“¿Un posmodernismo en México?” by the French-Mexican critic, curator, writer, and filmmaker Olivier Debroise (Jerusalem, Israel, 1952–Mexico City, Mexico, 2008) was printed in the magazine México en el Arte, published since 1948 by Instituto Nacional de Bellas Artes (INBA) [National Institute of Fine Arts]. In his essay, Debroise resists to understand the neo-expressionistic, figurative, and often tacky painting of the 1980s, which came to be known as neo-mexicanismo, as a simple importation of the Postmodern style fashionable in the United States. Instead of seeing it as a belated imitation of international trends, he attempts to imbue the Mexican work with meaning by reading the production of the decade through a specific, local socio-political context. Hence, by extension, Debroise seeks a new model of the valuation of Latin American artwork, independent of the established Western canons. This attempt to construct an alternative artistic value system and to simultaneously challenge the established history of Mexican Modernism is reflective of Debroise’s other projects, such as the exhibitions Modernidad y modernización en el arte mexicano (Modernity and modernization in Mexican Art) at the Museo Nacional de Arte in Mexico City (1991); El Corazón Sangrante [The Bleeding Heart] at the ICA in Boston (1991); David Alfaro Siqueiros: Retrato de una década [David Alfaro Siqueiros: Portrait of a Decade] at the Museo Nacional de Arte, Mexico City, Museum of Fine Arts, Houston, Santa Barbara Museum of Art, California, and the Whitechapel Gallery, London (1997); and cocurated with Cuauhtémoc Medina and Álvaro Vázquez, La era de la discrepancia. Arte y cultura visual en México, 1968–1994 [The Age of Discrepancy. Visual Art and Culture in Mexico] at the Museo Universitario de Ciencias y Arte, MUCA, in Mexico City (2007).