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.
The exhibition at Perls Gallery in Beverly Hills, Los Angeles, presented Rufino Tamayo as one of the four great Mexican artists. His works were part of the great modernism and, unlike those of his colleagues, no Communist symbols could be found in them. Tamayo made his fights with Siqueiros known. He stated that the Communist Party in Mexico was quite small, but that it nevertheless had influenced the painting there. Siqueiros was a member of Mexico’s Communist Party and its greatest representative; Rivera had asked to be readmitted to the PCM despite his expulsion since the 1930s.
Rufino Tamayo (1899–1991) declares himself to be anti-Communist in this article. The leftist magazine Arte Público portrayed the painter as an informer and agitator; it also denounced the Yankee nation for interfering in the artistic life in Mexico. The controversy between the artists of those years was not only aesthetic, but also political. Within the context of the Cold War, David Alfaro Siqueiros was perceived as an arts spy, given his close links with the government of the Soviet Union. At that time, Siqueiros dedicated himself to discrediting the artistic trends linked to abstractionism.