Serge Fauchereau


    LEAFING THROUGH A BOOK ON ancient Mexico, or strolling through the Museo Nacional de Antropología y Historia in Mexico City, one is immediately convinced, as was André Breton, that Mexico has always been the most innately surrealist of countries. Olmec, Mayan, and Aztec sculptures, and frescoes from different periods in Mexican history, repeatedly show images such as plumed coyotes, men with the shells of turtles, dogs wearing human masks, jaguars in scarves, arum flowers whose pistils are tiny men, geometrically shaped gods with large noses, and so on. All this is depicted with great freedom,


    FOR MANY, MEXICAN MODERN ART consists of the spectacular murals created from the ’20s on, first in Mexico, and later in the United States and other countries, by a handful of artists of whom Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros are the best known. But while mural painting may be Mexico’s most original contribution to Modern art, its birth was preceded and stimulated by important though neglected artistic activities—most notably, the workings of the group that called itself the Stridentists. This neglect on the part of art history can perhaps be attributed to the