Rauschenberg's selection for the
Golden Lion marked the United States' ascendancy over European artistic dominance, and the entrance of
pop art into canon.[3]
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"O Brasil na XXXII Bienal de Veneza". Habitat (in Portuguese) (79): 75–78. September 1964.
Restany, Pierre (August 1964). "La XXXII Biennale di Venezia, Biennale della irregolarità {text in French and Italian, with English summary}". Domus (in Italian). No. 417. pp. 27–42.
ISSN0012-5377.
Revel, Jean François (July 1964). "XXXIIe Biennale de Venise: triomphe du 'réalisme nationaliste.'". L'Oeil (in French). No. 115–116. pp. 2–3.
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San Lazzaro, Gualtieri di (December 1964). "La XXXIIe Biennale de Venise". XXe Siecle (in French). 26.
ISSN0223-3010.
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ISSN0825-3854.
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ISSN0039-4114.