Correspondence
name: label: Collection Creator
content: Ojeda, Naúl, 1939-2002
setName: label: See more items in
content: Naúl Ojeda papers
physdesc: label: Extent
content: 0.8 Linear Feet (Box 1, OV 9
)
unitdate: label: Date
content: 1960s-2002
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.ojednaul, Series 2
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement
content: Correspondence is arranged alphabetically either by name or type, such as "Friends" or "General."
altformavail: label: Existence and Location of Copies
content: This series has been digitized in entirety.
scopecontent: label: Scope and Contents
content: Ojeda's correspondence is both personal, with family and friends, and professional, with colleagues, galleries, museums, and other art and civic organizations, although the majority of Ojeda's correspondence related to galleries and exhibitions can be found in Series 3. Correspondence is primarily incoming, although some outgoing letters can be found primarily in the general correspondence files, in a folder of photocopies of outgoing letters to friends, and in other files described below.

Letters from Ojeda to his wife Philomena were written during Ojeda's 1984 trip to Uruguay for the election there. There are four folders of letters from Ojeda's ex-wife and daughter Ana Gabriela, sent during their exile in the Netherlands, and a folder of printed email messages between Ojeda and his daughter Maria Antonia de Leguiza, who connected with Ojeda in 2001. Ojeda had previously been unaware of his daughter's existence – the result of a brief relationship he had in Argentina after covering events in Chile – and the two formed a strong bond based on shared political experiences and beliefs.

Letters to friends and colleagues include three folders of letters from Azucena Berrutti, who later became Uruguay's National Defense Minister, and other family members including Berrutti's husband, activist Walter Jesus Gonzalez, and individuals named David and Coco, whose letters were often received together. Other correspondents of note include journalist and writer Armando Caicedo Garzón, Uruguayan journalist Eduardo Galeano, Uruguayan art historian Alicia Haber, Chilean artist José Palomo who went into exile in Mexico after Pinochet's rise to power, and Uruguayan painter Ernesto Vila. Vila's files include an exhibition catalog with an inscription by Vila, and a letter from Philomena Ojeda that provides context for the material. 

General correspondence includes responses to inquiries made by Ojeda and requests from various organizations and individuals for permission to use Ojeda's work in publications; invitations; thank you letters; and other documentation from civic and political organizations to which Ojeda lent his time and support.