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In this article, Luis Cardoza y Aragón reviews the events of 1957, and laments the deaths of Diego Rivera and Miguel Covarrubias. He lists the various exhibitions taking place in Mexico City, including different murals, such as the Fanny Ravel in the Centro Deportivo Israelita [Israeli Sports Center]; one by Jorge González Camarena in the Mexican Senate building; and one by David Alfaro Siqueiros in the Museo Nacional de Historia. Cardoza y Aragón called out the authorities for the deterioration of murals such as those by José Clemente Orozco in the Hospicio Cabañas de Guadalajara and those by Siqueiros in the Casino de la Selva in Cuernavaca that were in urgent need of restoration. Regarding the crisis in Mexican painting, Cardoza y Aragón believed that the driving force underlying Muralism and popular printing still lived on.


In overt opposition to the stance of Antonio Rodríguez, Luis Cardoza y Aragón (1901–1992), the Guatemalan writer based in Mexico, defended art trends linked to poetic expression rather than those linked to political messages. He also took a stand against closed and limited nationalism. He deemed it necessary to maintain an ongoing dialogue between local programs and worldwide currents; also, he rejected the attitude of boxing oneself into a jingoism that would generate insecure, feeble painting. Cardoza y Aragón did not think there was a crisis in painting, but rather a stagnation, and believed that the great movement had not disappeared but had merely lost some of its energy.

Ana María Torres : CEPE, U.N.A.M. / CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Courtesy of Fondo Patrimonial En Beneficio De El Colegio de México, A.C., Mexico City, Mexico
Biblioteca Miguel Lerdo de Tejada de la Secretaría de Hacienda y Crédito Público