In the Yucatan, they never forgot Alma Reed. She arrived for the first time in 1923, on assignment for the New York Times Sunday Magazine to cover an archaeological survey of Mayan ruins. It was a contemporary Maya, however, who stole her heart. Felipe Carrillo Puerto, said to be descended from Mayan kings, had recently been elected governor of the Yucatan on a platform emphasizing egalitarian reforms and indigenous rights. The entrenched aristocracy was enraged; Reed was infatuated--as was Carrillo Puerto. He and Reed were engaged within months. Yet less than a year later--only eleven days before their intended wedding--Carrillo Puerto was assassinated. He had earned his place in the history books, but Reed had won a place in the hearts of Mexicans: the bolero "La Peregrina" remains one of the Yucatan's most famous ballads.

Alma Reed recovered from her tragic romance to lead a long, successful life. She eventually returned to Mexico, where her work in journalism, archaeology, and art earned her entry into the Orden del Aguila Azteca (Order of the Aztec Eagle). Her time with Carrillo Puerto, however, was the most intense of her life, and when she was encouraged (by Hollywood, especially) to write her autobiography, she began with that special period. Her manuscript, which disappeared immediately after her sudden death in 1966, mingled her legendary love affair with a biography of Carrillo Puerto and the political history of the Yucatan. As such, it has long been sought by scholars as well as romantics. In 2001, historian Michael Schuessler discovered the manuscript in an abandoned apartment in Mexico City. An absolutely compelling memoir, Peregrina restores Reed's place in Mexican history in her own words.

An in-depth look at the transformative influence of Mexican artists on their U.S. counterparts during a period of social change The first half of the 20th century saw prolific cultural exchange between the United States and Mexico, as artists and intellectuals traversed the countries' shared border in both directions. For U.S. artists, Mexico's monumental public murals portraying social and political subject matter offered an alternative aesthetic at a time when artists were seeking to connect with a public deeply affected by the Great Depression. The Mexican influence grew as the artists Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros traveled to the United States to exhibit, sell their work, and make large-scale murals, working side-by-side with local artists, who often served as their assistants, and teaching them the fresco technique. Vida Americana examines the impact of their work on more than 70 artists, including Marion Greenwood, Philip Guston, Isamu Noguchi, Jackson Pollock, and Charles White. It provides a new understanding of art history, one that acknowledges the wide-ranging and profound influence the Mexican muralists had on the style, subject matter, and ideology of art in the United States between 1925 and 1945. Published in association with the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (February 17-May 17, 2020) McNay Art Museum, San Antonio (June 25-October 4, 2020)