The controversy surrounding this exhibition, brought on by the participants led by Ricardo Gómez Robelo, is one of the few [events] that marks Mexico’s cultural memory during this period. This legal expert and lecturer, a friend to the members of El Ateneo [an association of artists and intellectuals], in particular Alfonso Reyes, distinguished himself through a literary career that encompassed poetry, story-telling, essays, translations and art criticism. In this latter discipline, five articles stand out; they were included in his brief anthology published by the Fondo de Cultura Económica. The work mentioned in this article is one of these, along with another that is covered under a different record. The potential for an art of Mexico’s own is at the heart of the controversy; it is referred to by the term “renacimiento” [rebirth], free of imitation and related to local character and environment. He likewise provides a vigorous critique of the art linked to the process and potential of the artists calling for change: Julio Ruelas (1870-1960), Diego Rivera (1886-1957), Roberto Montenegro (1885-1968), Francisco Goitia (1882-1960), Alfredo Ramos Martínez (1871-1946), are among the most noteworthy.