References
- Best Maugard, Adolfo. 1923. Método de dibujo. Tradición, resurgimiento y evolución del arte mexicano. Mexico City: Departamento Editorial de la Secretaría de Educación.
- Bonet, Juan Manuel, and Carlos Pérez, eds. 1998. El ultraísmo y las artes plásticas. Valencia: Institut Valencià d'Art Modern.
- Bürger, Peter. 1984. Theory of the Avant-Garde, translated by Peter Shaw. Minneapolis: University of Minnesota Press.
- Cary, Elisabeth Luther. 1930. Charlot's latest work. New York Times, 17 August: 101.
- Charlot, Jean. 1963. The Mexican Mural Renaissance. New Haven, CT: Yale University Press.
- Clifford, James. 1988. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press.
- Craven, David. 2001. Recent literature on Diego Rivera and Mexican muralism. Latin American Research Review 36(3): 221–37.
- de la Veracruz, Raymundo. 1926. El Apóstol Ramos Martínez. Cine Mundial, n.p. Clipping located in Fondo Díaz de León, Colección Blaisten, Mexico City.
- Debroise, Olivier. 1984. Figuras en el trópico, plástica mexicana, 1920–1940. Barcelona: Océano.
- Deleuze, Gilles, and Félix Guattari. 1986. Kafka: Toward a Minor Literature, translated by Dana Polan. Minneapolis: University of Minnesota Press.
- Deleuze, Gilles, and Félix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia, translated by Brian Massumi. Minneapolis: University of Minnesota Press.
- Denson, G. Roger. 2013. “Colonizing Abstraction: MoMA's Inventing Abstraction Show Denies Its Ancient Global Origins,” [ http://www.huffingtonpost.com/g-roger-denson/colonizing-abstraction-mo_b_2683159.html], accessed 18 February 2013.
- Fabian, Johannes. 1983. Time and the Other: How Anthropology Makes its Object. New York: Columbia University Press.
- Flores, Tatiana. 2012. Whose side are we on? Artistic rivalries in Mexican avant-garde art. Journal of History of Modern Art 32: 137–72.
- Flores, Tatiana. 2013. Mexico's Revolutionary Avant-Gardes: From Estridentismo to ¡30–30! New Haven, CT: Yale University Press.
- Folgarait, Leonard. 1998. Mural Painting and Social Revolution in Mexico, 1920–1940: Art of the New Order. Cambridge: Cambridge University Press.
- Foucault, Michel. 1980. Power/Knowledge: Selected Interviews and Other Writings, 1972–1977, edited by Colin Gordon. New York: Pantheon Books.
- Gamio, Manuel. 1916. Forjando Patria: Pro-Nacionalismo (Forging a Nation), translated by Fernando Armstrong-Fumero. Denver: University Press of Colorado, 2010.
- García, Carlos. 2004. Manuel Maples Arce: Correspondencia con Guillermo de Torre, 1921–1922. Revista de Literatura Mexicana 16: 151–62.
- González Matute, Laura. 1987. Escuelas de Pintura al Aire Libre y Centros Populares de Pintura. Mexico City: Instituto Nacional de Bellas Artes.
- González Matute, Laura, ed. 1993. ¡30–30! contra la Academia de Pintura, 1928. Mexico City: Instituto Nacional de Bellas Artes / Centro de Investigación, Documentación e Información de las Artes Plásticas.
- Gutiérrez, Abel. 1929. Dibujos indígenas de Chile. Santiago de Chile: Imprenta Universitaria, 1929.
- Hulten, Pontus. 1986. Futurism and Futurisms. New York: Abbeville Press.
- Izcue, Elena. 1926. El arte peruano en la escuela. 2 vols. Paris: Editorial Excelsior.
- Jehlen, Myra and Warner, Michael, eds. 1997. The English Literature of the Americas, 1500–1800. New York and London: Routledge, 1997.
- Kennedy, Randy. 2012. Outside the citadel, social practice art is intended to nurture. New York Times, 24 March: AR1.
- Maples Arce, Manuel. 1921. Actual No. 1. Broadsheet. Mexico City.
- Maples Arce, Manuel. 1922. El movimiento estridentista en 1922. El Universal Ilustrado, 28 December: 25.
- Maples Arce, Manuel. 1924. Urbe: Super poema bolchevique en cinco cantos. Mexico City: Andrés Botas.
- Maples Arce, Manuel. 1929. Metropolis, translated by John Dos Passos. New York: T.S. Book Company.
- Mignolo, Walter. 1995. The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization. Ann Arbor: University of Michigan Press.
- Mignolo, Walter. 2011. The Darker Side of Western Modernity: Global Futures, Decolonial Options. Durham and London: Duke University Press.
- Montgomery, Harper. 2011. “Enter for free”: Exhibiting woodcuts on a street corner in Mexico City. Art Journal 70:4: 26–39.
- Moxey, Keith. 1994. The Practice of Theory. Ithaca: Cornell University Press.
- Museum of Modern Art (MoMA). 2013. “Inventing abstraction, 1910–1925: Diagram overview,” [ http://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?page=connections], accessed 1 September 2013.
- Olea, Héctor. 1996. El preestridentismo: Siqueiros, un antihéroe en el cierne del antisistema manifestario. In Otras rutas hacia Siqueiros, edited by Olivier Debroise, pp. 91–124. Mexico City: Curare / Instituto Nacional de Bellas Artes.
- Pappe, Silvia. 1998. El movimiento estridentista atrapado en los andamios de la historia. Ph.D. diss., Facultad de Filosofía y Letras, Universidad Nacional Autónoma de México.
- Perloff, Marjorie. 2003. The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture. Chicago: University of Chicago Press.
- Ramírez-García, Mari Carmen. 1989. The ideology and politics of the Mexican mural movement, 1920–1925. Ph.D. diss., Department of Art History, University of Chicago.
- Rubin, William, ed. 1984. “Primitivism” in Twentieth Century Art: Affinity of the Tribal and the Modern. New York: Museum of Modern Art.
- Sánchez Soler, María Monserrat, ed. 2011. Las escuelas de pintura al aire libre. Tlalpan. Mexico City: Museo Casa Estudio Diego Rivera / Instituto Nacional de Bellas Artes.
- Sheridan, Guillermo. 1985. Los Contemporáneos ayer. Mexico City: Fondo de Cultura Económica.
- Tenorio Trillo, Mauricio. 1996. Mexico at the World's Fairs: Crafting a Modern Nation. Berkeley and Los Angeles: University of California Press.
- Torres-García, Joaquín. 1984. Universalismo constructivo. 2 vols. Madrid: Alianza Editorial.
- Unruh, Vicky. 1994. Latin American Vanguards: The Art of Contentious Encounters. Berkeley and Los Angeles: University of California Press.