximize their profits. She performs her poetry internationally, frequently in conjunction with exhibitions or art installations, and documents her performances in videos and on the Vicuña audio page at Pennsound, and the 2012 collection Spit Temple: The Selected Performances of Cecilia Vicuna which includes transcriptions, commentary, and audience commentaries. Publications Vicuña has written and published twenty two books of her visual art installations and poetry. Her writing has been translated into several languages. These include Saboramí (1973), the first book testimony of the Military Coup in Chile, documenting the death of Salvador Allende, The Precarious/Precario (1983), Cloud Net (2000), Instan (2002) and Spit Temple (2010), a collection of her oral performances. In