In the 1920s, Carlos Mérida was deeply committed to both the Mexican mural movement and to extolling the peoples and traditions of Mexico. In the 1940s and 1950s, however, he experimented with a range of styles, including surrealism and abstraction. Increasingly distancing himself from the muralists, Mérida developed a dynamic, geometric style that is as much indebted to cubism as to international postwar geometric abstraction. For example, he collaborated with Mathias Goeritz (1915–1990), creating works similar to this one for Goeritz's The Echo Experimental Museum (1953) in Mexico City.
Ilona Katzew, 2008
