In this article, Honduran writer Rafael Heliodoro Valle provides a panorama of the most important moments in the history of Mexican painting. Valle claims that Mexico’s artistic production is preeminent and widely praised by international critics. He attributes this artistic excellence to Mexico’s rich past, evidenced by numerous archaeological ruins. Valle singles out the colonial painters Baltasar de Echave Orio, Baltasar de Echave Rioja, Juan Rodríguez Juárez, and Miguel Cabrera for their artistic achievements despite constraints imposed upon their art by the conservatism of the period. During the colonial period, the Academia de San Carlos served as the foundation of Mexican academic painting and of “Mexicanismo” as seen in the work of acclaimed painter Saturnino Herran. Valle cites Doctor Atl and José Clemente Orozco as paragons of painting after the end of the Porfirio Díaz regime. According to Valle, Diego Rivera is the most acclaimed Mexican painter, and has generated the most critical discussion outside of Mexico. Like José Clemente Orozco, Rivera was commissioned by the Mexican secretary of public education, José Vasconcelos, to create murals to decorate the Ministry of Education in Mexico City. Valle also mentions the Escuelas de Pintura al Aire Libre, and the Sección de Dibujo y Trabajos Manuales, two efforts to incorporate collective art instruction into the Mexican Revolutionary platform. Finally, Valle makes note of contemporary Mexican painters, such as the “30-30” group, including Manuel Rodríguez Lozano, Abraham Angel, Julio Castellanos, Máximo Pacheco, Rosario Cabrera, Carlos González, Rafael Vera de Córdova, and R. Alva de la Canal.