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    Parece una página de “Picardía Mexicana” : Goeritz y Montiel incorporan a su muestra lo que la gente les escribió en los muros
    Excélsior : El periódico de la vida nacional (México, D. F., México). -- Sep. 22, 1969
    Newspaper article – Reviews
    Excélsior: El periódico de la vida nacional (Mexico City) "Parece una página de 'Picardía Mexicana': Goeritz y Montiel incorporan a su muestra lo que la gente les escribió en los muros." September 22, 1969.

These are descriptions and reproductions of some of the comments inscribed by the public on the walls of the “cubo metafísico” [metaphysical cube] during the third exhibition of the Presencia de Los Hartos [We’re Here and We’re Fed Up] exhibition at the Palacio de Bellas Artes in Mexico City. According to the notes, the comments expressed by the public are the kind that might be found in Picardía mexicana [Mexican Trash Talk], a book of vulgar Mexican street sayings and proverbs. Some of them are directed at Mathias Goeritz and at the Los hartos [Fed Up] movement in general. Others are either sexual or political in nature. There is also a commentary on the other two exhibitions. The first is described as an “environment” that is decorated with columns of black-painted sheets, mirrors on the walls, and a constellation of red stars on the floor; music by Bach is playing in the background to create a “clima metafísico” [metaphysical climate]. The second exhibition, of paintings, is described as the antithesis of the idea that artists should “create a beautiful environment in the city.”  


The exhibition referred to in the review is Tres en Uno. Tres exposiciones. 1: equipo Goeritz-Montiel: La Osa Mayor, variaciones sobre el tema de una constelación. 2: Manuel Montiel Blancas: pinturas. 3: presencia de "Los Hartos" " [Three in One. Three Exhibitions. 1: Goeritz-Montiel team: Ursa Major, Variations on the Theme of a Constellation. 2: Manuel Montiel Blancas: Paintings. 3: presencia de "Los Hartos" [We’re Here and We’re Fed Up] that was presented in the Gallery of the Palacio de Bellas Artes in Mexico City. It appears that the public understood the Los Hartos exhibition as a “happening” as such events were referred to at the time. People decided that they could participate, so they did. It was certainly a major achievement for the group to have enjoyed that level of public participation, although the artists involved never again showed their work together as a group. 

Ana María Rodríguez
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional