The Murals of Palacio de Bellas Artes

I was riding along in perfect touristic bliss on my rental bike until I wasn’t, and I hit the pavement hard with the bike on top of me. In that moment I learned several important lessons. One was don’t ride a bike during a rain storm on polished marble.

A couple exhibits better judgement, wheeling their CDMX bikes across slippery rock near Bellas Artes (and it’s not even raining).

Other lessons I learned were about how people around me reacted to my injury, and how the physical location of the accident became an important place in my own life story. Luckily my knee recovered and though it had been a long time since I’d fallen off a bike, my ego did too. What stayed with me was the location. It was in front of the Palacio de Bellas Artes, Mexico City’s grand cultural landmark, and the subject of this blog post. It’s the first of two. This week is about the amazing murals that inhabit this building. Next week will be about the building itself, and its galleries and performance space.

This is a fairly homogeneous group but Mexicans of all backgrounds come to see the murals. Admission is free on Sundays and 75 pesos on other days, about 6$ CAD.

Bellas Artes is a white Carrara-and-Mexican-marble palace that rises above Avenida Juárez on the western edge of the historic center, facing the Alameda Central. It is home to many aspects of Mexican art, but especially to Mexican muralism. Lining two floors of its deep four-storey attrium are some of the most famous murals ever painted.

Part of Rivera’s four-panel Carnaval de la vida mexicana

The Mural Floors

The second floor carries work by “Los Tres Grandes”: José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera. Also joining these three are Jorge González Camarena, Roberto Montenegro, and Manuel Rodríguez Lozano.

Libaración, Jorge González Camarena, 1963.

Victima del fascismo by David Alfaro Siqueiros.

The third floor holds the building’s most famous single work — Diego Rivera’s El hombre controlador del universo, his defiant recreation of the destroyed Rockefeller Center mural — along with Siqueiros’s three-part La Nueva Democracia, Rivera’s four-panel Carnaval de la vida mexicana, and Orozco’s La Katharsis. These are works that you will never forget seeing.

Diego Rivera’s mural El hombre controlador del universo.

The Siqueiros – Rivera Feud

These murals were a part of the post-revolutionary project taken on by Mexican artists to educate a largely illiterate public. The project’s objectives were honoring Indigenous and working-class Mexicans, while at the same time propagating the ideology of the revolution into every school, hospital, and union hall.

However, underlying these murals are stories that are often overlooked. Rivera and Siqueiros met in 1919 in Paris and they travelled together that summer studying Italian frescos. In the early 20s they worked inside the same state-funded program creating content in support the Mexican Revolution.

Diego Rivera (R) with León Trotsky and his wife Natalia Sedova. Source: Bibliothèque nationale de France

The relationship went south, however, with Rivera becoming a celebrity artist with strong leftist beliefs, and Siqueiros being a more doctrinaire strict Stalinist. These were serious differences. The feud came to its most famous moment at a 1935 conference held at Bellas Artes. Siqueiros was onstage expounding his theories of revolutionary art when Rivera — seated in the audience — became enraged, stood up, and, by contemporary accounts, drew a pistol and attempted to shoot him. He was restrained by audience members at the last moment. A formal debate was arranged for the following day; the nominal charge each leveled against the other was that “neither was sufficiently Communist.” Needless to say, the two ended up on different ends of many episodes throughout their careers, including the assassination of Leon Trotsky, for which Siqueiros was imprisoned and Rivera fled the country (though innocent).

León Trotsky’s tomb in the garden of his Coyoácan home.

 “It’s My Wall” Diego Rivera, the Rockefeller Center Commission, and the Mural That Crossed the Border

A second story about the murals starts in 1932. In that year the Rockefeller family commissioned Rivera to paint the centerpiece fresco in the lobby of their new RCA Building in Manhattan. Eighteen months later, before the work was finished, the mural was covered with canvas, then chiseled off the wall in the middle of the night, then destroyed entirely. The fight that produced this outcome — over a single added portrait of Vladimir Lenin — ended Rivera’s American career, embarrassed the Rockefellers for decades, and sent the composition south, where Rivera repainted it, enlarged its politics, and installed it where we now see it in Bellas Artes.

Rivera painting on a scaffold in Rockefeller Center. Source: NY World-Telegram & Sun

The New York contract for the mural was drawn up by Todd, Robertson & Todd, the development agents for Rockefeller Center. Rivera would be paid $21,000 for the mural. A detail in the fine print that would matter enormously later was evidently overlooked by Rivera: in exchange for the $21,000, Rockefeller Center Inc. would hold full ownership of the finished mural.

The public trouble began on April 24, 1933, when the New York World-Telegram ran a front-page attack under the headline “Rivera Paints Scenes of Communist Activity for RCA Walls — and Rockefeller, Jr., Foots Bill.” The article accused the mural of being anti-capitalist propaganda paid for by the Rockefellers themselves. It placed the family in a politically untenable position at the height of the Depression.

Diego Rivera at Frida Kahlo’s house Casa Azul in Coyoácan, photographer unknown.

Rivera had signed an agreement that committed him to an approved sketch, but in executing the mural he added a recognizable portrait of Vladimir Lenin. Nelson Rockefeller, then 25 and director of Rockefeller Center, asked Rivera to remove Lenin but the dispute rapidly escalated. The result was that Rivera received his full $21,000 fee, and was then escorted off his working scaffold and locked out of the building. Rivera must have known this was a danger, because he originally specified that the fresco would be painted onto a specially built metal substructure so it could be removed intact if needed. The only problem was that the Rockefeller Center’s management had never allowed that substructure to be installed. So on the night of February 10, 1934, workmen carrying axes chiseled Man at the Crossroads off the wall. Rockefeller Center Inc. issued a two-sentence press release stating that the walls had been re-plastered, resulting in the mural’s demolition. Rivera responded from Mexico: “In destroying my paintings the Rockefellers have committed an act of cultural vandalism,” and added, with characteristic defiance, that the destruction “will advance the cause of the labor revolution.”

Rivera persuaded the Mexican federal government to give him the wall in Bellas Artes where he could repaint the mural. The one we see now is smaller, and painted as a single unified piece rather than as a triptych. Its Spanish title is El hombre controlador del universo (“Man, Controller of the Universe”). The Rockefeller Center contract had insisted that the completed mural “not differ from the approved sketch.” At Bellas Artes, Rivera made sure it did.

El hombre controlador del universo

Wikimedia link to many of the murals, unfortunately most not very well photographed. The Mexican government seems to block access to the official museum site, something I’ve found typical.

Posted in Artists, Mexico
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Quietly Quebec: French Canadians in Vermont

I’ve been thinking lately about two seemingly unconnected conversations. The first was with a friend, an immigration lawyer, who said that since Canada passed Law C-3 her business has been overrun with Americans applying for Canadian citizenship (C-3 eliminates the “first-generation limit”). The second conversation was with another friend who is married to a rural-born Quebecer who grew up in a lively farm family. She was observing how his family events were centred around the kitchen, not the living-room or parlor. Meals were served on the kitchen table and after a big feast, like Easter, everyone would push back their chairs to the walls and then the afternoon would be filled with conversation. For me there was a resonance in what she was saying.

In the 1950s, in the hills of central Vermont, I was told I was growing up in “Yankee” country. The word rolled easily off adult tongues, summoning a picture of stone walls, maple sugaring, town meetings, and old leathery New England families who had been there forever. I hadn’t been, but that’s incidental to this story. When I think back, when I really replay what went on in those school corridors, walk into those kitchen-shed entrances, and sit at the kitchen tables in my mind, what I see and hear feels far less purely “Yankee” and much more like a quiet, unacknowledged extension of rural Quebec.

An amusing (and unlikely) pair – a Peugot 504 (vintage 1950s) and a much earlier Ford truck – placeholders for French/Yankee duality – in the apple orchard of an old Vermont hill-farm (photo taken 1972).

Many of my classmates were not Yankees at all. They were the children of Quebecers, families who had moved south over the border in search of work, trading rocky Quebec farm fields and the poor economy for Vermont’s mills and small factories. Their parents still spoke French at home, still had filet crocheted bible scenes on their walls, still crossed themselves instinctively, still held onto Catholic feast days and family rituals, even as their children sat beside me behind desks reciting the Pledge of Allegiance in English.

The geography encouraged a kind of illusion. Compared with Quebec, with its broad St. Lawrence valley and wide fields, most of Vermont is hill country. The farms that still existed in those days were small and coughed up a lot of rocks, more a patchwork of cleared land between forests than the sweeping agricultural vistas one imagines when one says “farm.” Yet many of the people working those small farms, or supplying labor for the mills, had roots that ran straight back to Quebec. On paper, in town histories and news-stories, it might have been called “Yankee Vermont.” On the ground, it was something more complicated: a hybrid of old New England and transplanted rural Quebec, stitched together by rivers, roads, and the hum of machinery.

The mills were the real magnets. They were scattered along Vermont’s rivers, some still visibly tied to the old water power era with raceways and old brick, others already retooled and electrified. In those years, they wove cotton and wool cloth, most of it rough, and a little further south (along the larger rivers) manufactured industrial parts. They were not glamorous places, but the work was steady, and they needed hands. Hands came from the hills and from across the border.

So, in my grade school classroom, many of the desks were filled with kids whose grandparents had been farmers in Quebec, whose parents now worked for businesses in the town or the mills that bordered it. Many of them bore names that had been smoothed into English, as if the crossing of the border had required passing through a kind of linguistic customs warp. A “Leblanc” became “White.” Sometimes the change was deliberate. Other times, it seemed to have been imposed by immigration bureaucrats who simply wrote what they could pronounce. It was as if the name itself had to be pushed into shape to fit the idea of America. I knew the drill.

Late spring and scrounging up the dregs of the woodpile.

Some of my friends embraced that shaping. They practised their English carefully, and worked hard, as I did, to appear fully “American.” When you’re a child, you are acutely aware of the small signals that mark you as different, and you quickly learn to sand down those edges. When we were older we learned to call it racism. Others, though, held on to more of their ancestral life. They disappeared from play on certain feast days, learned their catechism, and later, in adolescence, you might see them slipping off to the large Catholic church that we never entered. Their houses felt different when you stepped inside: religious images on the walls, perhaps a rosary hanging from a nail, and often a sense that English was something you spoke for the outside world, not in the kitchen.

Coming back to the kitchen and my friend’s description of her husband’s family gatherings. To me it always felt like the kitchen was the next room after the shed. First you went through the shed, a kind of transition area that had the sweet smell of split drying wood, moist earth, and wet wool. Then the was the warm kitchen, with a stove crackling and the smell of food being cooked.

But what really registered with me was pushing the chairs back, making a ring of people rather than a scattered group. I always liked being there. At the time, I understood those families as simply “farm families,” (though that wasn’t the way my parents described them). Only later did I understand how many of them were not just “country people,” but Quebecois by origin, bringing with them patterns of family life shaped north of the border.

Of course, we did not have the language of “Franco-Americans” or “diaspora” for this; the word that floated around instead was “Frenchies,” often used with a derisive and mean edge. It was the sort of racist nickname that passed as normal in those days. The implication was that the “real” Vermonters, the real Americans (which I felt excluded from too), were the Yankees, and the “Frenchies” were a kind of tolerated, but alien, presence. Yet, in reality, Quebec immigrants made up a large portion of the local population – fifteen to twenty-five percent, by some estimates – and their influence seeped into the “Yankee” culture.

As a child, I absorbed both the prejudice and the intimacy without fully understanding either. I heard the jokes and the slurs, but I also knew that the kid sitting next to me with a “funny name” (like mine!) was the one I skied with after school, or the one whose mother handed me a plate of food when I was a visitor. The contradiction was simply part of the air we breathed. We were caught between the received story – Vermont as a bastion of old Yankee stock – and the lived reality of a mixed, evolving community where Quebec was a silent but important part of the mix.

Lately, hearing about law C‑3 and how it has opened the door for Americans with a Canadian parent or grandparent (or even further back) to claim Canadian citizenship, I find myself thinking about those classmates and their families. Many of them, I suspect, would now qualify to move back up here with little trouble. What strikes me is how, in the 1950s, the direction of movement was almost entirely one way: people came from Quebec to Vermont to work, to be American, to give their children a future “down south.” The border itself felt more like a one-way bridge than a shared threshold. Now, that’s changed.

With C‑3, the current is running the other way. Americans are trying to reclaim or confirm a Canadian identity they only vaguely knew they had before, or even tried to conceal. Underneath the legal arguments – who qualifies, what documents are needed, how far back descent can run – I sense an echo from my childhood days. The law is new, but the story is old: families shifting across the invisible line that cuts through the hills and fields, children caught between languages and loyalties, names bending to fit whichever side of the border they find themselves on.

For me I’m much more aware now that the most striking realization is not just that Vermont in the 1950s was more French Canadian than anyone wanted to admit, but that the ways people tried to appear “American” were often layered on top of habits and values that remained stubbornly, quietly Quebecois. The kitchen as the centre of family life. The chairs pushed back to make room for talk. The insistence on gathering everyone around a table, not just for the meal, but for the hours afterwards, when stories and teasing and small arguments stitched a family and friends together.

In retrospect, that gesture of pushing back the chairs feels almost like a metaphor for the whole period. Publicly, the chairs of identity were lined up neatly: Yankee, American, English-speaking. Privately, inside the kitchens, they were rearranged, pushed back to the walls, making space for another way of being together – more communal, more rooted in the rhythms of Quebec than the official story would allow. I grew up in that in-between space, in some ways wanting to believe I was part of “Yankee Vermont” while actually feeling more comfortable sitting in kitchens surrounded by people whose lives had been shaped by the culture of where is my home now.

Now, as Americans look north for citizenship rights and legal recognition, I find myself looking back instead – back to those kitchens and classrooms full of children with anglicized names and hidden bilingual homes. The border that seemed so definitive on maps was far more porous than we were taught. We didn’t then have the words or the awareness to describe it.

Posted in Canada, Québec, Vermont
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The Ghosts of Chapultepec

Mexico City skyline with Chapultepec Castle, center.

Each time we’ve visited Mexico City we’ve moved between different neighborhoods. This trip we settled down in a decidedly affluent section, called Polanco, which borders on Chapultepec Park. The park is a huge, mostly forested space, which occupies an important position in the city. Physically it’s roughly in the center of the metropolis, but historically it has a long narrative that is hidden from the casual eye.

A Snowy Egret in one of Chapultepec’s lakes.

Walking through it has an eerie feeling. Yes, it’s inhabited by a lot of public buildings and institutions, but lurking under the surface there’s more to it. Walking under the tall trees of Chapultepec, there’s a feeling of ghosts watching you. Today it’s full of families, street vendors, and paddle boats, but the paths weave through a landscape shaped by invasion, survival, and resistance. The Spanish conquest is there, written into the stones, hills, and trees,

A sacred hill turned seat of power

Seen from the vantage point of the Castle, the park occupies a central position in the city.

Long before the first Spanish soldiers saw the Valley of Mexico, Chapultepec Hill was sacred ground for the Mexica (Aztec). It was a royal retreat, a place of springs and ahuehuete trees (a type of cypress) where rulers came to rest and perform ceremonies. When the Spanish invaded, this forested hill became part of the battlefield of 1521, and later, the perfect lookout from which to control a conquered city.

Chapultepec Castle, which now crowns the hill, was built in the 18th century as a symbol of colonial and later national power. Seen from below, the fortress on the skyline is a reminder of how Spanish rule tried to place itself above the world the Mexica had built. Yet the forest at its feet, still filled with life, recalls a much older relationship to this land – one rooted in water, trees, and ceremony rather than walls and cannons.

A new city on top of an old one

The green roofs are over excavation sites of Templo Mayor, just adjacent to the Metropolitan Cathedral and the National Palace. The Zócalo (main square) is just visible in the centre right, the Cathedral spikes up above the buildings on the right, and the National Palace is the long flat building in the center, just adjacent to the the excavations.

A short metro ride from the park, the Centro Histórico makes the violence of conquest visible in stone. After the fall of Tenochtitlan, the Spanish tore down much of the Mexica capital and used its stones to build their own city. The massive cathedral that dominates the Zócalo stands where important sacred buildings once rose, its walls literally made from the ruins of temples it replaced.

The Metropolitan Cathedral towers over the Templo Mayor excavations, the walls of which are visible in the foreground.

Standing in the plaza, you can see two worlds at once. On one side, the cathedral bell towers and the presidential palace represent the institutions Spain introduced – Christianity, monarchy, and European law. On the other, just behind a low fence, the excavated ruins of the Templo Mayor reveal the foundations of Mexica religious and political life. The two sites almost touch, but they do not blend; that gap between them holds centuries of conflict, forced conversion, and survival.

Epidemics, forced labor, and broken worlds

On the third floor of Diego Rivera’s Anahuacalli Museum, the room he hoped to have as his studio. He died before it was completed, but it now stands as a foundational display of Mexico’s cultural wealth.

The Spanish invasion hit indigenous communities with more than swords and cannons. Within a century of first contact, up to 90 percent of the population in central Mexico died (plunging the indigenous population from 20-25 million people, to 1-3 million), mostly from epidemic diseases like smallpox and cocoliztli (a particularly lethal viral or mixed-cause hemorrhagic disease), made worse by famine and war. Survivors were pulled into the encomienda and later hacienda systems, where their labor and tribute supported Spanish landowners and the colonial state.

Land that had been held and worked communally before the conquest was carved up, privatized, or simply seized. Indigenous religions were suppressed, temples demolished, and a racial hierarchy put in place that unsurprising pushed indigenous people to the bottom of society. These structures didn’t disappear with independence; they laid the groundwork for inequalities that still shape Mexico today.

Everyday resistance in the present tense

As soon as the steel barriers went up around the National Palace people started covering them with graffiti as if to say “you can exclude us physically, but not our voices – we are here”.

And yet, every time you walk through Chapultepec on a Sunday or cross the Zócalo on a busy afternoon, you’re seeing another side of this history. Despite centuries of pressure, many indigenous communities have kept their spirit, languages, festivals, and communal ways of organizing land and life. People from Oaxaca, Guerrero, and beyond come to the capital to for many reasons – to work, protest, study, and sell food and crafts – at the same time bringing their cultures into the city’s plazas and parks.

The woman taking care of her child near the National Palace, the family resting under an ahuehuete in Chapultepec, the musician playing traditional melodies in the Zócalo – each of them have survived conquest, epidemics, and attempts at erasure. Their presence is a reminder that the impact of the Spanish invasion is not just a tragic past, but exists in the present.

This is what makes photography so meaningful to me here, it’s not just capturing pretty views. I see a city built on another city, a sacred hill turned fortress and subject to different battles, a people who move through streets laid out to control their ancestors that they now claim as their own through relentless protest. Five centuries after the first Spanish soldiers crossed into this valley, the story continues and is visible. I’m almost an irrelevant part of it, but still there’s a quiet remembering whose land this has always been, and the observant viewer will see it.

Posted in Mexico, Parks
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The Iztapalapa Passion Play: Walking Into 200 Years of History

Iztapalapa

Iztapalapa is one of the poorest and most densely populated areas of the Mexico City, with high levels of marginalization and crime but also intense community organization. I felt that the borough was off limits to me except for one exception: during Holy Week. I guessed that then I would probably be safe visiting because I would be a guest. So I decided to go to the borough on the eastern side of Mexico City for the 2015 Iztapalapa Passion Play. I wanted to see for myself what this part of Mexico City was like. With the Good Friday parade I knew I was stepping into something big, but I didn’t yet grasp how far back the story went. I arrived by metro, carried along by the crowd, as if the entire east side of Mexico City were flowing uphill toward Cerro de la Estrella. I didn’t know it at the time, but somewhere under the loudspeakers, plastic stools, and street food a promise that was made almost two centuries ago was being fulfilled.

Back in 1833, Iztapalapa wasn’t a massive borough of Mexico City, just a town on the edge of the capital facing a terrifying cholera epidemic. People were dying in huge numbers, and children were left without parents. In the middle of that fear, the community turned to a local image of Christ known as the Señor de la Cuevita, kept in a small sanctuary near a cave, and made a vow: if they were spared, they would honor him every year with a special act of devotion. When the epidemic finally subsided, they kept their word. A simple thanksgiving procession took shape, the seed of the Passion Play I walked into many years later.

From Procession to Drama

Standing in the crowd in 2015, squeezed between families, food vendors, police lines, and steel fences, I watched the actor playing Jesus ride into “Jerusalem” on a donkey. It was easy to imagine the play had always looked like this. In reality, the enactment has changed a lot, while keeping the borough’s vow to the Señor de la Cuevita.

Early in its history the procession began to absorb scenes from the Gospel story. Mexico already had a long tradition of religious dramas used to teach the faith, and Iztapalapa slowly made that tradition its own. By the mid‑1800s, locals were no longer just walking; they were acting out the Passion. At first the focus was Good Friday and the crucifixion, but the script expanded: Palm Sunday, the Last Supper, the trial, the Via Crucis. By the time I watched the Good Friday climb in 2015, the result was a fully formed Passion narrative spread across days and locations.

The Eight Barrios Behind the Scenes

One of the things that struck me that year was how deeply the local neighborhoods own this tradition. Iztapalapa’s eight original barrios still form the backbone of the organization. Committees choose the actors, coordinate rehearsals, handle logistics, and even resolve disputes. The people on stage are not professionals parachuted in for Holy Week; they’re neighbors, and I could feel it.

The role of Jesus goes to a young man who meets strict requirements of moral conduct, physical endurance, and community involvement. Months before Holy Week, he and the rest of the cast are already rehearsing in parish courtyards and streets, while families cut fabric and paint props in their homes. By the time the first scenes play out, the borough has effectively turned itself into a giant backstage. Watching in 2015, I realized the real performance wasn’t just on the hill. It was in every alley where someone had spent evenings sewing a tunic or reinforcing a cross.

From Cuevita to Cerro de la Estrella

The geography of the Passion Play has shifted over the years, even as the underlying commitment remains the same. Originally, the focus was the sanctuary of the Señor de la Cuevita and its immediate surroundings. Flooding and difficult conditions eventually pushed organizers to move the climactic scenes to the slopes of nearby Cerro de la Estrella in the early 20th century.

That hill wasn’t chosen at random. Long before Christianity arrived, Cerro de la Estrella was a sacred site, famous as the place where the Aztec New Fire ceremony was held every 52 years. Today’s Passion Play climbs the same hill. As I followed the Via Crucis up the hill in 2015, dusty and sweating alongside thousands of others, I felt those layers under my feet: pre‑Hispanic rites, colonial processions, and nearly two centuries of Passion Plays.

You can hear that layered history in the sounds of the day. Drums, flutes, and other sounds blend indigenous traditions with Catholic imagery. The result isn’t a museum piece; it’s a living example of how older traditions don’t disappear but get woven into newer ones.

A Local Vow on a Global Stage

By the time I showed up with my camera, the Iztapalapa Passion Play was already one of the largest Holy Week events on the planet. Loudspeakers hung from poles. Big screens helped people in distant streets follow the action. Television crews, helicopters, and rudimentary news drones turned the Via Crucis into a national broadcast. What began as a small-town show had grown into a massive urban ritual that could draw millions over Holy Week.

Yet, amid the scale and the cables, some principles have remained non‑negotiable. The cast is still drawn from local residents. The event is coordinated by neighborhood committees, not a commercial production company. The story remains anchored in the same episodes of the Passion that have been staged here for generations. Even as the city and the media landscape changed around it, Iztapalapa held on to the idea that this is a community promise, not a show for hire.

Remembering 2015 With New Eyes

Looking back on my visit now, I see more than the scenes I watched and photographed. I see the shadow of the 1833 epidemic that gave birth to the vow, the gradual evolution from simple procession to full Passion Play, and the eight barrios that have carried the story forward. I see Cerro de la Estrella both as a pre‑Hispanic altar and a modern stage, and every cross carried up its slopes as part of an unbroken chain.

The Iztapalapa Passion Play reenacts the last days of Christ, but it also reenacts Iztapalapa’s own history: its fears, its faith, and its determination to keep a promise made in the face of death. Every Holy Week I think of being there and of the people renewing their vow. Would I go back? I’m not sure, but probably not. I felt too much like a privileged gringo with a camera, even though my intentions were benign. But what I remember besides the spectacle are the small acts of kindness: the family that shared their umbrella with me in the scalding sun, and the man who gave me a bottle of water. On a person-to-person level, people were friendly. It was more me, and how I felt. I felt out of place even though I was correct that I had protection as a guest. It just didn’t feel right, but still I did it.

Posted in Mexico
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Skylines and Saints: Mexico City

If you have a choice, please view on a screen large enough that you can read the captions.

Posted in Architecture, Mexico
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Return to Damascus is my new book of photographs, available for order, that preserves fleeting impressions and the spirit of a place through the lens. Accompanied by brief reflections and memories, the photographs offer a tribute to the place and its people, focusing on enduring character and the subtle interplay of light, architecture, and tradition. Return to Damascus is a quiet celebration of observation and memory, inviting viewers to participate.

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How Many Roads? is a book of photographs by Jonathan Sa'adah, available for order, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer.
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