Other institutions exploring this period of art history include the Dallas Museum of Art
, which just opened “Flores Mexicanas,” a show on depictions of women in Mexican art; the Art Institute of Chicago
, which centered its recent presentation “In a Cloud, in a Wall, in a Chair” on six female artists who lived and worked in Mexico between 1940 and 1970; the National Gallery of Australia
, which will mount a forthcoming show around the impact of the Mexican Revolution on international culture; and SFMOMA
, which, in October, will open
the most comprehensive exhibition of ’s
work in two decades. Di Donna Galleries also recently examined work that European
made while in exile in Mexico after World War II; additionally, a traveling show organized by the Frist Museum, “
, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection,” just opened
at the Musée National Des Beaux-arts in Québec.
Whitney curator Barbara Haskell—who initially conceived “Vida Americana” 14 years ago—hopes her show will contribute to an ongoing “recasting of art history.” “The French have always been given credit as the only people American artists were looking at,” she said, nodding to major American modernists such as
, who all took inspiration from the European avant-garde. “In this 20-year period, it was really the Mexicans who were the major influence,” Haskell said.