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.
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.