Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy-and what it meant to be authentically Mexican.

Women face the possibility of change and a deeply entrenched patriarchy. The state of Yucatan is commonly considered to have been a hotbed of radical feminism during the Mexican Revolution. Challenging this romanticized view, Stephanie Smith examines the revolutionary reforms designed to break women's ties to tradition and religion, as well as the ways in which women shaped these developments.Smith analyzes the various regulations introduced by Yucatan's two revolution-era governors, Salvador Alvarado and Felipe Carrillo Puerto. Like many revolutionary leaders throughout Mexico, the Yucatan policy makers professed allegiance to women's rights and socialist principles. Yet they, too, passed laws and condoned legal practices that excluded women from equal participation and reinforced their inferior status.Using court cases brought by ordinary women, including those of Mayan descent, Smith demonstrates the importance of women's agency during the Mexican Revolution. But, she says, despite the intervention of women at many levels of Yucatecan society, the rigid definition of women's social roles as strictly that of wives and mothers within the Mexican nation guaranteed that long-term, substantial gains remained out of reach for most women for years to come.

Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy-and what it meant to be authentically Mexican.