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Abstract
This essay explores the theory of the plastic object as it was developed by the Peruvian art critic Mirko Lauer in the 1970s and 1980s, in dialogue with other ideas related to the Teoría Social del Arte (Social Theory of Art) developed in Latin America. Focusing on the Peruvian cultural debate, the author reconstructs Lauer’s trajectory and emphasises his critique of ‘Marxist aesthetics’, and explores them as conceptual tools for discussing the horizon of contemporary art today.