In this text, Octavio Paz contemplates the characteristics of “Hispanic” art in the United States. In a section entitled “Names and Constitutions,” he begins by describing what he argues is an archetype of all societies: the struggle to resolve the tension between “participation” and “separation,” or, in other words, collectivity and alienation. In “Children of the Idea,” Paz states that the idea of the nation is constructed by history in a process that is artificial, and he examines how this occurred in the United States. In “Guadalupe, Coatlicue, Yemanyá,” Paz considers the differences between Hispanic and Anglo culture, and how they are rooted in the ideas of the Reformation and Counter-Reformation. While he notes enormous differences among Hispanic immigrants in the U.S., he concludes that they are united in how they differ from mainstream U.S. culture: they all value collectivity over individualism, and family over the individual. In the final section, “Art and Identity,” Paz argues that Martín Ramírez (the Mexican underground painter) is emblematic of all the artists included in the exhibition because of his experience as an immigrant, and the transcendent nature of his work. The dominance of surrealism, the talismanic, fetishistic, etc. in Ramírez’s work can be identified in all of the work in the exhibition organized by The Museum of Fine Arts, Houston in 1987, and distinguishes the work of Hispanic artists from mainstream U.S. contemporary art.