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(1992). Cuban modernism: the search for a national ethos. In: Wifredo Lam and His Contemporaries (exh. cat. ed. M. Balderrama), 57. New York: The Studio Museum in Harlem.

      9 Boxer, D. and Poupeye, V. (1998). Modern Jamaican Art. Kingston, Jamaica: Ian Randle Publishers/University of the West Indies Development and Endowment Fund.

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7 The Oscillation Between Myth and Criticism: Octavio Paz Between Duchamp and Tamayo

      Cuauhtémoc Medina

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      In a country such as Mexico where the writer, at least until the end of the twentieth century, functioned as a general cultural administrator, even more than did scholars, theoreticians, and specialists, it seems almost pointless to trace the boundaries between writing and art criticism. Some might even say that by introducing the differentiation I am simply rehashing the disqualification of “poetic criticism” by Latin American theoretical critics back in the 1970s. Or (even worse) that I am attempting to force a colonial assimilation onto the periphery by projecting a series of purely metropolitan conditions, including the integration of criticism into the mechanisms of a developed art market, the full‐time marketing operations of a specialized press, even the assumption that criticism is itself an artistic creation mediated by the refinement of audiences.

My intention is quite different. I propose a certain historical maneuver whereby I redeem a small part of the disparaged local “poetic” criticism – or to be precise, criticism written by poets – that becomes meaningful only once it is restored to all its eccentricity. In other words, I am attempting to restore the relative folly of a critical operation, a moment of misunderstanding (a common occurrence in the geopolitical fabric of the twentieth century) that took place around 1950, when a young poet of the surrealist periphery, Octavio Paz, managed to position Rufino Tamayo as the visible head of postmural Mexican painting for the remainder of the twentieth century. Obviously, I must first distance myself from any form of worship of Tamayo or Paz, who are seen as ideals that identify modernist nationalism. This implies conceiving of history as a means of estrangement in the Brechtian sense; once any form of apologetic pretension is dismissed, history acts much like ethnology in showing the present to be a contingency, and by revealing that our situation and even our discourse are not only temporary, but that they also embrace a diversity of canceled paths. In this context we can view criticism as a paradoxical historical object, and we can place an author such as Paz just outside the apparatus of intellectual mummification induced by its national cosmopolitan use.

In any case, the distinction between criticism and writing on art has the advantage of helping to detect a very special cultural operation: no matter how broad and often astounding Paz's prose on art is (close to one thousand pages in two complete volumes), it is rather pointless to study “Octavio Paz's art criticism” merely as an historical record of his opinions and tastes concerning the art of his time, or as essays written for special events or friends, or even as his theoretical development on the relationships between modernity, revolution, and poetry. An alternative is to assume that even those whom the division of labor calls “professional art critics” adopt the “function of critic” by exception: that is, only when they controversially define, for others and in the name of others, a relationship with works

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