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.
When interviewed for his participation in the first exhibition of Los Contemporáneos group, Manuel Rodríguez Lozano replied: “We are not a group but rather four independent painters,” the common denominator among them being “work and honesty.” In the absence of mural commissions, Rodríguez Lozano claimed that the exhibition was meant to function as an encounter with the public, in the sense that was then prevalent: a mixture of both social and “racial” or ethnic elements.
The ambiguity concerning whether they were in fact a group or not, was characteristic of the writers and artists linked to Los Contemporáneos group. With his usual sarcasm, Manuel Rodríguez Lozano (1895-1971) took advantage of the interview to make some negative comments on the ¡30-30! Group. He pointed out that they did not rally around the Academy, the Revolution, “nor even a toy rifle with its sights pointed at the [Official] budget” for murals. The “30-30” was the rifle used during the Revolution and the artists who adopted it as their emblem were part of the teaching staff at official schools. In addition to Rodríguez Lozano, other artists who also exhibited included Julio Castellanos, Abraham Ángel, Carlos Mérida (1891-1984) and Rufino Tamayo (1899-1991) and if he had not been in Paris at the time, Agustín Lazo (1896-1971) would also have participated.