Abstract
Between 1919 and 1927 the Guatemalan artist Carlos Mérida and his writings and artworks moved between Mexico City, Paris, and New York. When Mérida moved to Mexico City in 1919 to establish himself as an artist and to make a living as an art critic, he encountered a milieu striving to craft nationalist art in the wake of the Mexican Revolution. Attending to the polemics he generated while trying to incorporate indigenous culture differently into modern art and to the transnational production, display, and reception of his work reveals how a responsive, oppositional modernism was generated by such mobility.
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