The damage begins when part of the population ends up believing that white bread, just because it’s white, is better than dark whole-wheat bread. The idea turns into action: a sector of the population, which goes on to eat white bread for hundreds of years (while it could be eating whole-wheat bread), in circumstances where the diet itself is hardly generous, will effectively become, as a result of poor nutrition, inferior.
Melquiades Herrera (1949-2003) was an irreverent, multifaceted artist. He was a pioneer of performance art in Mexico and a member of the legendary No-Grupo (1977-1983). He taught geometry, visual education, and design at the Antigua Academia de San Carlos (Academy of San Carlos), the inba’s Escuela de Diseño (School of Design), and the Escuela Nacional de Artes Plásticas (National School of Visual Arts).
Melquiades Herrera’s fascination with everyday objects, as well as his attention to urban popular culture and his sharp sense of humor, made him a singular figure in the late twentieth-century art scene. Through his appearances on television programs like La Caravana, he sought to transmit his characteristic way of interpreting the world through mass media.
Melquiades addressed aesthetics on the street and in markets on wheels, not just in galleries and museums. His texts in magazines and journals display a unique style of caustic criticism.
Coordinated by Sol Henaro, this publication gathers materials produced by Melquiades Herrera throughout his entire career. His photographs, objects, long-form articles, essays, and poems allow us to truly enter his universe. These works, accompanied by contextualizing texts and testimonials from his colleagues and friends, restore a breadth of artistic output that, due both to their ephemeral nature and to institutional oversight, had remained inaccessible to the public – but which had nonetheless persisted as a nearly cult-like rumor for several generations.