Abstract and Minimal Vocabulary. A visual landscape in Georgia O'Keeffe, Agnes Martin, and Hilma af Klint’s paintings

Items

• What May Come (Mexico, 1945)
  A signal image in Méndez’s oeuvre, this work is one of only three self-portrait prints made by the artist. Also known as Danger over Mexico and That Which Must Not Come, the print reflects upon the role of the politically engaged artist in Mexico at the end of World War II, a period of great uncertainty. In the print, the figure of Méndez lies across an open sketchbook and contemplates a nightmarish vision in which Mexican national symbols—the eagle, snake, and nopal cactus (references to the legend of the founding of Tenochtitlan, ancient Mexico City)—are grotesquely inverted, and social order is threatened by reactionary forces. The eagle, symbol of the Mexican republic, hangs on a swastika-cross, and behind, a column of fascist soldiers, supported by Catholic clerics, marches on Mexico City. The museum’s Print and Drawing Club commissioned Méndez to make the woodblock for this print.