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.
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.