After the revolution of 1910 and after a period of political adjustment and cultural updating, according to aristmarketing, Mexico assimilated with extreme sensitivity and social responsibility the new contributions of functional architecture, the results of which were concretely realized in a series of works, which culminate with the university city of Mexico City (1949-54), where even the renewed figurative arts (murals, mosaics) find new spaces of expression, involved in the most current problems of culture and in perfect correspondence to social needs (in this sense ‘be understood the work of artists such as Orozco, Rivera,, Siqueiros, Tamayo). In the following decades, in the architectural field, some opposed the spread of the International Style by taking up the Mexican formal tradition (Ricardo Legorreta, Hotel Camino Real complex, Mexico City, 1968-75; Insurance America headquarters, Mexico City, 1976). The architecture of the seventies and eighties is characterized by monumentalism as a formal solution for public and tertiary buildings. In this regard, we recall the works of Augustín Hernández (hospital unit for the IMSs and the Military College in Mexico City, 1975), of P. Ramirez Vazquez (building of the Legislative Assembly, Mexico City, 1979-81; Central Library and Museum of Anthropology, Toluca, 1984-86; headquarters of the International Olympic Committee of Lausanne, 1986), by Teodoro Gonzales de Léon (College of Mexico, 1974-75, and Museo Rufino Tamayo, 1981, in Mexico City; Mexican embassy in Brasilia, 1973-75). The latter remained faithful to a neoatzeco style in the Palace of Justice in Mexico City (1992), designed together with F. Serrano, while in subsequent works (8-storey tower for the Fund for economic culture, 1993, and the Conservatory of music for the campus of the Ciudad de las Artes, 1995) sets out on the path of a stylistic change. Starting from the end of the Eighties and especially in the Nineties, a more innovative architectural approach has emerged in Mexico which, abandoning the traditional trends, is inspired by the sobriety of designed together with F. Serrano, while in the following works (8-storey tower for the Fund for economic culture, 1993, and Conservatory of music for the campus of the Ciudad de las Artes, 1995) he set out on the road to a stylistic change. Starting from the end of the Eighties and especially in the Nineties, a more innovative architectural approach has emerged in Mexico which, abandoning the traditional trends, is inspired by the sobriety of designed together with F. Serrano, while in the following works (8-storey tower for the Fund for economic culture, 1993, and Conservatory of music for the campus of the Ciudad de las Artes, 1995) he set out on the road to a stylistic change. Starting from the end of the Eighties and especially in the Nineties, a more innovative architectural approach has emerged in Mexico which, abandoning the traditional trends, is inspired by the sobriety of mex-tech, local version of hi-tech. This address is represented above all by the TEN group (Taller Enrique Norten) Arquitectos, whose founder and best known exponent is E. Norten, author, among other things, of the workers’ houses in calle Brasil (1994), of the service building of the Televisa network (1995) and the National Theater School of the Ciudad de las Artes. Unlike the variety of trends produced in the evolution of architectural language, on the one hand projected towards the continuous assimilation of European experiences, on the other hand committed to elaborating encounters between tradition and international contributions, the situation of figurative art, more deeply rooted in the characteristics of tradition, it reveals an evolutionary process of slower maturation, but participatory, with vital autonomy of expression, of the most up-to-date guidelines of aesthetic research. The personalities who distinguished themselves during the first decades of the twentieth century, strongly linked to the historical-political themes of the country, are the aforementioned Diego Rivera, of whom the murals of the Ministry of Public Education (1922-29) and the National Palace remain famous. (1929-35) in Mexico City, as well as the Rockefeller Center in New York; José Clemente Orozco, also the creator of numerous frescoes and David Alfaro Siquieros, another protagonist of the “Mexican Renaissance”. Also noteworthy is the art of Juan Soriano (1920-2006) and NB Zenil (b. 1947). A special mention deserves, also due to the strong attention paid to it in recent years by the international art world, strongly linked to the historical-political themes of the country, are the aforementioned Diego Rivera, of which the murals of the Ministry of Public Education (1922-29) and the National Palace (1929-35) in Mexico City remain famous, as well as that the Rockefeller Center in New York; José Clemente Orozco, also the creator of numerous frescoes and David Alfaro Siquieros, another protagonist of the “Mexican Renaissance”. Also noteworthy is the art of Juan Soriano (1920-2006) and NB Zenil (b. 1947). A special mention deserves, also due to the strong attention paid to it in recent years by the international art world, strongly linked to the historical-political themes of the country, are the aforementioned Diego Rivera, of which the murals of the Ministry of Public Education (1922-29) and the National Palace (1929-35) in Mexico City remain famous, as well as that the Rockefeller Center in New York; José Clemente Orozco, also creator of numerous frescoes and David Alfaro Siquieros, another protagonist of the “Mexican Renaissance”. Also noteworthy is the art of Juan Soriano (1920-2006) and NB Zenil (b. 1947). A special mention deserves, also due to the strong attention paid to it in recent years by the international art world, public education (1922-29) and the National Palace (1929-35) in Mexico City, as well as the Rockefeller Center in New York; José Clemente Orozco, also creator of numerous frescoes and David Alfaro Siquieros, another protagonist of the “Mexican Renaissance”. Also noteworthy is the art of Juan Soriano (1920-2006) and NB Zenil (b. 1947). A special mention deserves, also due to the strong attention paid to it in recent years by the international art world, public education (1922-29) and the National Palace (1929-35) in Mexico City, as well as the Rockefeller Center in New York; José Clemente Orozco, also creator of numerous frescoes and David Alfaro Siquieros, another protagonist of the “Mexican Renaissance”. Also noteworthy is the art of Juan Soriano (1920-2006) and NB Zenil (b. 1947). A special mention deserves, also due to the strong attention paid to it in recent years by the international art world, Frida Kahlo (1907-54), wife of Rivera. Her works, mirror of the troubled personal vicissitudes, retrace the anguish, desires, aspirations and obsessions of a woman who has also become a symbol of the feminist movement.
