During the ’60s, the official party strove to portray Mexico as a land of promise (an image to which it has returned in the ’90s), and part of this effort consisted of promoting the work of a group of young, local artists who diluted American formalist sculpture into mellow geometrical abstractions as evidence of the (ever-impending) modernization of the country. Three decades later, most Mexicans no longer believe progress is imminent, yet those same artists continue to propagate their pastoral Minimalism, unwittingly confirming the government’s wishful delusions about modernity and, by the