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.
Fernando Gamboa, deputy director of the Instituto Nacional de Bellas Artes (INBA), responds to Tamayo by stating that the Instituto has always used a criterion of equality and reminds the artist that his painting has had all possible official support since 1948. Gamboa was referring to the retrospective exhibition of Tamayo’s work as well as the publication of a monograph on Tamayo. He likewise reminds him of the organization of the exhibition at the Salon of Mexican Art and his invitation to the 1950 Venice Biennale. For Gamboa, the Instituto’s criterion was one of equality; because of this, it would show the works of each and every artist who had already “determined some of the national pictorial characteristics.”
As the deputy director of the Instituto Nacional de Bellas Artes, Fernando Gamboa (1908–1990) organized grand exhibitions in the most important capitals of the American and European continents; in fact, the projection of Mexican art abroad was one of the cultural policies supported by the government of President Miguel Alemán Valdés (1946–52). This policy became one of Gamboa’s most important tasks. On the one hand, he wanted to demonstrate the pictorial diversity of Mexican painting; nevertheless, his curatorial work was not egalitarian given that he dedicated himself to disseminating the works of the four great ones who were known as the only Mexican painters. This can be seen in his organization of the exhibition wherein he presented the works of José Clemente Orozco (1883–1949), Diego Rivera (1886–1957), David Alfaro Siqueiros (1896-1974), and Rufino Tamayo (1899–1991), each in their respective rooms. Meanwhile, painters such as Gerardo Murillo (Dr. Atl), Francisco Goitia, Manuel Rodríguez Lozano, Guillermo Meza, Jesús Guerrero Galván, Julio Castellanos, María Izquierdo, and Frida Kahlo, among others, were represented in collective spaces.