The reason this essay is important is that the writer, Manuel Felguérez (b. 1928), was among those who started the Ruptura movement. And, in terms of the art scenario, the sculptor would be one of the first abstract artists of that generation. It was also important because the term "Ruptura" only took hold in 1988, based on a retrospective exhibition with that title held at the Museo Carrillo Gil in Mexico City. The related catalog explains the origins of the word, which goes back to the year 1950, when Octavio Paz published an essay entitled "Tamayo en la pintura mexicana" [Tamayo in Mexican Painting]. In that essay, Paz recognized the new theories of a group of avant-garde artists, among which the essayist takes special notice of Rufino Tamayo (1899-1991). According to Paz, this group was carrying out a "ruptura" with the old Mexican School of Painting. Years later, the same term would be used by the Guatemalan art critic and writer, Luis Cardoza y Aragón (1901-1992) in his book, México: Pintura activa [Mexico: Active Painting](1961), to refer to the views of the new Mexican artists with respect to their predecessors. However, it would not be until 1988 that a general consensus would be established among artists, critics and historians in order to use the name "Ruptura" for the generation of avant-garde artists that arose in the 1950s Mexico.