The manifesto that appeared in Mexico City in 1961 seemed like the usual bombast from angry young painters out to attract as much attention as they could. In big blue capital letters, it blasted just about everything sacred to the Mexican art world. Damned as academismo were slavish and parochial imitations of Diego Rivera's once-revolutionary social realism. Damned as dehumanized decoration were equally slavish imitations of the abstract styles imported from other lands. "We strive," said the manifesto writers, "for an art that communicates in the clearest and most direct way possible our...
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