In view of the results of the Segunda Bienal Interamericana de México [Second Inter- American Biennial of Mexico]that took place in the Palacio de Bellas Artes, Mathias Goeritz’s opinion is that if what is being exhibited has something to do with art, “then, down with art!” The paintings and sculptures selected, he affirms, are “none other than the desecration of the corpse of true art.” He makes the public, the artists, and the critics responsible for the spiritual misery of art. Goeritz defines the total victory of the critic over the artist as a phenomenon of our times. The critics, art historians, directors of museums, and intellectuals, are those who manipulate and decide which works or artistic movements should prevail, to then turn them into an “OFFICIAL FAD.” In Goeritz’s opinion, Alfred Barr Jr., the first director of MoMA in New York, the critics Jean Cassou, Hill Grohmann, Herbert Reed, and Jorge Romero Brest, are prestigious personalities who “deserve to be definitively condemned for their vanity and short-sightedness.” Goeritz maintains that, fortunately, within a hundred years nobody will remember them or all of that minor art in fashion. He consequently introduces Facteur Chaval, Juan O’Gorman and Pedro Friedeberg, who are NOT fancy.