Ángel Zárraga (1886-1946) has just completed the decoration of the Club de Banqueros, located on one of the top floors of the new building in the capital, the Edificio Guardiola. This building, which is an important example of Art Deco architecture, houses the Banco de México. The composition consists of four female nude figures set in an idealized natural environment, accessible to the “cosmopolitan” public that would be visiting the club. According to Monferrer, the least idealized of the images is Abundancia, in which the painter “alludes to . . . our mestizo women,” with the familiar association between the feminine and the “fruits of Mother Earth.” Earlier in the year, on the ground floor of the same building, Jorge González Camarena (1908-80) painted the work La vida [Life], made up of two parts: “male” and “female.” As the titles indicate, these works, also nude, were part of a realistic aesthetic trend that led to more than one adverse criticism. The negative comments by conservatives linked to the Edificio Guardiola cited moral objections to the works. Unlike the Zárraga paintings, created for a private audience, the works by González Camarena were exhibited in a public space, on the upper wall where the main elevators were located.