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 interview, David Alfaro Siqueiros states that in the exhibition Arte mexicano: desde tiempos precolombinos hasta nuestros días [Mexican Art: From Pre-Colombian Times to Our Days], contemporary Mexican painting had generated both supportive and unfavorable reactions. Although Paris defended abstract and formalist painting, it also accepted figurative art. According to Siqueiros, this was proof that social painting had triumphed in its content and realist form.
David Alfaro Siqueiros (1896–1974) took the opportunity to promote painting with social content as the principal characteristic of Mexican expression. He likewise declared that abstract painters were defending a pro-imperialist ideology because they supported groups in power that believed political art was a form of spiritual oppression. The exhibition Arte mexicano: desde tiempos precolombinos hasta nuestros días was part of the aesthetic and political debates that took place during those years. At the same time, the curatorial script articulates visual constructs that, through its unifying discourse, promote nationalism that would not forget its cultural and spiritual connections with the past. This sense of nationalism formed an integral part of the cultural identity of Mexicanness. The effectiveness of this proposal made that discoursiveness to be sacrosanct among the highest spheres of power, both private and governmental, and it is still relevant today.