In 1957, he received the José Loreto Arismendi Award at the XVIII Official Annual Salon of Venezuelan Art and an honorable mention at the IV São Paulo Biennial.
In 1959, he took part in the exhibition "Veinte años del Salón a través de sus premios" (Twenty Years of the Salon Through Its Prizes) at the Museum of Fine Arts in Caracas.
In parallel, he created scenography for the plays "Hernani" by Victor Hugo and "Esperando al Zurdo" by Clifford Odette, as well as costumes and props for "Calígula" by Albert Camus.
In 1961, he exhibited at the XXII Official Annual Salon of Venezuelan Art in Caracas, where he was awarded the National Drawing Prize for the work "Yo también quiero ver" (I Want to See Too).
[4] He initiated the series "Las jugadoras" (The Players) in 1965, the same year he participated in the VIII São Paulo Biennial and the XXVI Official Annual Salon of Venezuelan Art.
Two years later, in 1974, Borges participates in the III Latin American Print Biennial in San Juan, Puerto Rico, and at the Estudio Dos Gallery in Valencia, Venezuela.
"Vision of Venezuela," his traveling exhibition composed of murals, photomontages, audiovisuals, and texts, arrives at the urban complex Parque Central in Caracas in 1975.
Argentine writer Julio Cortázar writes a short story titled "Encuentro con un círculo rojo" (Encounter with a Red Circle) inspired by one of Borges's paintings, published in catalogs in Mexico and Caracas.
Continuing his ongoing interest in teamwork, he plans a mural tribute to the Nicaraguan hero Sandino along with Régulo Pérez, Claudio Cedeño, Victor Hugo Irazabal, and Pedro León Zapata.
Julio Cortázar publishes "Territorios" (Siglo XXI Editores, Mexico, 1978), including the work of fourteen international artists and sculptors, among whom is Jacobo Borges.
The publication of the book "La montaña y su tiempo" by Armitano Editores, featuring his texts and drawings, sponsored by Petróleos de Venezuela, classifies him as one of the great draftsmen on the continent.
His work is included in the 1979 calendar of the Du Mont publishing house, Germany, alongside artists such as Max Ernst, René Magritte, and Robert Rauschenberg.
Following the exhibition "Dibujos en distintos tiempos y otros tantos silencios, 1953-1980" (Drawings in Different Times and Silences, 1953-1980), held at the Estudio Actual Gallery in 1981, the artist begins discussions with the American art critic Dore Ashton for an upcoming book.
Alongside Roberto Matta and Francisco Toledo, he attends the I Bienal de La Habana (Havana Biennial) in 1984 as a special guest held at the Wilfredo Lam Contemporary Art Center.
In 1985, before creating the set and costumes for the play "Lo que dejó la tempestad" (What the Storm Left), written by César Rengifo, directed by José Ignacio Cabrujas, and presented by the National Theater Company of Caracas, Borges participates in the exhibition "Nueva Figuración" (New Figuration) at the Moss and Harcourts Gallery in San Francisco and the Yanes Gallery in Scottsdale, Arizona, alongside Sandro Chia, Philip Guston, Jim Peters, Peter Booth, and Steven Campbell.
That same year, he receives a grant from the John Simon Guggenheim Foundation for outstanding intellectuals, which requires candidates with an accomplished body of work, recommended by notable personalities.
1956-1986," the Staadtiche Kunsthalle in Berlin publishes the book "Jacobo Borges" in 1988, featuring a compilation of texts by Wieland Schmied, Dore Ashton, Carlos Fuentes, Julio Cortázar, Carter Ratcliff, Donald Kuspit, Marta Traba, Roberto Guevara, Edward Lucie-Smith, and Peter B. Schumann.
The gallery showcases internationally recognized artists such as Tadeus Maksin, Kantor, Petrick, Schametau, Rodique, Rafael Canogar, Peter Sorger, and the Equipo Crónica.
This program has presented works by Pieter Paul Rubens, Mary Cassatt, Pablo Picasso, Lucas Cranach, Leonardo Da Vinci, Matthias Stomer, Camille Pissarro, Andy Warhol, Michael Boyd, among others.
Damián Bayón and Roberto Pontual include him in the publication "La peinture de l’Amérique latine au XX° siècle" by Ediciones Mengès, Paris.
[7] Borges is also part of the exhibition "A Propos de Romantisme Barroque" at the Fondation Vasarely in Aix-en-Provence, France, organized by the critic and writer Salvatore Lombardo.
On the occasion of this exhibition, a homonymous catalog with texts by Wieland Schmied is published, describing Borges's work as "a painting in which there is something of the fire of the Venezuelan heights and something of the fall of the Berlin Wall...".
Subsequently, he participates in the collective exhibition "Pintura latinoamericana del siglo XX" at the Damian Bayón Center for Latin American Studies, Santa Fe, Granada, Spain.
Pinturas" at the Damian Bayón Center for Latin American Studies, Santa Fe, Granada, Spain, and participates in a collective exhibition on Venezuela at Casa de América in Madrid.
The homonymous catalog, edited by the Internationale Sommerakademie für Bildende Kunst, is translated into German, Spanish, and English and includes texts by Wieland Schmied and an interview with the artist conducted by Barbara Wally.
During another stay in Salzburg, he presents at the Residenz Galerie "Der Himmel Senkte Sich" (The sky came down), an installation of a thousand square meters in which, through paintings, sculptures, and objects, he reflects on the universal flood and the end of the millennium.
This same year, he is included in the exhibition "América Latina: de las vanguardias al fin del milenio" at the Culturgest Cultural Center in Lisbon, Portugal.
Jacobo Borges is included in the book "Twentieth-Century Art of Latin America" (2001), written by Jackeline Barnitz and edited by Austin University of Texas Press.
In 2016, the retrospective "De las relaciones humanas al Paisaje desde el mar, 1986 – 2016" is presented at Galería Freites in Caracas, with text and curation by María Luz Cárdenas.
[11] In 2020, Jacobo Borges presents, in digital format on the Prodavinci website, "Diary in times of pandemic," a series of videos, art, and writings reflecting on the global quarantine due to Covid-19.