Manuel Ocampo


ABOUT THE ARTIST

Manuel Ocampo has been a vital presence on the international art scene for over twenty-five years, with a reputation for fearlessly tackling the taboos and cherished icons of society and of the art world itself. Now based in Manila, the Philippines, he had an extended residency in California in the late 1980s and early 1990s and continues to spend significant time working in both the US and Europe. Ocampo will be featured in the Philippine Pavilion for the 2017 Venice Biennale, with a selection of paintings from the 1990s in dialogue with his recent work. The pavilion exhibition, entitled The Spectre of Comparison, is curated by Joselina Cruz, director of the Museum of Contemporary Art and Design, Manila, and will also feature installation works by Lani Maestro. This will mark Ocampo’s third showing in Venice following the 1993 and 2001 biennials.

Ocampo’s first solo exhibition, which took place in Los Angeles in 1988, set the stage for a rapid rise to international prominence. By the early 1990s, his reputation was firmly established, with inclusion in Documenta IX (1992), the Venice Biennale (1993) and the seminal exhibition Helter Skelter: L.A. Art in the 1990s at The Museum of Contemporary Art, Los Angeles (1992). During the ’90s, Ocampo was noted for his bold use of a highly charged iconography that combines Catholic imagery with motifs associated with racial and political oppression, creating works that make powerful, often conflicted, statements about the vicissitudes of personal and group identities. His works illustrate, often quite graphically, the psychic wounds that cut deep into the body of contemporary society. They translate the visceral force of Spanish Catholic art, with its bleeding Christs and tortured saints, into our postmodern, more secular era of doubt, uncertainty, and instability.

In recent years, Ocampo’s works have featured more mysterious yet emotionally charged motifs that evoke an inner world of haunting visions and nightmares. He often makes use of an eclectic array of quasi-religious, highly idiosyncratic icons featuring teeth, fetuses, sausages, and body parts alongside more traditional Christian motifs. The process of artistic creation is often a central concern, with many works making ironic commentaries on notions of artistic inspiration, originality, and the anxiety of influence. The artist himself is frequently the subject of parody and self-mockery; sometimes he appears as a buzzard, a kind of cultural scavenger, or assumes slightly deranged alter egos. He frequently includes sly references to the works of other artists, just as in the past he often referred to the work of provincial painters of Catholic altars. For The Corrections, his 2015 solo exhibition at Tyler Rollins Fine Art, Ocampo made silkscreens based on photographs of his older paintings, mainly well-known works from the ‘90s, altering the images to resemble darkened and distorted photographic negatives. New interventions were then hand painted on top of these images, creating rich, multi-layered compositions that capture a sense of the passing of time, the evolution of consciousness, and the ongoing structuring of personal and group identities.

The Corrections (2015)

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Las Plagas, 2014

silkscreen and oil on canvas

78 x 72 in. (198 x 183 cm)

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Elegua, 2014

silkscreen and oil on canvas

72 x 48 in. (183 x 122 cm)

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Islamic Disco Painting, 2014

silkscreen and oil on canvas

48 x 96 in. (122 x 244 cm)

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Scheiss, 2014

silkscreen and oil on canvas

72 x 50 in. (183 x 127 cm)

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Todos caeran, 2014

silkscreen and oil on canvas

72 x 48 in. (183 x 122 cm)

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Fashion Update, 2014

silkscreen and oil on canvas

72 x 48 in. (183 x 122 cm)

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Killing History, 2014

silkscreen and oil on canvas

48 x 48 in. (122 x 122 cm)

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Consumer Crisis, 2014

silkscreen and oil on canvas

74 x 78 in. (188 x 198 cm)

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Ubermensch, 2014

silkscreen and oil on canvas

60 x 48 in. (152 x 122 cm)

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La Liberté, 2014

silkscreen and oil on canvas

78 x 70 in. (198 x 178 cm)

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Untitled, 2014

oil on canvas

72 x 48 in. (183 x 122 cm)

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Untitled, 2014

oil on canvas

72 x 48 in. (183 x 122 cm)

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Untitled, 2014

oil on canvas

72 x 48 in. (183 x 122 cm)

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

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Installation View of "The Corrections" at Tyler Rollins Fine Art, January 8 - February 14, 2015

The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self-Loathing and Intestinal Mishaps (2012)

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Kitsch Effluvium Sui Generis: The Crucifixion, style 1953, 2012

oil on canvas

20 x 16 in. (51 x 41 cm)

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Nocturnal Emissions of the Limpid Gaze, 2012

oil on canvas

46 1/2 x 33 in. (118 x 83 cm)

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Bureau of Artistic Rehab Logo 2, 2012

oil on canvas

16 x 14 in. (41 x 36 cm)

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Untitled (Maybe This Could be the Title: The Secret Life of Hannah Wilke Circa 1985), 2012

oil, paint peelings and collage on canvas

74 x 78 in. (188 x 199 cm)

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Untitled (Maybe This Could be the Title: Vienna Sausage), 2012

oil on canvas

74 x 78 in. (188 x 199 cm)

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Untitled (Maybe This Could be the Title: Henry Taylor’s Version of Bohemian Rhapsody), 2012

oil and collage on canvas

74 x 78 in. (188 x 199 cm)

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Jayson’s Tatoo: Notes from the Contern Asylum (appropriated from a painting by Francis Krippendorf, circa 1965), 2012

acrylic on canvas

48 x 36 in. (122 x 91 cm)

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Little Brown Fracking Machine (Interior View), 2012

oil, gel medium,screws and collage on canvas, plexiglass and artist’s frame

61 x 61 in. (155 x 155 cm)

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Pollockian Excess In Extremis: Permission to Appear, 2012

oil, crumpled tissue and collage on canvas, plexiglass and artist’s frame

70 x 50 in. (178 x 127 cm)

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Pudendal Gravitas In Abstracta

oil, cigarette butts and collage on canvas, plexiglass and artist’s frame

78 x 57 in. (198 x 147 cm)

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Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

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Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

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Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

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Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination (2010)

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The Holocaustic Spackle in the Murals of the Quixotic Inseminators III, 2010

oil on canvas

64 x 48 in. (163 x 122 cm)

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Gewurtztraminer, 2010

oil on canvas

36 x 24 in. (91 x 61 cm)

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Counterwish of the Exotic, 2010

oil on canvas

51 x 35 in. (130 x 89 cm)

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The Holocaustic Spackle in the Murals of the Quixotic Inseminators II, 2010

oil on canvas

80 x 75 in. (203 x 191 cm)

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A Series of Images to Replace Vague and Unsettled Feelings, 2010

oil on canvas

78 x 78 in. ( 198 x 198 cm)

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Counterwish of the Exotic, 2010

oil on canvas

84 x 60 in (213 x 152 cm)

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Elin and the Tiger, 2010

oil on canvas

84 x 60 in. (213 x 152 cm)

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Meatballs with Wings, 2010

oil on canvas

84 x 60 in. (213 x 152 cm)

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Foot Fetish, 2010

oil on canvas

72 x 48 in. (183 x 122 cm)

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A Ghostly Emanation Coming from the End, 2010

oil on canvas

64 x 48 in. (163 x 122 cm)

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Devil, Clown, Tooth, Brown Smoke, 2010

oil on canvas

60 x 48 in. (152 x 122 cm)

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Sieg Heiligere in the Abendmahl, 2010

acrylic on canvas

60 x 36 in. ( 152 x 91 cm)

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Design for a Crucifixion (Cross with Water Closet and Shower), 2010

acrylic on canvas

60 x 36 in. ( 152 x 91 cm)

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State of Exception, 2010

oil on canvas

48 x 48 in. (122 x 122 cm)

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Partition of the Sensible, 2010

oil on canvas

48 x 48 in. (122 x 122 cm)

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Untitled, 2010

oil and varnish on paper

24 x 19 ½ in. (61 x 49.5 cm)

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Untitled, 2010

oil and varnish on paper

24 x 19 ½ in. (61 x 49.5 cm)

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Untitled, 2010

oil and varnish on paper

24 x 19 ½ in. (61 x 49.5 cm)

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Untitled, 2010

oil and varnish on paper

24 x 19 ½ in. (61 x 49.5 cm)

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Idealized Anatomical Model, 2010

oil on canvas

60 x 48 in. (152 x 122 cm)

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Counterwish of the Exotic IX (Pancreas in the Islet of Langerhans), 2010

oil on canvas

60 x 48 in. (152 x 122 cm)

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Counterwish of the Exotic, 2010

acrylic and varnish on canvas

48 x 36 in. (122 x 91 cm)

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Installation View of "An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination" at Tyler Rollins Fine Art, September 16 - October 30, 2010

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Installation View of "An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination" at Tyler Rollins Fine Art, September 16 - October 30, 2010

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Installation View of "An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination" at Tyler Rollins Fine Art, September 16 - October 30, 2010

Archive (2000-2009)

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A Defeatest Movement to the Grand Narratives in the Theatrical Arena of Modernist Object-makers, 2006

oil on canvas

96 x 132 in. (244 x 335 cm)

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Down with Reality, 2005

oil on canvas

48 x 36 in. (122 x 91 cm)

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Kitsch Recovery Effort: Frontal Depiction of Taste Inanities in the Figurative Bait of Meaning Reduced to an Analog for a Sign of Reality, 2000

oil on canvas

48 x 96 in. (122 x 244 cm)

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Crippled by the Multiple Sins of Regression, 2002

acrylic on canvas

60 x 48 in. (152 x 122 cm)

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A Object Conscious of Itself, 2002

acrylic on linen

60 x 48 in. (152 x 122 cm)

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Tú También Estarás de Moda, 2002

oil on canvas

60 x 48 in. (152 x 122 cm)

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The Compensatory Motif in the Libidinal Economy of a Painter's Bad Inconscience, 2001

oil on canvas

84 x 60 in. (213 x 152 cm)

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Lyric Poetry After...Ahem...Spasmodic Bitch Concatenator, 2000

oil on canvas

66 x 76 in. (168 x 190 cm)

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The Holocaustic Spackle in the Murals of the Quixotic Inseminators, 2000

oil on linen

78 x 94 in. (197 x 237.5 cm)

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An Object at the Limits of Language - Necromantic Kippan Emancipator: No. 2, 2000

oil on linen

48 x 96 in. (122 x 244 cm) - collection of the Asian Art Museum, San Francisco, gift of Malou Babilonia, 2007.78, image courtesy of the Asian Art Museum, San Francisco

Archive (1990-1999)

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Artist Examining Life Closely, 1998

acrylic on linen

61 ½ x 48 in. (156 x 122 cm)

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Deux Ex Machina (Abstract Painting), 1996

oil on canvas

48 x 48 in. (122 x 122 cm)

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Virgin Destroyer, 1995

acrylic and collage on canvas

60 x 40 in. (152 x 102 cm)

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From a Children's Picture Book, 1995

oil on canvas

60 x 48 in. (152 x 122 cm)

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Ubermensh, 1992

oil on linen

72 x 60 in. (183 x 152 cm)

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El Disierto, 1991

oil on canvas

70 x 47 in. (178 x 119 cm)

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El Demonyo Vive en Mi Culo Cagando de Cristo II, 1998

oil on linen

77 x 87 in. (196 x 221 cm) - collection of the Asian Art Museum, San Francisco, gift of Malou Babilonia, 2007.79, image courtesy of the Asian Art Museum, San Francisco

"Helter Skelter: L.A. Art in the 1990s", The Museum of Contemporary Art, Los Angeles, 1992 - view of Ocampo's works in the exhibition


WORKS

The Corrections (2015)

The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self-Loathing and Intestinal Mishaps (2012)

An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination (2010)

Archive (2000-2009)

Archive (1990-1999)

The Philippine Star, Manuel Ocampo and Lani maestro Channel Rizal

February, 2017


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ARTnews, Venice Biennale 2017

October, 2016


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National Commission for Culture and Arts, NCCA Announces PHL Representative to 2017 Venice Art Biennale

September, 2016


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Fukuoka Museum – Asia Collection 100

December, 2015


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Blouin Art Info, Manuel Ocampo’s “The Corrections” at Tyler Rollins Fine Art

January, 2015


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Art Loft, Why Southeast Asian Art Now?

December, 2014


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The Guardian, Art from the Philippines showcases global influences anchored in Manila

September, 2013


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Asian Art Newspaper, Manuel Ocampo

February, 2013


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The Wall Street Journal, A Filipino Provocateur Takes On New York

December, 2012


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Artforum, Manuel Ocampo

December, 2012


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Bastards of Misrepresentation: New York Edition

October, 2012


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Art Asia Pacific, Manuel Ocampo: Never Give Up Before It’s Too Late

July, 2012


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Asia Art Archive, Interview with Manuel Ocampo

October, 2011


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Dublin Contemporary 2011, Manuel Ocampo

September, 2011


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C-Arts, Manuel Ocampo On the Threshold of the Senses

March, 2011


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Frieze, Manuel Ocampo

February, 2011


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Art concerns, Up Against Interpretation: Manuel Ocampo

November, 2010


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The Wall Street Journal, Asian Artists Hold Solo Shows in New York

October, 2010


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Kunst und Auktionen

October, 2010


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Vitamin P, Manuel Ocampo

2007


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Asian Art News, Cultural Clashes And Visceral Shocks

July, 2006


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Art in America, Manuel Ocampo

June, 2003


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At Home & Abroad: 20 Contemporary Filipino Artists

1998


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Asia/America: Identities in Contemporary Asian American Art

1994


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Flash Art, Manuel Ocampo

May, 1994


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The Seattle Times, Manuel Ocampo Rides The Arts Roller Coaster

February, 1994


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