With this new study by Anthony W. Lee we have an example of a trend that has been developing in Mexican historical studies for the last fifteen years or so, that being the focus on regional developments, or what has also been called “microhistory.” Because a good deal of this book concerns the activities and paintings of the Mexican muralist Diego Rivera in San Francisco in 1931 and 1940, students and scholars of modern Mexican art will find this investigation highly valuable from that point of view, and will understand Rivera’s entire production much better for this deep immersion into the California episodes. But Lee has layered the book with so many points of reference that it would be a mistake to see this only as a branch of Mexican art history. Rivera becomes an agent of intersecting histories, ideologies, and styles of...

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