Books

Aste, Richard. Behind Closed Doors: Art in the Spanish American Home 1492-1898. New York: Monacelli Press, 2013.

Bardellotto, Luigino. ¡Mira Cuba!:Manifesti cinematografici, politici e sociali = cartels de cine, politicos y sociales = movie, political and social posters. Milano: Silvano, 2013.

Benezra, Karen. Dematerialization: Art and Design in Latin America. Berkeley: University of California Press, 2020.

Blackmore, Lisa. Spectacular Modernity: Dictatorship, Space and Visuality in Venezuela, 1948-1958. Pittsburgh: University of Pittsburgh Press, 2017. 

Castañeda, Luis. Spectacular Mexico: Design, Propaganda, and the 1968 Olympics. Minneapolis: University of Minnesota Press, 2014.

Castañeda, Luis M. Spectacular Mexico : Design, Propaganda, and the 1968 Olympics. Minneapolis: University of Minnesota Press, 2014.

Castañeda demonstrates how outsiders, specifically from the Olympic committee, aimed to hold standards of social peace, modernity, and tolerance of all people, through design of the 1968 Olympics. This was in dissonance with the Tlatelolco Massacre which occurred prior to the Olympics. Chapter three and four are especially important as they highlight designed elements of disguise used to cover up the government’s corruption. 

Chen, Aric. Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture. New York: Monacelli Press, 2016.

Claudia Mareis and Nina Paim, eds. Design Struggles: Intersecting Histories, Pedagogies, and Perspectives. Amsterdam: Valiz, 2021.

Cushing, Lincoln. ¡Revolución!: Cuban Poster Art. San Francisco: Chronicle Books, 2003.

Davidson, Russ. Latin American Posters: Public Aesthetics and Mass Politics. Santa Fe: Museum of New Mexico Press, 2006

Del Real, Patricio, and Helen Gyger, eds. Latin American Modern Architectures: Ambiguous Territories. New York: Routlege, 2013.

Durand, Jorge, and Douglas S. Massey. Miracles on the Border: Retablos of Mexican Migrants to the United States. University of Arizona Press, 1995. https://doi.org/10.2307/j.ctvz0hb6g.

This resource paired with the exhibition by the same name at the Princeton Art Museum demonstrates the emotional force and intentionality which drives the creation of retablos. The focus of these retablos are their placements along the border as migrants cross to the United States, thus connecting movement and landscape to the creation of these images. The extensive catalog demonstrates the different styles and personal reasons for which every image is created. Together one can gather some insight into the practice through the direct connection between pictorial and verbal narrative.

Escobar, Arturo. Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds. Durham: Duke University Press, 2018.

________. Encountering Development: The Making and Unmaking of the Third World. Princeton: Princeton University Press, 1995.

Fernández, Silvia, and Gui Bonsipe, eds. Historia del diseño en América Latina y el Caribe: industrialización y comunicación visual para la autonomía. São Paolo: Editora Blücher, 2009.

Flores, T., & Stephens, M. A. Relational undercurrents: Contemporary Art of the Caribbean Archipelago. Duke University Press, 2017.

This book is an examination of the thematic continuities of 21st century Caribbean artists and artistic practices through a geo-material and geo-historical lens. Representing over 80 artists and 70 cultural institutions in Southern California, this book was developed in conjunction with the Museum of Latin American Art and the Getty’s Pacific Standard Time: LA/LA initiative. Relational Undercurrents challenges the misconception of the Caribbean being isolated and hermetic by identifying similarities within the archipelago and the diasporic communities. The book is organized into four thematic sections: Conceptual Mapping, Perpetual Horizons, Landscape Ecologies, and Representational Acts, collectively reframing Caribbean Art as having cultural, ecological, and personal agency. This book is useful for its reexamination of Caribbean visual culture through curatorial execution and the use of the archipelago as an analytical framework.

García Canclini, Nestor. Imagined Globalization. Translated by George Yúdice. Durham: Duke University Press, 2014.

________. Consumers and Citizens: Globalization and Multicultural Conflicts. Translated by George Yúdice. Minneapolis: University of Minnesota Press, 2001.

________. Hybrid Cultures: Strategies for Entering and Leaving Modernity. Translated by George Yúdice. Minneapolis: University of Minnesota Press, 1995.

Goodwin, Brazil Builds: Architecture New and Old, 1652-1942. New York: The Museum of Modern Art, 1943.

Hitchcock, Henry-Russell. Latin American Architecture Since 1945. New York: The Museum of Modern Art, 1955.

Kaplan, Wendy, ed. Found in Translation: Design in California and Mexico, 1915-1985. Munich: DelMonico Books – Prestel, 2017.

Kirkham, Pat, and Susan Weber, eds. History of Design, Decorative Art, and Material Culture, 1400-2000. New Haven: Yale University Press, 2013.

Klein, Kathryn. The unbroken thread: Conserving the textile traditions of Oaxaca. Los Angeles, Calif: Getty Conservation Institute, 1998. 

Lazzara, Michael J. and Vicky Unruh, eds. Telling Ruins in Latin America. New York: Palgrave Macmillan, 2009

This book focuses on architectural ruins in Latin America; from pre-Columbian to early 20th-century ruins that help highlight the region’s complicated history with Modernist design and planning. Additionally, it highlights ruins as a recent place for resignification in Latin American culture, from which we can learn from and understand the region’s history more truthfully.

Lepik, Andres, and Vera Simone Bader, eds. Lina Bo Bardi 100: Brazil’s Alternative Path to Modernism (Ostfildern, Germany: Hatje Cantz Verlag, 2014.

Levi, Vivki Gold, and Steven Heller.  Cuba Style: Graphics from the Golden Age of Design. New York: Princeton Architectural Press, 2002.

Loschiavo dos Santos, Maria Cecilia. Móvel modern no Brasil = Modern furniture in Brazil, 2^nd ed. São Paulo, 2017.

McGuirk, Justin. Radical Cities. Across Latin America in Search of a New Architecture. Brooklyn: Verso, 2014. 

This book covers different case studies in Latin America regarding all things related to the design and evolution of some of its major cities. Focusing on architecture and urban design, the book focuses on the utopian ideals that drove modern design in Latin America into architectural and urban innovation. It covers not only the ideal and aesthetic implications of Latin American city design, but also its social, cultural, and political impact.

Mignolo, Walter. The Darker Side of Western Modernity: Global Futures, Decolonial Options. Durham: Duke University Press, 2011.

Mignolo, W. D., & Walsh, C. E. On Decoloniality: Concepts, Analytics, Praxis. Duke University Press, 2018.

This book allows the reader to understand how the colonial matrix power was created and became systemic and ingrained in the fabric of contemporary society by making conversations about decoloniality accessible through short solo and co-authored essays. The authors center their writings on South America but also include an examination of decolonial engagements across the globe, including South Asia, Eastern Europe, and Southern Africa. The book is framed on the theoretical and practical actions of decoloniality, and is split into two parts– Catherine Walsh’s “Decoloniality in/as Praxis” and Walter Mignolo’s “The Decolonial Option”– culminating with a dialogue between the two as they discuss their converging perspectives.

Miliotes, Diana. “Jose Guadalupe Posada and the Mexican Broadside.” New Haven and London: Yale University Press. 2006. 

________. Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking. Princeton: Princeton University Press, 2000.

Moraña, Mabel, Enrique Duuel, and Carlos A. Járegui, eds. Coloniality at Large: Latin America and the Postcolonial Debate. Durham: Duke University Press, 2008.

Morawski, Erica. Development Design: Hotels and Politics in the Hispanic Caribbean. Pittsburgh: University of Pittsburgh Press, forthcoming 2025.

Oles, James. Art and Architecture in Mexico. New York: Thames & Hudson, 2013.

This book by James Oles provides a comprehensive overview of design in Mexico spanning Spanish conquest to contemporary exchanges. Oles focuses on the paintings, murals, sculptures, buildings, prints, and photographs that have transformed Mexico into a powerhouse influence in modern design and highlights lesser known artists as well as the big names such as Kahlo and Rivera. 

Propaganda!: Cuban Political & Film Posters. 1960-1990. New York: AIGA, 2001.

Raizman, David, and Ethan Robey, eds. Expanding Nationalisms at World’s Fairs, 1851-1915. New York: Routledge, 2017.

Rangel, Gabriela, and Jorge Rivas Pérez, eds.  Moderno: Design For Living in Brazil, Mexico, and Venezuela, 1940-1978. New York: Americas Society, 2015.

Root, Regina. The Latin American Fashion Reader. Oxford: Berg, 2005.

Ruiz Lara, Fernando. Spatial Theories for the Americas: Counterweights to Five Centuries of Eurocentrism. Pittsburgh: University of Pittsburgh Press, 2024.

Sims, Lowery Stokes, ed. New Territories: Laboratories for Design, Craft and Art in Latin America. Madrid: Museum of Art and Design and Turner, 2014.

Soluri John, Claudia Leal, and José Augusto Pádua, eds. A Living Past: Environmental Histories of Modern Latin America. New York: Berghahn Books, 2019.

This collection of essays delivers a new perspective on the environmental histories of Latin American countries and how an environmental history of South America has emerged in recent scholarship. Although it can be framed through a Western perspective and understanding of the environment, this book asserts that the environmental histories of South America deserve their own research and space in the global context. 

Stoichita, V. I. Darker Shades: The Racial Other in Early Modern Art. Reaktion Books, 2019.

This book demonstrates how “otherness” has been constructed in Western visual culture about non-European figures in early modern art. Stoichita offers a postcolonial look at how artists like Giotto, Rembrandt, and Caravaggio forced otherness upon people of different cultures, ethnicities, and races, centering on portrayals of Turkish, Jewish, Romani, Muslims, and Black people. In chapter one “Black and White” the author investigates the utilization of the Black figure as a tool to signify the black/white dichotomy of good and evil (or cursed), as a representation of the whole of Africa, and as a means to promote primitivism. The author focuses on paintings, sketches, and sculptures ranging from the 15th to 18th century, and is a critical reading of race and ethnic representations from the Western perspective.

Vicente, Alberto, and Marcelo Vasconcellos, eds. Brazilian Modern Design. São Paolo: Olhares, 2017.

Articles & Essays

Adamovsky, Ezequiel. “On Cultural Appropriation and Cultural Transpropriation: A Latin American Perspective.” Race & Class 66, no. 3 (2025): 35–56.

Ezequiel Adamovsky’s article critiques the importation of Anglo-Saxon notions of cultural appropriation into Latin American contexts, arguing that such frameworks often misrepresent the region’s history of miscegenation, hybridity, and collective identity-making. Drawing on postcolonial theory, critical race studies, and Latin American intellectual traditions (including mestizaje and transculturation), Adamovsky proposes cultural transpropriation as a more suitable concept to describe interethnic cultural flux that contributes to the collective redefinition of identity. The article combines discourse analysis, historical contextualization, and case studies from across Latin America, and is particularly useful for interrogating essentialist assumptions in design and heritage discourses, offering an alternative conceptual vocabulary grounded in Latin American social and political realities.

Baer, Warner. “Import Substitution and Industrialization in Latin America: Experiences and Interpretations.” Latin American Research Review 7, no.1 (1972): 95-122.

Beckhart Coppinger, Sarah. “Loco Tlatelolco:” The Conflicting Past of this Historic Neighborhood, 1960-1964”. The Latin Americanist 65, no. 4 (2021): 431-455

This essay investigates the Tlatelolco housing project of 1964 in Mexico City, meant to represent modernity in Mexico for the rest of the world. It analyzes how this vision of modernity was translated into the design and architecture of the housing project, as well as the project’s significance to the construction of Mexico’s national identity in the 20th century.

Bonsiepe, Gui, and John Cullars. “Designing the Future: Perspectives on Industrial and Graphic Design in Latin America.” Design Issues 7, no. 2 (1991): 17–24.

Buergel, Roger M. “’This Exhibition is an Accusation’: The Grammar of Display According to Lina Bo Bardi.” Afterall: A Journal of Art, Context, and Enquiry no. 26 (Spring 2011): 51-57.

Castañeda, Luis M. “Doubling Time.” Grey Room 5q (Spring 2013): 12-39.

Calvalcanti, Lauro. “Roberto Burle Marx: Painting, Architecture and Landscaping in the Creation of a New Language for Gardens.” DOCOMOMO 42 (Summer 2010): 66-67.

CANCLINI, NÉSTOR GARCÍA, Christopher L. Chiappari, and Silvia L. López. Hybrid Cultures: Strategies for Entering and Leaving Modernity. NED-New edition. University of Minnesota Press, 1995. http://www.jstor.org/stable/10.5749/j.cttts9sz.

Cristi, Nicole, and Javiera Manzi Araneda. “Political Resistance Posters During Pinochet’s Dictatorship in Chile: Approaching the Graphic Backroom.” Journal of Design History 32, no. 1 (Feb. 2019): 69-87.

Cruz, Lourdes. “Muralism and Architecture: Art Fusion at Mexico’s University City.” DOCOMOMO 42 (Summer 2010): 24-33.

Cushing, Lincoln. “Republic of Cuba, 1959-.” In Communist Posters, edited by Mary Ginsberg, 321-367. London: Reaktion Books, 2017.

De Orellana, Margarita, et al. “EX-VOTOS.” Artes de México, no. 53 (2000), 81–96.

This editorial by Margarita de Orellana provides an extensive view of the origins of ex-voto and its manifestation in Spain. This text was able to shed light on the journey of ex-voto practices and the way the styles of these  practices not only changed once they reached the Americas but within Spain itself. In understanding these changes we can observe more granular steps which turned into Mexican retablos through the Spanish colonization of the Americas. Through this text we are able to examine the different influences which resulted in the aesthetics of these practices.

Del Real, Patricio. “Building a continent: MoMA’s Latin American Architecture Since 1945 Exhibition.” Journal of Latin American Cultural Studies 16, no. 1 (2007).

Devalle, Verónica. “Tomás Maldonado, 1944-1957: From Arte Concreto to nueva vision.” Journal of Design History 32, no. 1 (Feb. 2019): 17-34.

________. “Graphic Design as a University Discipline in Argentina, 1958-1985.” Design Issues 32, no. 3 (Summer 2016): 67-77.

Dias, Dora Souza. “International Design Organizations and the Study of Transnational Interactions: the Case of Icogradalatinoamérica80.” Journal of Design History 32, no. 2 (May 2019): 188-206.

Escat, Eugenia Bayona. “Female Bodies and Globalization: The Work of Indigenous Women Weavers in Zinacantán.” Latin American Perspectives 47, no. 6 (2020): 36–55.

Fernández-García, Ana María. “’Little Flat Furnished by Maple…’ The ‘English Taste’ in Buenos Aires: The Thompson and Maple Companies (1887-1986).” Journal of Design History 29, no. 2 (May 2016): 137.

Fernández Uriarte, Lucila. “Modernity and Postmodernity from Cuba.” Journal of Design History 18, no. 3 (Autumn, 2005): 245-255.

Fernández, Silvia. “The Origins of Design Education in Latin America: From the hfg in Ulm to Globalization.” Design Issues 22, no. 1 (Winter 2006): 3-19.

Fleming, David. “Art of Solidarity: Cuban Posters for African Liberation 1967-1989:.” Museum Worlds 5 (2017): 224+. Gale Academic OneFile (accessed February 26, 2020). https://link-gale-com.ezproxy.pratt.edu/apps/doc/A536300452/AONE?u=nysl_me_pml&sid=AONE&xid=3e04c681.

Flores, Tatiana. “Latinidad is Cancelled: Confronting an Anti-Black Construct.” Latin American and Latinx Visual Culture 3 (2021): 58-79.

Fraunhar, Alison. “Marquillas Cigarreras Cubanas: Nation and Desire in the Nineteenth Century.” Hispanic Research Journal 9, no. 5 (December 2008): 458–78.

Giunta, Andrea, and George F. Flaherty. “Latin American Art History: An Historiographic Turn.” Art in Translation 9 (2017): 121-142.

Giniger, Henry. “Olympics 1968: Mexico City is Ready.” New York Times (New York, NY), Oct. 6, 1968.

This is an article from the New York Times written by Henry Giniger who was an American reporter of Mexico. The article is a primary source document that demonstrates how the global north viewed Mexico as the periphery and primitive. Thus, the Eurocentric world was unaccepting of these ‘othered’ places in the modern world. The rhetoric used demonstrates the doubt that Americans had for Mexico to host the Olympics, as they were the first developing nation to host the games. 

Gómez, Hannia. “The Dwellers: The Integration of Art and the Architecture in the Ciudad Universitaria de Caracas.” DOCOMOMO 42 (Summer 2010): 46-52.

Greeley, Robin Adèle. “Richard Duardo’s ‘Aztlán’ Poster: Interrogating Cultural Hegemony in Graphic Design,” Design Issues 14, no. 1 (Spring 1998): 21-34.

Huppatz, D. J. “Globalizing Design History and Global Design History.” Journal of Design History 28, no 2 (May 2015): 182-202.

Labán Salguero, Magaly Patricia . “Reflexiones En Torno Al Estudio de Los Retablos Portátiles Peruanos y Las Cajas de Imaginero Del Siglo XIX.” Tesis (Lima) 13, no. 16 (June 1, 2020): 155–68. doi:10.15381/tesis.v13i16.18898.

This thesis studies the Peruvian as well as Bolivian and Argentinian retablos and cajas de imaginero of the 19th century. Salguero analyzes the origins of Peruvian retablos and cajas de imaginero in Lima, Cusco, and Ayacucho. In this thesis the author identifies common themes of these retablos such as, the Virgin Mary apparitions, baroque mestizo/Andean styles, Saint depictions, flowers, and geometric patterns. The author also reflects on the difficulties in studying retablos due to their locations commonly along the silver and shrine routes which led to their distribution and displacements.

Lara, Fernando Luiz. “One Step Back, Two Steps Forward: The Maneuvering on Brazilian Avant-Garde.” Journal of Architectural Education 55, no. 4 (May 2002): 211-219.

Lara-Betancourt, Patricia, and Livia Rezende. “Locating Design Exchanges in Latin America and the Caribbean.” Journal of Design History 32, no. 1 (Feb. 2019): 1-16.

Lebendiker, Adrián. “Local Design and Development: A Space for Coordination between Design, Craft and Territory.” Design Local e Desenvolvimento: Um Espaço Para Coordenação Entre Design, Artesanato e Território. 4, no. 2 (May 2011): 33–39.

Londoño, Johana. “The Latino-ness of type: making design identities socially significant.” Social Semiotics 25, no. 2 (2015).

Londoño, Johana. “Barrio Affinities: Transnational Inspiration and the Geopolitics of Latino/a Design.” American Quarterly 66, no. 3 (September 2014): 529-548.

Macartney, Hilary. “Lina Bo Bardi: Three Essays in Design and the Folk Arts of Brazil.” Translated by Zanna Gilbert. West 86^th 20, no. 1 (Spring-Summer 2013): 110-124.

Maclean, Kate. “Fashion in Bolivia’s Cultural Economy.” International Journal of Cultural Studies 22, no. 2 (2019): 213–28.

Kate Maclean’s article examines the rise of Chola Paceña fashion in La Paz, Bolivia, arguing that Indigenous women’s fashion serves as a site of cultural assertion, economic power, and resistance to racialized and gendered hierarchies. Grounded in feminist geography and postcolonial theory, Maclean challenges Western-centric binaries – such as tradition/modernity and art/craft, by foregrounding the informal economies and communitarian values underpinning Aymaran fashion. Based on ethnographic fieldwork, interviews with designers and artisans, and participant observation at fiestas and fashion events, the study situates design within a broader cultural and political economy. This source is valuable not only for its focus on Indigenous fashion, but also for its methodological attention to lived experience and its theoretical challenge to dominant narratives of creative labor.

Massidda, Adriana Laura. “Design Exchanges in Mid-Twentieth Buenos Aires: The Programme Pargue Almirante Brown and Its Process of Creative Appropriation.” Journal of Design History 32, no. 1 (Feb. 2019): 35-51.

Messell, Tania. “Globalization and Design Institutionalization: ICSID’s XIth Congress and the Formation of ALADI, 1979.” Journal of Design History 32, no. 1 (Feb. 2019): 88-104.

Mondragón-Toledo, Brenda. “Artisanal Collaborations in the Mexican Fashion Industry: The Case of Otomí Embroiderers and Carla Fernández.” Fashion, Style & Popular Culture 11, no. 2 (2024): 305–19.

Brenda Mondragón-Toledo’s article analyzes the working relationship between the Otomí embroidery cooperative Dotnit and fashion designer Carla Fernández, using this case to explore the intersections of Indigenous artisanal labor, fashion, and global markets. Grounded in theories of glocalization (Robertson), commodity diversion (Appadurai), and Bourdieu’s field theory, the article demonstrates how tenango embroidery circulates across artisanal and fashion fields, accruing symbolic and economic value through its transformation into design objects. Based on multi-sited ethnographic fieldwork conducted between 2013 and 2017 in Tenango de Doria and Mexico City, the study draws on participant observation and close engagement with both artisans and consumers. This article is especially useful for examining the power dynamics and tensions within Indigenous-designer collaborations, and how artisans navigate shifting roles and markets in contemporary Mexican design.

Morawski, Erica. “The Tropicana Cabaret: Designing Cosmopolitan Cubanidad in the 1950s.” Journal of Design History 32, no. 1 (Feb. 2019): 52-68.

________. “Modernism on Vacation: The Politics of Hotel Furniture in the Spanish Caribbean.” In The Politics of Furniture: Identity, Diplomacy and Persuasion in Post-War Interiors, edited by Fredie Floré and Cammie McAtee, 33-46. New York: Routledge, 2017.

Mosquera, Gerardo. “Africa in the Art of Latin America.” Art Journal 51, no. 4 Latin American Art (Winter 1992): 30-38.

Otero-Cleves, Ana María. “Foreign Machetes and Cheap Cotton Cloth: Popular Consumers and Imported Commodities in Nineteenth- Century Colombia.” Hispanic American Historical Review 97, no. 3 (2017): 423-456.

Ponzio, Angelica Paiva. “Gio Ponti’s Latin [American] Encounters: A Reading from the Archives.” Journal of Design History 32, no. 4 (November 2019): 356-375.

Quijano, Aníbal. “Coloniality and Moderntiy/Rationalty.” Cultural Studies 21, nos. 2-3 (March/May 2007): 168-178.

Reed, Sara Desvernine. “Women, Work, and Revolution: A Do-It-Yourself Practice.” Design and Culture 8, no. 1 (2016): 27-54.

Rezende, Livia. “Manufacturing the Raw in Design Pageantries: The Commodification and Gendering of Tropical Nature at the 1867 Exposition Universelle.” Journal of Design History 30, no. 2 (May 2017): 122-138.

Schembs, Katharina. “Education Through Image: Peronist Visual Propaganda Between Innovation and Tradition (Argentina 1946-1955).” Paedogogica Historica 45, no. 1 (2013): 90-110.

Sheppard, Randal. “Clara Porset in Mid Twentieth-Century Mexico: The Politics of Designing, Producing and Consuming Revolutionary Nationalist Modernity” The Americas 75, no. 2 (2018): 349-379.

Stephen, Lynn. “Culture as a Resource: Four Cases of Self-Managed Indigenous Craft Production in Latin America.” Economic Development and Cultural Change 40, no. 1 (Oct., 1991): 101-130.

Torrent, Horacio. “On Modern Architecture and Synthesis of the Arts: Dilemmas, Approaches, Vicissitudes.” DOCOMOMO 42 (Summer 2010): 6-13.

Trentmann, Frank, and Ana María Otero-Cleves. “Presentation. Paths, Detours, and Connections: Consumption and Its Contribution to Latin American History.” Historia Crítica 65 (July-Sep 2017):13–28.

Villanueva, Carlos Raúl. “The Integration of the Arts.” DOCOMOMO 42 (Summer 2010): 53-55.

Waklid, Emily “A Panorama of Parks Deep Nature, Depopulation, and the Cadence of Conserving Nature.” In A Living Past: Environmental Histories of Modern Latin America, edited by John  Soluri, Claudia Leal, and Jose Augusto Padua, 246-265 (New York: Berghahn, 2019)

This essay by Emily Waklid follows the development of national parks as conservation tactics that developed in the early twentieth century in South America. Each country had its own reasons for the creation of their system of parks ranging from ascertaining national boundaries to protecting awe-inspiring landscapes. Through a loose chronological study of park origins in Chile, Argentina, Brazil, and Mexico, Waklid paints a picture of the relationships entrenched between the development of national parks and reserves in various countries. 

Zolov, Eric. “Showcasing the ’Land of Tomorrow: Mexico and the 1968 Olympics.” The Americas61, no. 2 (2004): 159–88.

Eric Zolov demonstrates how the Mexican government was promoting a false cultural image through the developmentalist design of the 1968 Olympic Games in hopes of disrupting the global hegemony.  Zolov highlights the juxtaposition between the civil unrest through student protests with the desire of the Mexican government to be accepted by the Eurocentric world through a pacifist falsehood. This article highlights political graphics created by the protestors in resistance to the facade of a national identity promoted during the Olympics.