Art in Panama

Art in Panama: Between Indigenous Tradition and the Contemporary Avant-Garde

Panamanian art serves as a melting pot where indigenous traditions, colonial heritage, and a contemporary scene—increasingly recognized on the international stage—converge. Its visual richness is rooted in the nation’s indigenous cultures, most notably in the *mola*—a textile art form created by the Guna people—which stands as one of the country’s most distinctive artistic expressions. *Molas* are crafted using an "inverse appliqué" technique, involving multiple layers of fabric that are stitched and cut away; they evolved from a tradition of painting geometric designs onto the body, eventually developing into the complex compositions that are now globally celebrated as works of textile art. This heritage, alongside the *sombrero pintao*—designated an Intangible Cultural Heritage of Humanity by UNESCO in 2017—underscores the enduring vitality of Panamanian artisanal traditions.

In the realm of academic painting, the 20th century marked the professionalization of art in Panama. Roberto Lewis is considered the foundational figure of the national painting movement; his influence extended to students such as Humberto Ivaldi and Juan Manuel Cedeño, who took the initial steps toward developing a visual language infused with indigenous nuances. By the mid-20th century, abstraction was introduced by Alfredo Sinclair, while artists like Teresa Icaza explored the tropical landscape through vibrant hues and the incorporation of collage.

Panama’s contemporary art scene has achieved significant international reach. Donna Conlon and Jonathan Harker—known for addressing geopolitics and social dynamics through humor and critique—represented Panama in the exhibition *Horizon Ablaze* at the Taichung Museum of Art (Taiwan) in 2026. Their work transforms everyday sounds—such as the clinking of beer bottles or mangoes falling onto zinc roofs—into artistic experiences. The Museum of Contemporary Art of Panama (MAC Panamá) has established itself as a key platform for emerging talent, as evidenced by the Young Art Prize, which led to an exhibition by Milko Delgado titled *Eterno florecer de un cuerpo encantado* (“Eternal Flourishing of an Enchanted Body”)—a project that, drawing from the artist’s non-binary experience, questions the structures that govern our lives. Artists such as Jorge Chen, Gilberto Vallarino, and Radamés Pinzón continue to push the boundaries of Panamanian painting, exploring themes ranging from the ecological crisis in the Azuero region to the legacy of segregation in the former Canal Zone.
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