Curator Patricio Majano looks at the work of Mario López Vega and highlights the importance of generating a Nahua aesthetic as a form of resistance to the historical annihilation of the Indigenous peoples in El Salvador.
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There are some artists like María Dominga Herrera or Pedro Ángel Espinoza who, considering where they were from, might have belonged to Indigenous communities, though there are no records that prove it. I think this is partly due to the strategies of the state. Many people were afraid to reveal that they were part of these communities. It wasn’t until around the eighties that artists such as Francsico Jiménez began to openly identify themselves as Indigenous peoples.