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.
The text deals with the creation of the Galería Universitaria, whose objectives were “to stimulate the creation of art, to encourage the development of the visual arts, and to make national and foreign art of the highest quality widely known . . .”. The text tries to emphasize the differences with other galleries, very probably with the GAM (Galería de Arte Mexicano). On the other hand, the text mentions the intention of the new gallery to encourage free artistic expression, respecting the artist in the totality of his œuvre, without establishing guidelines set in accordance with the client’s preference.
Given the definite monopoly of groups of artists and galleries, the members of the university community decided to organize a series of exhibitions whose topics would adhere more closely to the nexus between painting and literature, perhaps making felt a reaction in opposition to the collective shows and the politicized line of the LEAR [League of Revolutionary Artists and Writers]. The new gallery, whose director was Julio Castellanos, enjoyed the endorsements of the poet José Gorostiza and the writer José Moreno Villa, in addition to other personalities linked to the group of Los Contemporáneos, who expressed their position by being more in favor of the art work in itself, with more subjective traits. In a certain way, the creation of this space for exhibitions made it evident that the artists did not hesitate to move in different spaces, which were only apparently incompatible.