Tamayo on paper

The proposal presented the exhibition in two areas. In the first, the didactic sense of his painting was emphasized, while in the second, Tamayo’s work was exhibited outside of a linear structure to achieve a thematic distribution divided into three strands: an “indigenist”, a “lyrical” and a “scenographic” approach.



This was the first time we ventured into the generation of gaps in the exhibition panels, which began the approach of an open and transparent museography (elements that have marked the language of TDM over the years). This gesture allowed visual connections to show the different positions on Tamayo’s watercolor and gouache work between 1926-1959.