José Clemente Orozco did not publish any more political caricatures after the 1913 Decena Trágica [Tragic Ten Days]. This paragraph discusses at length the late-nineteenth-century transition from the end of the traditional press to the efficiency of modern commercial journalism. It also notes the survival of the “small press” or “prensa de cuartilla” [articles printed on letter-size pages] in which Orozco participated, too. He was especially active in this format around midyear 1914—when the usurper, Victoriano Huerta, had stepped down from the presidency. This was when Orozco began to publish a newspaper “a cuartilla”: El Malora (he was its illustrator, drew its caricatures and was listed as publisher). Such newspapers, which even called themselves “small press” or “prensa de a cuartilla,” were satirical, filled with calembours [tricky plays on words] and irreverence, and they were aimed at the working class. Examples are La Araña [The Spider], El Chile Piquín [Pequin Pepper], La Guacamaya [The Loudmouth], and El Diablo bromista [The Joker Devil], among others. Even though this involved going down to the poor neighborhoods, Orozco was perfectly able to maintain his position as a spectator, especially in chronicles, whose literary models are more sophisticated and elegant. Yet his caricatures, done in full color, depict an avid sexual demand. They are social caricatures that reflect public morality but do not include explicit or realistic settings. Even so, it is certainly possible to locate the area pictured, since Orozco’s studio was in calle de Illescas, a red-light district in the city.