In this review of Mexican architecture, the painter Diego Rivera criticizes the aesthetic taste that gave rise to the abominable architecture of the Porfiriato (the Porfirio Díaz regime, before 1910) and to most of the architectural work of the post-revolutionary period. Rivera berates both, repudiating their emphasis on the mundane, on the “charro (horseman),” and on the neo-colonial. He hates the nineteenth century, especially the end-of-century buildings such as the National Theater, the Post Office, and what is today the Palace of Communications, all of which are in Mexico City. The painter claims that the first important contribution to Mexican architecture was made on the day when the Spanish aesthetic entered the mind of the indigenous laborer, creating a mestizo architecture that could be expressed in a secular or religious style but was beyond the control of metropolitan authorities. The revolution of 1910 is regarded as the first step toward a new architecture, so much so that Rivera held up Carlos Obregón’s work as a model of the architecture that should be used to build a new Mexico. He describes the common area that the architect created with cheap and hygienic materials, where there is no waste, and tubes and measuring devices are used as a form of decoration.