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.
Eager to cultivate Mexico’s good name abroad, President Miguel Alemán made every effort to obtain the best results for the presentation in Paris of artwork created by his Mexican countrymen. Alemán wanted to make sure that this exhibition—covering art periods from the pre-Hispanic era down to our day—would have the greatest possible international reach and repercussions. According to the note, he was focused to pay attention in reaching the best results as possible. The exhibition’s main objective would be to show the world Mexico’s grand artistic past, giving a new meaning to this art, which would now take its place in the universal history of art.
During the government of Miguel Alemán Valdés (1946-52), international exhibitions became an effective means of publicizing the image of Mexico. On the one hand, the image would portray a developing nation, but it would also show a nation with a great civilization and a culture that was authentic, original and avant-garde. Moreover, the contemporary portion of the exhibition to open in France would show the Mexican School of Painting as one of the most significant trends in the modern art world. Against this background, the exhibition would confront the formalist style of the School of Paris with the figurative painting characteristic of the Mexican painters.