To the French poet Robert Desnos, Mexico was facing a historical moment in which the defense of its freedom was linked to its territorial integrity. He believes it is unfair to call what is going on in Mexico nationalism, since the effort to defend the native peoples is based on a social, political, and intellectual platform that is not so much nationalistic as anti-United States. With regard to Rivera, Desnos talks briefly about his stay in Paris and emphasizes the painter’s interest (upon his return to Mexico) in native peoples, the paintings in pulquerías [agave sap saloons,] popular toys, and Mexican folklore, in general. Diego has no interest in high society or any reputation for being a modern painter he could have acquired in the United States. Instead, he prefers to put himself at the service of the native cause, and his frescoes set forth the misery of oppression, which made white people uncomfortable. This was such a problem that the students tried to destroy his work; however, the government protected him. Desnos points out other participants in the same ideological and political movement as Rivera: writers such as Salvador Novo, Xavier Villaurrutia, and Manuel Maples Arce; musicians such as the folk singer Tata Nacho and the composer Carlos Chávez; and artists such as Gerardo Murillo [Dr. Atl] and José Clemente Orozco. Finally, Desnos admits that he obtained this information the day he left Havana en route to Europe. The article omits his reasons for not going to Mexico.