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.
Given the recent re-opening of the Museo Nacional de Arte Moderno at the Palacio de Bellas Artes, the writer Francisca Olivos asks and, at the same time, answers: “Does it respond to Mexican painting as we know it and as it has been until now? Evidently not.” The author discounts nearly everything contained in the new installations: the collection of Mexican painting, in her judgment, “could very well be called Hindi or Czech painting.” The absence of David Alfaro Siqueiros, Rufino Tamayo, and “painting that reflects the social and human reality,” leads her to negatively describe the official selection as abstractions, “the majority of which are works by foreigners that have nothing to do with our country.”
The author notes the change in curatorial style of the new museum at the Palacio de Bellas Artes; in contrast to the past, it has opened its doors to all existing trends given the criticisms received after the selection of works for the Bienal Interamericana de Pintura for being exclusively focused on the Mexican School. Nevertheless, in the author’s opinion, artists who express any social commitment have been censured; she declares this was the case with three works by Federico Silva. The journalist explains: “the organizers intended to eliminate any vivid expression of national and human problems.” Various critics and artists celebrated the diversity of trends included by the authorities, especially those young artists who were removed from the nationalist and anecdotal aesthetic.