By the 1930s, Taxco had become a kind of required location for national and international artists, intellectuals, and bohemians. William Spratling (1900-1967) had started the initial tourist fascination with the town, upon establishing his workshops for silversmiths and for his products with popular motifs. As a result, other Mexican artists did not want to be left behind, thus, Taxco became a popular artistic colony, especially for people from the United States. It ought to be remembered that Siqueiros also settled in that town during his house arrest (1931). The series of xylographies by Roberto Montenegro (1885-1968) described by the poet Xavier Villaurrutia (1903-1950) in this text, were created in response to that artistic, cultural, and touristy interest on the part of the population of the state of Guerrero. Whether it was because of the landscape or the serene environment, it was in fact a nostalgic encounter with an idealized provincial environment, as depicted in those artistic expressions. Villaurrutia, who belonged to the group Los Contemporáneos, celebrated exuberantly those prints as referents for remarkable formal and visual qualities. Nuestra Ciudad, together with its sister magazine Nuestro México took on the task of valuing the national art in all of its expressions.