The writer of this article states that during these years of aesthetic crisis, just when a new world is being constructed with new resources, artists approaching maturity have been confronted by a serious, unexpected problem. These artists are being subjected to an attempt to resurrect mural art and risk being stuck in place. In the writer’s opinion, those artists who are able to resolve this conflict are admirable for going beyond the limits of their times. As an example of such an artist, the writer points out Roberto Montenegro—about whom the writer observes the change between his earlier work (done 20 years before) and the current “vaciladas” [jokes]. However, the continuity is barely visible. He even comments on some of the painter’s artistic achievements: frescoes, book illustrations, as well as his recent series of lithographs on Taxco, in which he includes drawings with the title Vacilada. To the writer, Montenegro has made the journey between social art and abstract art, that is, art for art’s sake. The article highlights several periods in the painter’s life: his stay in France and Spain, his return to Mexico, and his participation as a muralist on several buildings of the Mexican government. Finally, it mentions that he will be showing his recent work in an exhibition sponsored by the Carnegie Institute, which will travel to San Francisco and New York. Regarding Mexican painting, the writer believes that, as in politics, there is an inferiority complex or even outward submission and a lack of interest in the Mexican “nativo solar” [native land]. This is why, in his opinion, Mexicans have sought out France and imported its culture, since France’s good taste and ability to produce art criticism are indisputable. Other countries’ cultures imported include Germany, Russia, England and the United States.