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 letter, Rufino Tamayo hints at the friction experienced by an artist who put his personal goals above the demands of political activism. Tamayo promises to report on the failings of the delegation to the LEAR and apologizes for asking the Departamento de Bellas Artes [Department of Fine Arts] for permission to extend his stay in New York without the approval of the Unión de Profesores de Artes Plásticas [Visual Arts Teachers’ Union].
This document by Rufino Tamayo (1899–1991) helps to establish when he was involved with the bureaucratic arms of the cultural front. Tamayo’s position would change later on when, during the Cold War, he was on the opposite side and was a leader of the dissident artists and a promoter of the break with the so-called “Mexican School” of painting.