In 1960 Mr. Seldon Rodman, an Amer­ican critic, published a book, The Insiders. Scurrilously argued, it aimed firstly at discrediting the current fashion of Abstract Expressionism or Ges­ture painting and secondly at advancing certain figurative painters for whom Mr. Rodman made claims. Included in the list of Rodman-approved artists were Mexico’s muralist Orozco and the draughtsman Jose Luis Cuevas. By Rod­man’s own admission (in an article by him in the Mexico Quarterly Review) the only favorable response to his book was from Mexico City. Almost im­mediately upon its publication mani­festoes