De Los Grupos Los Individuos: Artistas Plásticos de los Grupos Metropolitanos. Museo de Arte Carrillo Gil, Junio-Agosto 1985

64 pp. exhibition catalogue containing essays, chronology of Los Grupos, list of artists, bibliography, and list of works, profusely illustrated. Folio (18 x 13 1/4 inches). Original printed wrappers. Some light abrasions and edgewear to covers, areas of loss along spine, slight separation along spine between front cover and flyleaf, overall very good. "Comentarios al margen" envelope affixed to inside back cover complete with four pamphlets in the pocket. Ciudad de México: Instituto Nacional de Bellas Artes, 1985. This Spanish-language exhibition catalogue marks an important moment in contemporary Mexican art history. Many of the artists included here initially emerged as members of art collectives, some formally organized and others more informal, operating as a part of Mexico's underground art scene. These art collectives included Proceso Pentágono, Grupo Suma, No Grupo, and others. According to an article by Arden Decker, "Though the Mexican government presented itself as aligned with socialist causes, the 1970s saw an unofficial dirty war launched against perceived radicals to quash the momentum activists had gained in 1968. This heated environment found artists in a continuing struggle to find new forms of expression as well as spaces for the display of their work. Many turned to collectivization and conceptualist tactics in what has come to be called the moviemento de los grupos or the 'Group Movement' that flourished between 1973 and 1979." (Arden Decker, "Los Grupos and the Art of Intervention in 1960s and 1970s Mexico, CUNY Academic Works, 2015).

These collectives were originally united by shared ideologies or other strategies, but at this time in the 1980s, amid political shifts in Mexico and an increase in globalization, these artists were switching from a collective practice to a more individualized one. This catalogue dates to this moment of evolution. It contains an introduction by Sylvia Pandolfi as well as essays on the artistic tradition in Mexico, the emergence of "Los Grupos", and the changes that the Grupos movement underwent in the ensuing years. The artists featured in the exhibit worked in various media, including photographic collage, mixed media, gouache, oil on canvas, drawings, monotype, installation art, photograph, acrylic, and others.

The contributing artists include Adolfo Patiño, Alberto Pergon, Rogelio Villarreal, Ruben Valencia, Xavier Quirarte, Mario Rangel Faz, Ricardo Rocha, Carla Rippey, Jesus Reyes Cordero, Santiago Rebolledo, Ramon Sanchez Lira, Sebastian, Adolfotografo, Oscar Aguilar Olea, Carlos Aguirre, Jose Barbosa, Esteban Azamar, Alejandro Arango, Arnulfo Aquino & Rebeca Hidalgo, Antonio Alvarez Portugal, Maris Bustamente, Gilda Castillo, Armando Cristeto, Paloma Diaz Abreu, Felipe Ehrenberg, Miguel Ehrenberg, Carlos Finck, Aaron Flores, Rene Freire, Cesar Nuñez, Victor Muñoz, Alfonso Moraza, Rowena Morales, Agustin Martinez Castro, Francisco Marmata, Manuel Marin, Daniel Manrique & Carlos Plascencia, Gabriel Macotela, Felipa Leal, Magali Lara, Oliverio Hinojosa, Melquiades Herrera, Mauricio Gomez, Lourdes Grobet, Mauricio Guerrero, and Jose Antonio Hernandez Amezcua.

The envelope affixed to the inside back cover, "Comentarios al margen", contains four additional pamphlets. These comprise four essays and interviews: "Entrevista a Helen Escobedo" by Dominique Liquois; "Afectar Todo el Proceso" by Alberto Híjar; "En Busca de un Modelo Para la Vida" by Felipe Ehrenberg; and "Los Grupos" by Rita Eder.

As of March 2026, OCLC locates seven holdings of this catalogue in the United States.