Using a minimum of written references, the artists were able to set forth political platforms based on the image, as a communications resource with special relevance. The “calaveras del día de los muertos” [“calaveras”: satirical poems spread on All-Souls’ Day] or “political skulls” carried on the old tradition of art linked to the political life. With this magazine cover, the printmaker Leopoldo Méndez (1902-69) transmitted the political stance of the Liga de Escritores y Artistas Revolucionarios (LEAR) [League of Revolutionary Writers and Artists], to which he belonged. Created in 1933, LEAR only launched its first publication in late- 1934. In this first issue, LEAR belligerently criticized the opening of the Palacio de Bellas Artes, contrasting it with the inauguration of a Monumento a la Revolución. (The construction of this monument had been interrupted by the start of the armed uprising in 1910 throughout the country, which had also interrupted the construction of Porfirio’s Palacio Legislativo [House of Representatives].) The two important personages, the Trotskyist Diego Rivera (1886-1957) and the president of the official party (PNR), Carlos Riva Palacio, were shown in box seats. In the distance, in the forum, the composer Carlos Chávez (1899-1978), was taking a bow after the première of his Sinfonía proletaria [Proletariat Symphony].Frente a Frente was a political slogan that captured the position of the Communist International. This group sought to avoid, at all costs, any alliance with fascism, a link that LEAR ascribed to the interim government of Abelardo L. Rodríguez (1932-34).