The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This brief review deals with Carlos Mérida’s exhibition at the Delphic Studios in New York. It was widely accepted and attended by a large public that included artists, critics, and journalists. Some sections of comments about the show, published in the United States press, are included.
In 1927, Carlos Mérida (1891-1984) traveled to Europe for the second time. On this occasion he remained there for two years, settling in Paris for most of the time. The assimilation of the avant-garde embarked him on a search for new forms of expression, thus leaving behind the folkloric themes to begin a new cycle of painting of a more abstract nature that is primitive as well as tending to the archaic. Mérida begins to synthesize and abstract. From this time on, his work separates formally as well as conceptually from the Mexican pictorial movement. A year after his return to Mexico, his recent production is exhibited in New York, receiving very positive comments from the critics; a fact that opens the doors to the United States market. Between 1930 and 1940, the œuvre of the Guatemalan painter living in Mexico counts eight exhibitions in several United States cities. This positive reception placed the painter in a position that allowed him greater freedom to experiment in the visual arts. This fact is reflected in his works as well as in his discourse, since Mérida started to formulate his conception of abstract art.